Comedy, as a theatrical form has been, since its origins, extraordinarily popular, even if it has never counted c in the same prestige as tragedy or drama. It is no coincidence that, for example, only decades after the great Dionysia began, comedy had a place in them institutionalized. It is strange that, in a medium like ours – where audiences are scarce – a style like comedy, popular by nature, is unpracticed. Perhaps the answer is particularly symptomatic: it is that the popular does not have much reputation, versus the elitist, versus what it means to “be in the circle of initiates” and not out of it.
“The Dismantling of the Pereiras” is, in every law, a comedy. It transits in this field in each of its dimensions: the dialogues are constituted from an ironic humour, the stage language is cartoonish and satirical, develops a sardonic worldview and the audience, by the way, enters into that plausible and laughs, laughs quite and, as we can collect from Aristotle’s reconstructions, it is precisely laughter that hasusises effect on comedy.
Pablo Greene’s dramaturgy achieves one of the hardest phenomena to achieve in the theatre: making people laugh. The dialogues are fast, acidic and often intelligent, although it also falls into certain obvious moods. Personally, the latter does not bother me at all, laughter is often about precisely that, generate the possibility of distancing ourselves from the real and letting out a laugh from what mobilizes us, if to cry excited we do not seek so many explanations sophisticated, I do not see why the same should be required of another emotion (similar, after all, to crying, like laughter), in this sense, Greene is precise and efficient, he anudes situations and dialogues to seek humor, but without losing the order of history or feelingi characters.
The playwright himself directs the montage and here you also see good language management, perhaps less accurate than in dramaturgy, but achieves her goals anyway. Situations are ordered in a simple and uncomplicated way, there is a story to tell (which I appreciate) and reflections that are possible to generate from those we see (which I also appreciate), in this sense, the assembly is traditional, which is not a problem at all, but rather a well-articulated and intelligent use of stage language, from an aesthetic decision-making, it is not here to make an effective theatre in terms of spectacle, but rather well-articulated situations by virtue of comedy, with performances that give what it takes to make the company work. It is true that at times the management work is lost due to the excess of situations, dialogues and even noise on stage, without letting the facts and processes that are being lived on the boards are settled, but they are exceptional moments and that do not tarnish the well achieved general work.
In this sense, the performances, in fact, are a central point to support the scenic mechanism and, in general terms, manage to carry out a work that accompanies and raises the proposal of Greene, each of the actresses and actors, solve their characters from a logic that enters the aposed language and enriches it. It is an extensive cast and although that at times helps the relative clutter of some scenes, it also allows the misunderstanding of the repetitiveness seen in other works.
José Antonio Raffo, is an actor who manages to draw off, excess and a good dose of laughter in his work, in fact, articulates his character very well, because even though it is excessive, it does not surpass the audience that, otherwise, celebrates his performance quite a lot. Alvaro Valdebenito, for his part, is precise and manages to pass, very quickly, through various emotional states on stage, a game not easy that permanently orients in relation to his colleagues. Mario Ocampo, executes his character by delivering a recognizable image of a type character, yet endows him with his own identity. Valentina Parada is a particularly interesting actress, as she builds an endearing character, with a lot of identity and, at the same time, finds a certain plausible common to typically familiar personalities.
Felipe Rojas develops a remarkable work. His physical actions and his voice, the various emotions he opens and the solidity with which he manages to make him laugh, just as he articulates a true emotional athletics, make his work develop unforgettable moments.
Katyna Huberman, for her part, installs her work with energy and various nuances – in a character that does not have them in principle – from the relationship she supports with her colleagues, this, it seems to me, is another of the high points of the scene, Huberman, in fact , multiplies the possibilities of his role (I insist, which they are dramaturgically few) from his voice, body, actions, that is, his performance and the relationship he holds with his stage partners.
Ana Reeves is, as I said before, one of the best national actresses. Extraordinarily adaptable to various languages and with the power of his experience, again, he proposes his character from the irony, with his particular charisma and, no doubt, with the precision – so necessary for comedy – of knowing how to act and react in the right time and with the precise intention.
“The dismantling of the Pereiras” is an interesting work that opens new spectra in the theatrical environment, warns about how needy we are of more comedy and seeks an ironic, acidic look, in relation to our concept of family, social relations and policies, with the courage to effectively make the audience laugh.
The content poured into this opinion column is the sole responsibility of its author, and does not necessarily reflect the editorial line or position of El Mostrador.
