translated from Spanish: Criticism of “Accidental Death of an Anarchist”: Acid, Relentless and Full of Black Humor

The word terrorism began to be used in the context of France’s bourgeois revolution and, in general terms, it can be said to imply a pejorative view of certain political activisms they saw in the rape a response to social demands, was ultimately an adjective who sought to unmask a certain kind of discourse after which a kind of ideology was envisioned, but defining it as a kind of bankrupt ideology, a annihilating ideology of the political.
The data is particularly intense if we think that, then, the concept of terrorism is born in the same context as the idea of the modern state, as if (to paraphrase an old linguist) it was a sheet of paper printed on both sides, that is, different , but inseparable.

It should therefore come as no surprise that the idea of state terrorism manifests itself as an understanding of a political and social machinery that defines tangible, concrete, very real power practices.
It is precisely about this problem that the brilliant black comedy “Accidental Death of an Anarchist” articulates itself. A work that is a classic of Dario Fo and that meets season, in the theater of the Catholic University.
Dario Fo’s dramaturgy, acidic, relentless and full of black humour, expresses a fiercely ruthless view of state administration, particularly police and repressive mechanisms, about irrationality, corruption and lack of, no longer let us say respect, but of interest in civil rights. The best thing is that Fo uses comedy, delirium and laughter, to lift his speech, missing us as citizens (that’s what we are, after all) the power practices that over the centuries, we naturalized.
Francisco Krebs, as director of the montage, has been able to read the text with remarkable lucidity, raising a stage proposal that gives an account of the brutal criticism proposed in the text that, precisely, stands through an equally brutal humor. Krebs knows how to modulate the different elements of the assembly in various aspects, to the extent that it nuances the rhythm and power of the actions, gives an appearance and very well achieved distance effect and, therefore, produces a specific language for the laying on scene that adds to the atmosphere and (possible) senses of work.
The proceedings, on the other hand, support the proposal with extraordinary quality. The cast is undoubtedly solid and it is performers of the old art of acting with experience that is translucent on stage.
Jaime McManus proposes with singular cunning his character, the actions he rises on stage are a subtle mixture between fragility and bestiality, installing a character that remains all the time in an almost state Borderline: dangerous and enigmatic. It should come as no surprise, because McManus is a timely, track-and-down actor and here, once again, demonstrates his enormous acting quality. 
Similarly, Karim Lela also lifts a performance of very good execution, in the same tone, his gestures and actions, also loaded with strangeness and grotesqueness, give a good counterpart to his stagemates and with great generosity, holds the scene to that, at least sometimes, the others shine. Lela shows a powerful and well-worked voice, precise movements and charismatic energy. 
Willy Semler, Alejandra Oviedo and Felipe Arce, on the other hand, although perhaps a little removed from the general tone of the rest, also show a solid and well executed work, giving an account of experience and scenic talent.
Without a doubt, Hector Morales, in the leading role, shows here his – really – extraordinary acting talent. It is known that, for years, Morales has been one of the best national actors. It’s not just about his talent, it’s also about his energy, his technique, his precision. Every time we see it on stage, their gestures, movements and actions, they display quality, to the extent that they are well executed and that gives us a being of another world, a delusive being and, above all, smeared himself from each of the texts, precisely for this reason that it achieves to expose them so well, with so much truth, despite being a work that seeks estrangement and is not in a realistic framework. Morales is a party on stage, a permanent carnival, relentlessly, of a overwhelming power.
Pablo de la Fuente, in charge of scenery and lighting, builds a scenic proposal not only well executed, but matched with the principalwork. Everything in the scenery has, in one way or another, a semiotic charge that allows the space to be connected with actions, just as lighting generates various symbolic areas that accentuate the burden of events.
In that same logic, the costume created by Daniela Vargas and made by the (great) Julio San Martin, assumes that same line. These are not only well-crafted costumes, but also assume a stage proposal that effectively produces a significant network between texts, characters and actions.
Alejandro Miranda, in the musical composition adds a dramatic load to the scene, allowing the facts to permeate with sound effects that dramatically load the montage, the same effect – by the way – that Pablo Mois achieves with audiovisual work.
“Accidental Death of an Anarchist” is a first-line montage, well articulated, intelligently directed and with superb performances, in which the whole staging crystallizes a vision of the text. It is undoubtedly a must-see work that, particularly in these days, takes on a meaning that goes beyond the theatre, to settle on the social scene.
Accidental death of an anarchist
UC Theatre, Jorge Washington 26, Uñoa Square.
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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.

Original source in Spanish

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