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Peru, the first South American ring of “Sisters”, by playwright Pascal Rambert
Lima, Jul 9 (EFE).- A war with armed language, a bombardment of intimate reproaches that hurt and portray the dual nature of human beings and language, this is “Sisters”, the work of French playwright Pascal Rambert, which, After a tour of seven countries, it arrives for the first time in South America, with its premiere this Saturday in Peru. The director, with light eyes and messy gray hair, assures that in this show he painted, without embellishments, jokes, or fissures, the polarization of contemporary society and the “contradictions” that he sees “in life” through a hand in hand between two women who, despite everything that unites them, are profoundly different and are condemned to live together without understanding each other because they speak different languages. “The play only talks about what language is and how it is, at the same time, a wonderful tool to understand each other and something that produces exactly the opposite of what we want,” the playwright tells Efe during his visit to Lima, on the eve of the premiere. “Sisters” is a “violent” theatrical feat, he says, that pursues maximum simplicity and attempts to “shape complexity.” Everything, under the premise that scenic art is capable of “healing wounds” and “transforming lives”, as happened to the 16-year-old Rambert when he saw in France, for the first time, a piece by the German Pina Bausch, recalls the author, who has just entered his sixties. For an hour and a half, on a stage with dozens of brightly colored plastic chairs, two women reproach each other for their past in a dialectical battle full of hatred, resentment and rivalry. A text without periods or commas, which, in the words of its creator, only “two very powerful actresses” can interpret. The germ of “Sisters” was the Spanish actress Bárbara Lennie. After her leading role in “La clausura del amor”, by Rambert, the playwright conceived the idea of writing a “hard and difficult” piece for her, who asked to have Irene Escolar as a partner. And so “Sisters” was born, which was screened for the first time behind a curtain in 2018, in parallel in Madrid and Paris, with the prestigious Marina Hands and Audrey Bonnet. THE PERUVIAN RING Lucía Caravedo and Denise Arregui climb into the Peruvian ring, which maintains the French adaptation, two actresses who meet for the first time on the same stage, where, they say, “they bring out the beast” they have inside and, almost in a state of “trance”, they take the tension “to the limit”. “It is a gift in the sense that it allows to provoke all modesty of expressiveness,” summarizes Efe Denise, who plays the younger sister, a media journalist who breaks into the work of Lucía, who is a social worker, to reproach her for not warned that his mother was about to die after suffering from an illness. With this trigger, the words begin, like stabs, between the characters, who keep the names of the actresses and the Peruvian “idiosyncrasy”. “It is very interesting to stage a French play, in a European context, (…) and see the interpretation that this public can give it. (Peruvians) have other experiences, other types of women, of language, of spirit , of way of being and of thinking”, adds Lucía, who was the promoter of bringing “Sisters” to the Andean country, after her role in “La clausura del amor”. They comment that Rambert’s work “talks a lot about migratory waves” and today it can be reinterpreted by the covid-19 pandemic, which took away from many the opportunity to say goodbye to their loved ones. But they emphasize that, in Peru, the political duel that “goes through the whole work” will probably permeate. “In this country, right now we are in an impressive polarization (…) there are two worlds that face each other, the left against the right, and the only thing they do is attack each other, there is no country project, there is no desire to meet something in common,” says Lucía. WRITING FOR WOMEN A polarization that is a common denominator at a global level, asserts Rambert, whose eyes shine when stating that he has given “his whole life to the theater” and “worked around every planet” without stopping writing for a single day, with a special bias towards women. “I’ve been writing for over forty years and, for some reason, I’ve always preferred to write for women. I like to write for people who aren’t me (…) and for me it’s a kind of commitment, too,” declares the director. , who boasts of putting the actresses at the center of his works with a “big text”, capable of breaking with the dramatic tradition that has tended to always relegate them to “a side”. When he was a child, he remembers, while his classmates played soccer, he would spend recess sitting on a bench with girls. “I had access to a female world that was not my world and that, for me, was totally fascinating. I guess that’s why I do what I do now. In a way, I give back to the girls in my class what I received,” she reflects. The next stops for “Sisters” will be Venezuela and Burkina Faso, and those of Rambert, Madrid and Milan. In the Italian city, he will premiere a still unfinished work, which he has been cooking in the room that hosts him in Lima, from which he has views of the Huaca Pucllana, a pre-Hispanic archaeological site that has become an “obsession” for the playwright, who confesses his intention to sneak it into his new text. Carla Samon Ros (c) Agencia EFE
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