Mauricio Cartoon He was spending the end of the summer at his house in Cariló with his “partner” Mónica Estévez when mandatory isolation was decreed. Decided do not return to the department of the Buenos Aires neighborhood of Villa Crespo. “Here at least I see little birds,” explains the creator on the other end of the phone. At first he thought, as many others thought, that the coronavirus was not here to stay. He has spent more than a year in his house on the coast, where he dedicates himself to eating and watching series – “what else can you do?” -, also to walking and discovering new directions in his trade.
Replenishment of The comic vis it had been suspended. Kartun thought: he was not going to be able to teach. He thought: he was not going to be able to do theater. He then chose to avoid the “wildest” quarantine. At the time of the interview with Page 12 I was waiting for the second dose of Sputnik. He is “afraid” of going back into the concrete jungle, something he will do very soon. “In a few days we will replenish Earthly“, he says enthusiastically, although somewhat nervous about what will happen to the public from April 9.
WALK AND THINK
The playwright and director is 74 years old and he moved all this time “with extreme caution”, although calm from being in the forest, without so many people around. He just went out for a walk and shopping. He waited for spring to get together with friends who live nearby, and when he did it was from a distance and outdoors. He delighted in series. Before I could not hold them for “stringers”; he preferred “the final orgasms” of the films. He now recommends at least three: Babylon Berlin, La wonderful Mrs. Maisel, Succesion.
Before the episode that changed everything, even and very strongly to his great love for the theater, he felt first “bewilderment and apathy”. “Something very enlightening happened to me about my own mechanisms. My head, for decades, has been working around projects. And I really like to walk. I believe in pacing oneself, in thinking while walking. It FUNCION. I go out with the notebook in my hand and images appear, “he details. But he didn’t see any rehearsals on the horizon, so he lost all expectation. “The feeling was: when am I going to eat what is on the grill? Do I send it to the freezer cooked?”, remember. He also believed that any idea could be left out of context when he could finally see the light of day, like a piece he was writing about “the loss of the party as a ritual.” “Everything was diluted: the energy of desire works hard with immediate expectation“, he postulates.
Practically all his works were given birth in escapes to Cariló’s comfortable house, but the pandemic caused new obstacles. However, it is known: Kartun is not one of those who let the desire fade. He moved it around. He began to write stories. He appealed to the abandoned format of blogs and spread them through social networks – he is a fervent Facebook user. The first, a serial serial, was called Consuelo. He developed it in three months, publishing every week. He continued -continues- with Salo Solo, a story about “a man in his sixties from the community looking for a girlfriend.” They put together “a communion of readers; a current demanding enough to continue with that.” Again, the teacher went out for a walk “and the head was arranged around a fiction.” At other times he gave international classes with a borrowed Internet signal, since his is a bit precarious.
THE THEATER AS RADAR
“I have never experienced something like this. Not in the worst nightmares did this possibility appear. I lived it in a metamorphic way, changing according to the creeds that settled me, “he reflects. Suddenly he had become” a kind of Shiite “who was opposed to virtual theater. The first day you peel the potato and on the 50th day you eat the peel. I ended up accepting the hybrid modes hypothesis, “he acknowledges. He did not do virtual theater, but two official halls uploaded shows of his authorship. He concludes: “We are facing a new phenomenon of the theater. There are going to be generational changes. What’s more, the theater is a radar. It is inevitable that you perceive, for example, phobic crises. Me I dreamed two, three times that I was in a meeting where no one was wearing a chinstrap. I was desperate. I was thinking ‘how do I tell them? Can’t I tell you that? ‘ I don’t think the theater should talk about the pandemic. He is going to talk about its effects, the confinement, the paranoia. Of the happiness lost from one day to the next.”
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