not include me in pathetic group who despise Mario Vargas Llosa for his political views and seek to reduce their stature as a writer. Vargas Llosa I consider a great novelist and essayist, and I enjoy reading books while I admire their discipline as a researcher and writer, it is serious about the craft of literature, and while I disagree with some of his political positions, the time itself is giving the reason for many of them continuously.
some clueless Tantrums Vargas Llosa made on are similar to those discharged on Octavio Paz and Jorge Luis Borges, whose work and name of course survive in the memory of much more than the work and name of their mediocre opponents. Political commissars like these have been in all ages, and fortunately disappear in the litter.
In recent days, an official, I think director of the National Library of Argentina, whose name had not heard before or remember now (nor do I care to remember), wrote a letter asking virulent Vargas Cristina Kirchner Llosa was vetoed at the Book Fair to open in Buenos Aires in April. The President sent him a walk, as intended. The worst that could happen to the culture is that the censors go with your taste.
This comes about because I had the opportunity to attend in Mexico a couple of acts restricted where Vargas Llosa was the protagonist. I was in the beautiful fortress of Chapultepec when President Felipe Calderon was awarded the Aztec Eagle award, the highest distinction that may deserve a foreigner, and the next day, Saturday March 5, due to my condition Contributor of the DPA (German Press Agency), I attended the first of two exclusive performances adaptation of the "Thousand and One Nights" in the newly renovated imposing Palacio de Bellas Artes, in the presence, again, the Calderon.
The novelty of this work, as opposed to "the bottom of the Thames" I saw and told exactly two years ago when I attended the trial in Lima, is that Vargas Llosa himself performing acts Sahrigar the legendary king.
passions include recurrent Nobel Prize in Literature 2010, at least two stand out: the theater and eroticism. From "Pantoja and the Special" to "Mischief of the bad girl", from "In Praise of the Stepmother" and "The Notebooks of Don Rigoberto", eroticism and sexuality are a leit-motif in the Peruvian writer's work and show the author's inclination a world of eroticism and sexuality where the transgression is central.
episodes Vargas Llosa chose to adapt "The Thousand Nights and a Night", originally released in Spain in July 2008, are not the best known literary classic East but are those that have more to do with one's own passions of the writer.
Through the characters represented by Vargas Llosa himself and Vanessa Saba, the only actors with dialogue in the play, describes not only the relations of infidelity that are the source of the stories of King Sahrigar and the beautiful Scheherazade, but other transgressions and sexual pranks are part of the writer's imagination.
relationships between children and mothers, changes in sexual identity, clandestine love affairs, and that continued close vicinity between love and death, eros and thanatos (which are two sides of the same coin) closer to the viewer to that territory where everything is possible shade without necessarily having the good conscience shocking.
When Scheherazade managed to keep awake until dawn, the king's interest Sahrigar, night after night for a thousand nights and one night, not only manages to save his neck from the relentless scimitar has beheaded many before it, but also manages to wake the sleeping King eroticism and spectators of the play, and stimulate their imagination.
For indeed what it is through this endless story-telling, is to awaken the fire twice desire for eroticism and fantasy. And that is precisely what Vargas Llosa claimed as the essence of literature: having to live-and-stories that stimulate the senses of the reader or viewer, and to stimulate their sensual beauty that is life.
Although Vargas Llosa himself says his adaptation of the play is "minimalist", the assembly stage director Luis Llosa, his cousin, it is rather lush, with beautiful choreography of belly dancers, a horizon with suggestive and poetic film projections, lighting effects that make the transitions of the day and night, oriental music played on the scene, and some strange characters that appear occasionally.
The weight of staging lies in the performances of Vanessa Saba and Vargas Llosa, the first known for his versatility with every change of character, with only two steps in another direction, takes another voice, one position and a different attitude. Can not say the same for Vargas Llosa, although it does assume different characters in all cases without attempting to differentiate. Their interpretation is as close to minimalism.
Vargas Llosa says that this book narrates the evolution of a being brutal in a human being through "the intelligence and narrative skill" Scheherazade. More than that: love and sensuality rescue humans. Front "fire of love, science is useless," said the astrologer, narrated one of the characters, and we could paraphrase the statement to say to the world of literary creativity, rationality is useless. The literature of the imagination and dream world of mischief and fun, are a force to which it is better to give up and enjoy.
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