Before the announcement of the Brute force in the works, without a doubt the challenge was not a small one: to republish in the iconic stadium a work seen eleven years ago at the Luna Park. The risk was that after a decade it would have less impact and lose the charm of being the novelty of the moment.

However wayra continues to be as strong as in its 2011 premiere and Fuerza Bruta confirms that its proposal is original both for those who have never seen them live, and for those who have followed its evolution since The Black Organization, De the Guarda and those anthological representations in Cement, the Velodrome and even the Obelisk.

It is no coincidence that the idea of ​​the duo Diqui James-Gaby Kerpel traveled the world and added more than 6 million viewers in 58 cities of 34 countries, because they really managed to create something new, following the path marked by La Fura Dels Baus.

Now, after the forced break from the pandemic, they have managed to rearm and resume business with one company here at the Obras stadium and another on tour in Korea.

classic scenes

In the manner of rock bands who modify their song lists on each tour, a comparison that Brute Force likes to use, wayra He maintains his great successes and allows himself the flexibility to make small changes, some to fit the place in question and others to update the work.

So how are the famous paintings of the runner on the treadmill Y the swimming pool that goes down on the spectators. And the music is still an electronics show that manages to combine a rave with folkloric airs, but that’s not exactly the same. In addition, more video screens are being used than in 2011, thanks to advances in the technology itself.

For an hour, Fuerza Bruta takes the classic recital stage by storm and turns it into a space for reveries and sensory experiences. Colors, rhythms and movement manage to mix the real with the dreamlikeIt is again.

A world of sensations

In the beginning, a cluster of hanging bodies moves above the people, like a gigantic cluster of grapes that gives rise to the taste of perception for the senses.

Later, a man in a suit and tie begins his journey, walking alone, bumping into pedestrians, running and then falling exhausted onto a bed.

What follows, perhaps, is what he dreams of. Or maybe it’s as Borges wrote: “God moves the player, and the player moves the piece. What God behind God starts the plot with dust and time and sleep and agony?”

Immediately afterwards, in the best De La Guarda style, some women with harnesses walk in the air, stepping on a sort of silver cyclorama that has suddenly enveloped the entire audience, enclosing it in a world without walls that refers to the historical setting of the Villa – City.

The protagonist seems to wake up. Drops of water fly and try to arrange an infinite number of chairs and tables, passing through a wall. The image is powerful.

The following image concerns the huge swimming pool that appears above all to the public, who yes or no must participate and move from time to time, without being able to relax and watch from a seat, because it is not there.

And although there are slogans proposed by the actors and actresses of this fascinating physical theater, everyone reacts in their own way, not only by dancing but also by trying to touch the protagonists or the pool itself.

Electronic darkness

At the end of the murga dances arrive in two spaces placed in the corners. There are people from the audience who stand up and dare to improvise a choreography with the cast, while a DJ drives a huge fan that distributes air, pieces of paper and water, while honking huge horns.

The farewell is on the main stage, with the drums, plus shouts of “Murga!”, A canvas that touches the heads of the audience and a tube that sucks the protagonist. Another powerful image.

I’m back wayra, well. It will only be a couple of weeks in Obras, where it can be said that they have made their triumphant return.

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