Turning ten years on the bill is already a milestone to celebrate. Y make the leap, from the independent circuit to via Corrientes, deserves a greater celebration, especially for the ability to expand and add audiences. In that case it’s the team of othelloWilliam Shakespeare’s classic, which he adapted and directed, in clown version, Gabriel Chamé Buendia.
The work, which he republishes this Saturday, January 21, at the Metropolitan Surarespect the original text e elements of the clown are added, what makes it completely original and different. The talent of the cast and The hand of Chamé is essential for the result to be surprising (and accessible), even for those who have never seen a Shakespearean play.
The subtitle of this version, said almost between the teeth, warns: Othelo. It ends badly. From there she already announces what will be seen on stage: tragedy crossed by comedy or the comic that can turn into the tragic.
Word of Chamé Buendia
This is how Chamé himself explains it: “Respecting the text, its poetry and dramatic tension, I delve into the intentions of the characters through the comic gag, generating a sinister irony in the tragedy“.
And I add: “II investigate, without solemnity, the relationship between the tragic and the comicas keys to classical and contemporary theatre. othello It’s timely and questions me about love, loyalty, racism, ambition, domestic violence, envy, jealousy, scientific coldness and faith in blood.”
From the stage, where four actors, physical theater specialists, interpret a gallery of characters at a dizzying pace, some questions emerge on which the director dwelled: “What is a black, a liar, revenge for us? othello It’s an evil mirage where, as you approach, you see nothing but sand. Or your tragicomedy.”
In the a setting that is completely far from the traditional and even less from a classicShakespeare’s verses are combined with physical play and clowning, resulting in something new, but equally effective in responding to “what are we capable of doing out of hate and jealousy”according to the job.
The cast directed by Chamé Buendía is made up of Matías Bassi (it is the only one that has been there since the first performances, ten years ago), Elvira Gómez (since 2018), Nicolás Gentile and Agustín Soler, who joined later.
Othello’s Confessions
For Bassi, who plays Othello, the show It is a journey that changed his life.. “We started in a small hall of Abasto doing shows once a week for 100 people. Then we added two shows, then we travelled, we went to national and international festivals, everything was and still is an incredible experience,” he says he.
The work tour was always on top, despite a pandemic involved. “That’s why reuniting with the public brings enormous joy. And now even more, arriving at the Metropolitan, because finds us with work at its besteven technically, and eager to celebrate and make it a party for everyone,” says Bassi.
elvira gomezwho is on stage Desdemona and plays three other characters, talks about the challenge of landing work in the commercial circuit. “We are happy because it represents an opportunity in terms of visibility, for many people to see us and show us to the public in via Corrientes,” she says.
“This excites us and we are grateful for it, as well as very happy because, for us actors, it is also interesting to understand another circuit,” says the actress.
Othelo is ten years old
For his part, the director reflects on these ten years of otheror: “It has been a beautiful growth process for me, both for my relationship with Argentine theater and for for my work in Europeas the work toured throughout Latin America and He did three seasons in Spain and two in France. And, at the same time, beyond the team changes that were taking place, we were able to deepen artistically”.
According to Chamé, this also happened with the work’s theme dealing with the murder of a woman in domestic circumstances. “This has gained tremendous power and strength. We started working with othello in 2011 and we released it in 2013, and it was only in 2015 that Not one lessit began to have its effects. It is very interesting what has happened with the internal process in terms of gender issues“.
Furthermore, the director clarifies: “Doing it with humor allowed the freedom to think about this terrible conflict, always with respect, of course, which added to all this was an enriching learning experience. That’s why I find the It’s interesting to arrive at the Metropolitan so that it can open up to an audience who usually don’t know my shows. This possibility is a pleasure”.
One of the formulas for success and permanence othello, is the group dynamic for which Chamé appeals to a well-known example. “I think something similar happened The Staircase… It’s a very close group, everyone gets along very well, they are happy that the ego and insecurities calm down in the pursuit of a good common goal.
All the protagonists also stand out the validity of an author like Shakespeare, as a fundamental part of the project and its impact on the public. “He was a visionary and that is why the themes of almost all of his works are the complexities of human feelings. Here is why othello is more alive than ever which makes the viewer able to identify with everything that happensGomez says.
The actress assures that Chamé’s handling of such painful themes through the tragicomedy represented in the clown, it’s a very smart decision. “There is nothing solemn and the tragedy works perfectly thanks to the contrast with the comedy and the clown”.
The same is the opinion of Bassi, for whom Shakespeare is timeless, due to his miseries and weaknesses othello they are also those of the human soul. “It’s amazing that this 17th century tragedy is so forcefully actualized in this present. What used to be a crime of passion today is feminicideand what we considered strategy today is considered manipulation,” he says.
To this rich material, the addition of the clown instrument makes it extremely current. And, as the actor puts it: “Physical comedy renews material at the speed of our time.”
Othelo (Ends Badly), version and direction by Gabriel Chamé Buendía, Saturdays at 10pm at the Metropolitan Sura, Av. Corrientes 1343. Tickets: $3,800.
Source: Clarin
