Ch\u00e9vere reminisces and we attend. He reminisces, and the parody went to them because there is no better way to explain the world than as a parody that only admits desperate humour. The humour is theirs, but the desperation, you know who it belongs to.<\/p>
Perhaps time does not exist. Maybe it is a manipulable dimension. But it is difficult not to believe in its existence when we are put in front of a recognisable reference when we are faced with the same actions with a number of years in between. Without wishing to delve too deep: the same things do not mean the same at different times.<\/p>
Ch\u00e9vere is reminiscing, and the word can be used to explain that the company is looking in a mirror. The mirror returns an image that should be previous but is present or can be used to explain that it is recalling in front of new audiences: it feeds the paradox of explaining the past to people who didn’t go through it.<\/p>
Surprising as well is the spirit with which Ch\u00e9vere defines the recovery of R\u00edo Bravo or Annus Horribilis as archaeology because, deep down, it is a demonstration that they want to make a difficult conceptual leap: they want to discover what they were like, and they want to do it while delving into that continuous present that is a play. They are on the balance of going back without disfiguring the present, of acting now without disrespecting the past.<\/p>
The spectators are subjected to the same tension of opposites. But only those who retain the image of those two plays that will now begin to overlap in the imprecision with which memory behaves.<\/p>
Thirty years ago, I thought theatre should be performed like the Yugoslavians played basketball. With panache, imagination and without orthodoxy. More depth than extension. A bit of nerve is needed. And not to lose the play’s face. Ch\u00e9vere fit very well in those accounts. Now there is no Yugoslavia. I still think more or less the same. Ch\u00e9vere rummaged through the signs, ground the humour, made poetic assaults and stumbled on some ideas that lacked the time for the audience to mature with them.<\/p>
Following Ch\u00e9vere’s trajectory, between R\u00edo Bravo and Citizen, for example, we would have to conclude that evil has no plans to calm down but would also have to conclude that the company did not abandon parody as a language to explain the world. It just went looking for it elsewhere. It came to a conclusion that holds good for the thirty years that have passed since the company debuted. Thirty years and three crises, thirty years of bonsai nation, thirty years of autonomous culture, three decades of a theatre somewhat reluctant to clash with the public. I put thirty years, and each one can write the trance it caused\u2026<\/p>
If Ch\u00e9vere wanted to make a real parody, they had no choice but to get closer to reality. Because in these thirty years, if there is one thing that has become clear, it is that reality has become a parody. A bad copy of itself with those three seconds of delay that show the manipulation. Ch\u00e9vere saw it before. Because parody is already the only form that fully explains us. Even in what is parodic about the phrase.<\/p>
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Ch\u00e9vere reminisces and we attend. He reminisces, and the parody went to them because there is no better way to explain the world than as a parody that only admits desperate humour. The humour is theirs, but the desperation, you know who it belongs to. Perhaps time does not exist. Maybe it is a manipulable …<\/p>\n","protected":false},"author":51,"featured_media":296334,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[191],"tags":[],"class_list":["post-296499","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fatiga-ocular-en"],"acf":[],"post_template":"default","post_subscription":"no","pretitle":"","content_extract":"Ch\u00e9vere reminisces and we attend. He reminisces, and the parody went to them because there is no better way to explain the world than as a parody that only admits desperate humour. The humour is theirs, but the desperation, you know who it belongs to. Perhaps time does not exist. Maybe it is a manipulable...","reading_data":{"word_count":"555","reading_seconds":"133","reading_time":{"minutes":2,"hours":0,"seconds":13},"reading_string":"2'13''","reading_human":"2 minutos"},"announcement":{"finishdate":"","finishdate_text":""},"opinion":{"subject":"","subject_info":[]},"event_info":{"startdate":"","starttime":"","enddate":"","endtime":"","entertainer":null},"interview":{"interviewed":""},"phototext":{"text_author":"","text_photo":""},"video":{"video_source":""},"promotion":{"action":"default","action_data":""},"categories_list":[{"name":"Eye strain","id":191,"slug":"fatiga-ocular-en","parent":0,"template":"default"}],"visible_author":"Camilo Franco","_links":{"self":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/296499"}],"collection":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/comments?post=296499"}],"version-history":[{"count":2,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/296499\/revisions"}],"predecessor-version":[{"id":305235,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/296499\/revisions\/305235"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media\/296334"}],"wp:attachment":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media?parent=296499"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/categories?post=296499"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/tags?post=296499"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}