The author and theatrical director has just released a new show. It goes from a woman who has just been raped. Boadella’s lesson after investigating (we assume) in this type of trauma is expressed transparently from the first moment of the work. Lady: If you have suffered a rape, put on a mandil and do your home work, hold on, go to the hairdresser to distract yourself, put on beautiful and cook for your man. You will see how it happens soon. But, above all, don’t get carried away by resentment. “The soul pools and is also very bad for the skin,” warns its protagonist in a soliloquy after breaking a violin in an attack of anger. Calm down. Make yoga. Dominate pain. And hairs to the sea.
The moral is not surprising considering that it comes from a man who in 2019 published on his Twitter account that, in reference to those published then by the AP agency. But it is intragiable when disguising artistic work. Already in the text signed by Boadella in the Hand Program, the alarm jumps: “The mental associations of this woman in the face of pain will become visible through her inclination for song and restoration of daily habits, especially linked to her feminine condition.” How do you imagine that a woman feels after being raped? What does it mean when he speaks of “habits linked to the female condition”?
The show, , He has a unique character embodied by Soprano María Rey-Joly, accompanied by Rubén Sánchez Vieco to the piano and Alfredo Ancillo to the violin. Start with the scrambled stage. There is a piano, a table and turned chairs, off -colored paintings, a demolished plant, a disjunction Barbie and papers on the ground. It is seen that something very violent has just happened because even the refrigerator is overturned. The interpreter enters and embeds against the wall to simulate exaggerated gestures a brutal scene. Struggle, he resists with all his might, convulses. A real violation, as God commands. Not like, that Boadella seems “demential” to have led to trial, as the press has recently declared during the promotion of the work. After the atrocious moment, the protagonist rebuilds the clothes (incredibly has not suffered any heartbreak), he looks in a mirror and the first phrase he pronounces, half laughing, is: “What a horror! Look what you paint! ” The dress is fixed again, perfume and take another glance: “What hair! What a disaster! ” Immediately after he starts singing Morning!, and lied by Richard Strauss. When he finishes he grabs the Barbie and says: “What a canes! Tomorrow I cut my hair, although I don’t know if Merche is going to have time. ”
This structure will be repeated for an hour and a half. The soprano alternates moments of singing with brief scenes in which the house rearranges, clean, puts on a mandil, kitchen, does a relaxation exercises, a can of caviar is eaten (who does not deserve a cappellain after a rape) and tells his sorrows to the plant. “Don’t get dramatic,” he scolds. These are the habits that Boadella considers “feminine” by nature. Not only does it explicitly highlight it, but it is also allowed to make fun of the battle of women for equality in domestic tasks: “I have to pass the vacuum cleaner. Oh, Maria, the little woman has been inside. Come, break the patriarchal mold. Already … but I hate disorder. ”
All expressed by María Rey-Joly with imposted gestures and scarce subtlety in the exploration of the character’s feelings. We imagine that by instructions from the director. There are so many fuss and stereotypes that at times even looks like a cartoon. There are no nuances, there is no pain. Only a pinch of emotion appears in some musical passages.
Since we are allowed to give us these councils to women from the stage, Mr. Boadella could spend this Saturday, which will pass to a few streets in the theaters of the Canal, where his work is represented these days. There you will surely find who can tell you in the first person how a wounded woman feels really. Without resentment.
