I've read to him that they wanted to make popular theater public. What is Sancho the Fort or the popular emerald of Miramamolin?

My definition of popular theatre is that of the French theatre culture, of Jean Vilar and his generation: What is done outside Paris – well, we are fleeing from that – and I support what speaks as much as possible – there is no need to demagogy or to tempt the ambition to be able to speak to everyone. In Euskal Herria we do not have the same relationship with literature and theatre: libertisms are there and that makes us lose all the equation. But yes, when it is popular, the one who goes to the theater can enjoy as much as an expert in culture (it is not a marginal nehor and everyone perceives what they eat). Everyone lives the same moment and the work, but each from their identity and their vision. I wanted to make a theater like this. I don't know if we've done it, but the audience we've seen could say yes.

We've also done this in the total scenography: our condition is to have stems and drinks, and a charanga à la carte. My initial intention was to organize a party – eat, drink and blow in the spirit [end someone] – but through the theater. I based myself on the theatrical performances of The Globe Theater at the time of the Shakespeare I dream. They didn't have the relationship we have now with the theater, it was wilder at the time. We know a little about this type of theater: libertism or the masquerade (people are standing, have coffee or beer by hand, we go with friends and comment on what we see...). I wanted to take those liberating codes and confuse them with the theater, eliminating the liturgy and ceremonial that exist today in the theater. It is also difficult for us. For example, I didn't want greetings, I wanted to be told the charanga at once, but those in the group are left with it: so much work and, taking off, we have applause in a pay ...

It's a theater written by Antton Luku 25 years ago. How did he detect it? Why did you think you had to stage?

We wanted a text marking the twentieth anniversary of the Jostakin association. At first we wanted to write a theater with my brother Xan, because today we have few authors and theatres in the Basque theatre. But I don't master the language enough, I don't feel prepared, Xan dominates the other way, but he doesn't know how to write a theater. Add to this the short time of both...

I walked into Paris, and I walked a little away from Basque culture, I read the works of [Piarres] Larzabal, Guillaume [Irigoyen], Sebastien Ihidoien, Mattinen [Irigoyen] and Antton [Luku]. I caused the theatrical impact that I love on the emerald of Sancho the Fort or Miramamolin. We came up to read again and “it’s pretty close to the theater we want to do.” In short, it seemed very pertinent to us: friends are not playwrights, they are cunning, and the emerald of Sancho the Fort or Miramamolin is proto-libertism.

We are in medieval times, that is, with an adequate distance to refer to society. I didn't want a theater out of our reality at all, because distance is necessary to address the issue in depth. It was made to read the friends and the laughter came pretty physic. It's also an important element, because laughter is popular, it's quite federative.

It's history, but at the same time with a lot of blinking to the present.

Antton uses anachronism in her multiple theatres to catch people fairly and not to miss out on some historical stories. It reminds the public that, even if the distance is established, the theater goes in our time. We must remember the context: Sancho el Fuerte or the emerald of Miramamolin, written 25 years ago, the current problems such as the total monopoly of the tourism economy already existed in the North. Antton mentions it in the theater, but when he is in the Middle Ages, they build and marketing the way of Santiago. We understand the impact immediately. The rulers who are hungry for fame also belong to our time; the fact that their woman’s place is rejected, ttipated and silenced is a problem of our time... Sancho the Fort or the emerald of Miramamolin is a critique of today’s rulers, or at least a truffle.

We can motivate a number of political messages, in addition to the story and the story that counts. Theater as a message transmission tool?

I would say that theater [laughter] is anything but sending messages. To impoverish our art is to use it as a means of communication to make messages pass. If we want to send a message, we write an opinion article or organize a meeting. The theater is to pose questions. Who are we as playwrights to give answers? It's not our role. Assuming this role, we stumble and we also fall a little bit into extortion. Sancho the Fort or Emerald of Miramamolin ask questions. Sancho is not a stranger, he is the one who says “We will [act] in Basque, as brantxatu all”, but all the political choices he will make assume the presence of the French kingdom and symbolically of the French language. This theater postpones the following question: “Is everything we do always consistent with what we bring down?” We pass the messages through the way we build theater. It would be ours: “Let us organize among ourselves, set up theatres in Euskera, let us strive to build respiratory spaces for the Basque Country.”

Writing the theater was the Bosnian guerrilla, counting the battle of Las Navas de Tolosa in 1212 and staging it in Ukraine, not forgetting other wars around the world. Is that theater a question about the warrior?

I think it is more the question of what is at the basis of making war or the war of the men who do it, the pleasure these men have in making war, which is a political instrument established at the service of the powerful. Although there is that nihilism of Antton, and I agree with him: the men go to the warrior, but Aixa comes to him asking about making the dress: “You will come with me to my kingdom and make bed bugs for all for me.” Are we able to get out of this construction? In this recital, Antton questions the almost natural need for violence.

Your director of raincoat. How has the exercise gone?

The actors we have are the surgeons or the ones who have made a game close to the surgeon. I wanted that Antton text, where language is difficult, and it's not easy for actors to hold the text in memory either. At the same time, I wanted the text to be praised in its game. Two peculiarities of surgeons are not to be frightened of the public and deny the word sufficiently free. With words that needed that free game but that are not free. How do we communicate these two worlds? How would they feed the elgar? Caress is not art in principle, there are some codes but it's not technical.

We've already started with reading, which we all analyze in parts, if we disassemble an engine. Adding the table is discovering a system and explaining meaning is the role of the table's director. Once understood, only then can progress be made. So my job is to place myself in space or propose solutions when an actor is blocked. It's a two-and-a-half theater, but I didn't want to cut it off, and there's also radicality in it: we take a long theater and it takes time. Little by little everything has been built. Obviously, because they have experience and are astute (all pitokies have been detected without problems, I have not proposed anything [laughs]). With me we have worked more on the meaning: how to write the text, how to postpone the elements, what importance to give… Do I accept the complaint for complaining? No, I'm complaining about my role. I've been a format in that, but my friends don't. They have trusted and I am grateful, they have been fully involved.

It took the famous Comédie Française and the decision to leave Paris in the confinement, attracted by the atmosphere of masks and liberties.

In theater, I'm interested in the form and also the form of language. He hasn't done the work of Antton Luku in the last 30 40 50 years in France: Antton theorizes a theatrical form in his book Libertitzeaz. It is terrible what he has done. I was in Paris, in the theater world, and I slept, but I read about Libertitz, I saw what libertism caused in the Make thanks to my brother…. And I thought, "That's where something really important is happening." I didn't want to pass. What we do is Basque theatre or theatre in Euskera? That's a question we need to have. With the book Libertitzeaz, or at least some hints of reflection, it gives you the opportunity to create a real Basque theatre. I was proud and with a thousand ideas in mind from Paris. I decided to leave professionalism because that is not the case for professional playwrights – and it is not capable, it is not. We have to reedit the theater culture that we lost, and I don't think I would do it as a professional.

What does it cause in this Basque popular theatre?

The popular theater produces fans of Basque culture, creates dynamics within the territory, gives a place to the Basque outside the ikastolas, and that is very important because many have the ikastola as the only place to speak in Euskera. The amateur theater also brings here: we have set it up a year, if the professionals had set it up, it would take three years, one to raise grants, another to prepare the calendar of actors and the last one to assemble theater. With fifteen actors and decor, it would cost at least 100,000 euros. I do not tell it easy, everyone has their lives, their jobs, their duties, their motivations… On the other hand, it gives us many freedoms to work like this: we have no producers, we do not have to establish nice words like “coexistence” and “social link”... because it gave us pleasure and we assembled to impress the corners Sancho el Fuerte or the emerald of Miramin.

Maternal or professional, the theme has long generated debate in Ipar Euskal Herria.

That debate is there because Euskera has no cooficity in Iparralde. Of course, if you don't do the amateurs, you won't do the theater in Euskera. In Donibane Garazi, for example, in Axut, Amua and a couple more, last year very few theatres were published in Basque. It's not normal. It was an amazing dynamic 20-30 years ago, but now! In Iparralde we have done the same with the Basque culture as with the Basque: We have left all the Basque position to Seaska, and Euskal Kultur Erakundea and professionalization have appeared, to whom we have left the position of Basque culture. But that is not possible: in the face of our situation, we cannot react like a bourgeois.