Unexpectedly, Haizea Arana, Oihana Arana, Aner Euzkitze and Leire Vargas have gone from being a group of friends to being a group of creators. On February 20 the bertso eRRRe was released from the hand of Lanku, with over 50 performances.

As a result of this success, they have received more proposals for joint work: they took the role of the analysts of the Bertsolaris National Championship in the podcast of ARGIA Berezkoa Ta Natural, and they have created a hybrid show for Literature called Azken Oturuntza. They have received the title of “young promise” for having featured on stage (and in poetry, in the case of Leire Vargas and Oihana Arana) among their university students, the cunning mechanism they have criticized in eRR.

They have shown satisfaction with the work done and the reception received, ready to undertake new projects together. They have also recognized that after this flourishing there has also been a sense of assiduousness, instrumentalization and stinging. “There are a lot of interesting young people. Seek them!”

You had experience on stage, but theater demands more work with the body than Bertsolarism or poetry. How have you faced the challenge?

O.P. When we received Lanku’s proposal, it was clear that it would not be enough with verses and some poems. As we've believed in the project, we've decided to take risks.

L.V. I haven't been uncomfortable because I've acted in the theater and I like it. We have received a great deal of help from our director, Edurne Azkarate, who has given the proposal a stage meaning. It has some real stereotypes that cannot move Bertsolaris!

Vº Bº : Each one had his backpack, his trajectory, his pains and his spots. I had a huge spine dancing in front of the audience. In the first trial I cried! It has served us to reflect on the mines of the character we ride. It made me hard, but I've done it.

O.P. : We have made the dance time not so uncomfortable for you in acting. We have done nothing.

A.E. : We tried little by little to try things that were not comfortable and make them comfortable. In the last stage of creation we thought Oihana would play the guitar, and she can't play!

As Inés Osinaga says, we will assume mediocrity.

L.V. When we dance, we go to that.

O.P. : That's also called dance!

Vº Bº: It is OK to accept its own limitations…

Edurne Azkarate said that you are so great that you have had to do little work.

O.P. : in eRR there is something that is not the mediocre: Edurne Azkarate.

L.V. : We have our strengths and, in this respect, we have not needed much collaboration with the text. That was the starting point, what we knew how to do. But we saw that we needed help to make the text meaningful.

A.E. : At the beginning of the tests we realized it would be okay to ask Edurne. He came to see her with our boss and our sound technician. We realized it would change everything.

L.V. : Edurne started asking us why everything we did while typing the text. We started looking for sense step by step.

O.P. The performance we presented to Edurne, in our opinion, was over (laughter). Edurne started writing in the notebook…

A.E. He said, “I take a lot of notes, but taking a lot is good!”

Gender and gender dichotomies and power relations are the central axis of eRR, but there are also many other issues present. How have you stitched the rets?

Vº Bº: Each had to bring the list of topics of interest to the first meeting. We decided that criticism of dualisms would be a framework that would cover everyone. It was easy, because on all issues there are oppressed and oppressors, etc. Above all, we wanted to tell what has happened to us in Bertsolaris, but we didn't want to go into it. For example, addressing the pressure in professional sport has been the way to speak of “young promise” from another point of view. In fact, it is said to be the national sport of the word. Thus, we have pointed out our pains without explicitly telling them.

“It’s funny that people call radicals what we’ve actually created in everyday life by picking up and appealing the issues we have with friends,” Leire wrote. Have you created for the dissident public or to challenge the normative public?

O.P. : Normative people have been questioned, and we have received comments, but I don't care too much about what they say. Our intention is that people be comfortable, act, but it's not about changing anyone's life. We have reflected on the problems we live to create from there and socialize it. Those who have had similar experiences have felt that “I am also there”. Onintza Enbeitia told us, “How strong to see our pains on the table.” That is what we have done.

A.E. : Do we want to improve our bubble or repair the real world? Both, preferably. I think we have partly achieved this in eRR.