Coinciding with the large influx of audiences after the premiere in Luhuso, HutsTeatroa offered in Usurbil his new play Hate to the public. It was a theater day, and among the amateurs who filled the Sutegi room, there were a lot of playwrights.

I hate the public for a number of reasons: firstly, it is a further step in the trajectory of Ander Lipus, who has just created the HutsTeatroa group under the shadow of the Artedrama platform. Although we have not known any new text for some time, it is a play by Xabier Mendiguren Elizegi, one of the few literary writers who has chosen to write theatre in Basque. Specifically, in this case, what makes it even more interesting is that the text emerges under the influence of Antonin Artaud, on the road of cruelty, and it is the work on the theater itself that hates the public, within the theatre of theatroa. Finally, the work has been completed with a very diverse technical and artistic team, which has had a great impact on the aesthetic result; Iñaki Ziarrusta and Miren Tirapu, because they bring some names from the file, have confronted with stage courage an interpretation that must be kept in minimum assumptions. Along with them is the direction of Manex Fuchs, who led Lipus in Empty Chair, based on the texts of Joseba Sarrionandia, and who on this occasion have changed their roles.

It is not an easy bet to stage hatred of the public. First, because beyond the title it is a means of showing love to the public, and even to the theater itself, which can be foreign to those who are not used to reflecting on the theater. The authors have launched to the public the challenge of loving the theater, not simply: as for the drama structure is not a regular play, but the kind of humor that there are at times can put the spectator into the play, at the entry in the form of a manifesto there is much to say for the whole play, only in a circle will a history without history in search of an in crescendo advance. Exceptional, so it is necessary to see it by itself. Because audiences appreciate the works that make us uncomfortable, because culture is fundamental to making us feel in an unusual world: learning, debating, growing up as spectators, continuing to love theater and art.

And deep down, there is something that brings all cruelty to one thread and catches the viewer: A solid interpretive solar from the duo Ziarrusta-Tirapu on the play, and the master of Ander Lipus on the stage. The authors have been able to integrate in their own dramaturgy well-known caravan characters in Lipus’s trajectory. In addition to giving a great life to the text, this option is fully consistent with Lipus’s trajectory, to the extent that in this sense it is almost moving. In this sense, it is probably an example of the way in which a text previously written on paper is brought to life on stage: in many moments they have been able to see and make see what words can keep between the lines. Theater is, in the background, a play of love.