In large waters
In short, several premieres have accumulated in the agenda of the theater enthusiast: The son of the accordionist has been a challenge of great production that starts from a play of narration; the work of hatred of the public has focused on the theater itself in a fun and violent aesthetic, in a kind of poetic justice staged by a Basque author a long time ago; Ta oain ze? The work reminds us that, with a lower budget, quality works can be carried out in all kinds of circuits, with a text that emerged from the work of actor; Hitzetik Hortzera has just brought up the issue of gender violence in a symbolic and poetic way; another is the case of His txikian, in which several texts have taken as their starting point on this experimental occasion.
The Basque theatre has therefore flourished in the good sense of recent times. Because you have to risk. A critical public only because the varied offer can generate. The works mentioned evoke different types of theater, and perhaps this is what a part of the Basque hobby has thought many times and expressed in the insufficiency: the need to see different types of theater in Basque. In this sense, His txikian produced by Glu-Glu also brings us a new proposal, bringing us closer to another style, especially placing us in the coordinates of the documentary theater. It premiered in the Azpeitia Theatre Days, in which the seven actors left the tables with great desire despite the precarious technical characteristics of the room. The small-format version had been offered a few days earlier in the village.
The work of Jesus Egiguren and Imanol Murua has been the basis for the work of all those who have participated. Therefore, there is much to be told in a short time, a chronology that needs to be summarized to the public and a history without encyclopedias. There will be little room for feeling and emotion, if not for what each one can contribute; there are so many personal and collective experiences that this people has had from the head.
On the cover of some actors we will immediately get to know Basque politicians more viewed than domestic television, accompanied by various elements: texts and fragments of information that will be read in the projections will give a lot of information, Mursego's music and other sounds and audios will make a great contribution to the action. The play can be like the visualization of an audiovisual documentary, and the viewer may have to position themselves in this way: Taking into account the technique of ‘distancing’, it should perform a rational exercise, positioning itself against the information received.
The authors of Su Txikian have immersed themselves in great waters, both in the subject and in the type of theatre. In this sense, the courage that has been shown and the courage shown by the director Galder Pérez to move the project forward is unquestionable. It is good to remember that we need different types of theater, that given the history of Euskal Herria, the documentary theater can also have a place. From there it is in the hands of viewers to have and give their opinion, about the theater, about the exposed contents. It is in this sea of theatre that seafarers are needed, but it is the spectators who have to swim. Or drowning. Or become fish.
Bidali zure iritzi artikuluak iritzia@argia.eus helbide elektronikora
ARGIAk ez du zertan bat etorri artikuluen edukiarekin. Idatzien gehienezko luzera 4.500 karakterekoa da (espazioak barne). Idazkera aldetik gutxieneko zuzentasun bat beharrezkoa da: batetik, ARGIAk ezin du hartu zuzenketa sakona egiteko lanik; bestetik, egitekotan edukia nahi gabe aldatzeko arriskua dago. ARGIAk azaleko zuzenketak edo moldaketak egingo dizkie artikuluei, behar izanez gero.
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