First, by the door of the wall of the citadel of Donibane Garazi, the fall of the red stone street made by the riding below. Dancing “The Dragon”. The sun had appeared for a long time and only the white clothes of Bolant and the Champagne, the yellow and blue ribbon, the golden chest and the wrists looked more shining. The cliché of Xilinx among the old stone buildings of Arradoi, which have witnessed this on more than one occasion. And those two horses of the head, strong horses, dark, beautiful hair, trolling on the stones. At the opposite end of the horseback riding, the forks grunted announcing what awaited them. The herrumbrose rage of the dragon was preparing for the lifting of the banks.

Sunday was a sunny and peaceful morning, the Carnival Knight of this year, on 26 February, in the great city of Baxenabar. The horseback riding takes the place of the covered market step by step and the viewer slowly approaches. The circle, a natural space for the game, is soon complete. The first whip has come in and everything! At first glance, there's the picture of the theater. Immediately, the viewer's laughter and imagination dance. A long hair jacket with palms on the legs and a half to bite the nose. The Pyrenees' Desman, we've had a long nose of topo and we're on the subject. It is intended to create a Natural Park of the Region “Euskal mendiaz” for tourism development. Sator's long nose takes its first steps in the Alhapides, and suddenly, halfway, two trailers or mountain races arrive, as the animal is about to burst. In few images, everything is said. A sock, a clapping game and the body of the tweezer, is the burning magic of that popular art drama, so hungry for the spectator's enjoyment. Eugenio Barba, director of Odin Teatre, in the presentation of one of his theatrical works, said about his work of years earlier with Jerzy Grotowski and Ludwik Flaszen: “They were generous shows with the viewer, rich in forms, loaded with ideas, with an eroticism, with a great beauty of voices and bodies: a poor theater.” Poor or poor theater, in the background, an artedrama that wagers on the strength and encouragement of a player with little of nothing but with a heavily worked interior metaphor, repeating the preferred word by Antton Lukuk.

More or less local, the six pieces of this year's Garazi barracks had all the themes. Sexual abuse in the church; Slaughterhouse of cattle in Maule; Campaign of totally patriarchal communication mounted by some doctors for the days against women's breast cancer; Toy mounted by two or three Jacobin parents of the public school against the model of immersion in Euskera; The youth of the gaztetxe de Garazi, who spend the day on the roof of the inn, without starting a more laborious project:

The
“Artixotes of Peace” were also brought to the middle playing field. The French word of Orburu, taking the opportunity to play with the word artisan. Txetx, who had the whole strategy thought of, as responsible for the whole operation; Bea “knows nothing! He knows nothing!” “Berhoko”, popular interior farmer, union, believer, for the work done in the new Basque College in demand of space for EHLG. Autoderisio too.

The
strength of this artistic drama is also in the paradox that gives us to laugh at ourselves. It's a unique theme for smile and theater.

The
Libertiment of Garazi can be seen as a circus school. This year's Zirtzil group had what was needed from credential, the space management capacity, the great breath for play, the accumulation of theatrical images, the force of body and voice to find the viewer. In a word: mitxa.

He was brave and refreshing. In these times when everyone seems to have to go in the same direction in maximum consensus, it is difficult to catch an exciting voice. One of those places to breathe is the fun for those who are victims of shame to tick the critical spirit. The cry of a society that wants to laugh at itself. In addition, he is a trainer: he has made children. Before Amikuze, in Baigorri, in Baiona... The Makea diner had drunk some of the school.

Libertism is a popular mass that always brings its essence in creation. No, it is not a Basque superproduction; yes, it is an imperfection; yes, it is a “poor theatre”. But it's cool! Does the one who has become a follower of freedom not find in it a freshness that he does not perceive in the cultural coffers that sits in velvet?