The figure of the famous actress Erika Roiboos will be in charge of filling the stage tonight. Lights and shadows, literal and metaphorical. It is not in vain that the protagonist has the same name as the creator, as he has affirmed that it is a personal and intimate work. Erika, protagonist and artist, is going to undress. It is a sincere play, the result of a material that has been pulled out in a process of free creation.

On October 31 he premiered Panpina in his house, at the Azpeitia Theatre Meetings. The family and its friends, both actors and professionals, approached him and realized that he had a good reception: “The public is always important, but in this case it has a great presence. The format is very close, the relationship is very direct and punctual”. Its premiere took place at the Soreasu Theatre and raised the presence of the audience on stage “with the nervousness and warmth it generates”. This work offers a space for improvisation, because it receives a lot from the public.

Olaizola is on stage alone, but she hasn't felt that way. The whole creative process has been carried out with the illustrator and illustrator Leire Arenas and the writer and playwright Oier Guillan: “It’s too much to assume all of this. From a moment on, you need to share responsibilities, look separately, create a group environment and not just something so concentrated inside. At all times we debate, we reflect. I received it like this, I lived it like this. That enriches a lot.”

An enriching creative process

“What does this doll suggest? What does that universe say about me? What's behind the doll? When do you feel or are we a doll?” These questions have been the starting point of creation. They have created a playing field for the same rules, without any intention of being judged: “That freedom has given me the opportunity to shape what was inside.” Throughout the process, something was detected that was repeated: that the doll loses its character without the eyes of others. And that's why they've also sought closeness with the public.

Three creators have made a good team, as they have worked the foundations of the theater from their own strengths: the word, the image and the body. “Leire Arenas is a Azpeitiarra who has studied Fine Arts. I've followed his work and it was an intuition to work with him in this process. I knew I wanted to be in the creative process, and I was convinced that I wanted the poster to be made by myself, but not just that. This is the first time he has been in theatre, as he never spoke this language. It’s been a very important figure.” Even though they are both creative, the different ways of working have surprised them: “It has left out the speed and way of working in decision-making. To me, though, I've been fascinated by the attention in the textures or colors that it then reflects in the poster, for example." In Guilla, Olaizola already knew her and knew her way of working: “Oier handles the word and that sharpens the edges a lot. It has been dedicated to collecting and rethinking the material received from the improvisations. He has put that look outside.”

In the last phase, they have also been assisted by Jabi Barandiaran and Idoia Beratarbide, who have offered them lighting techniques and aesthetic advice: “Then we’ve rounded everything.”

Under the woman

The themes, desires and intuitions are among all, but the spectator is going to take the essence of Olaizola, which is precisely Olaizola. He points out that he is at that moment from youth to maturity, which, unintentionally, leads to the underworld of femininity: “We did not want to create the work for this or that, I did not want to take any flag at any time with this work, let alone. But when I give myself the freedom to create, to express my concerns, that comes out. I'm a woman and I talk about it, I think it's natural."

As for the views of the public, women in particular have thanked him for the staging and disgrace of some issues. He tells us that some have felt identified: “It’s true that we’re not very used to it, because it doesn’t happen like this, to see a woman occupying her space, in public, in public, and to talk about such natural things.”

Creators kamikazes

This work has been carried out by Erika Olaizola, but it has been presented within the Kamikaz collective, which has been presented recently. He is a member of the association with Olaizola, Miren Gaztañaga and Amancay Gaztañaga. They presented themselves as a collective in 2014, representing the play of the same name inspired by the book Euli Giro written by Uxue Alberdi. Although the show did not extend much, it served them to meet and meet them, to start a trip. Later they created the works Käffka and Agur and Dolore, and the short film Zulo. Panpina is the last job so far.

This group does not need to dedicate itself to continuous production. In fact, not all works are the result of the work of three: “It is true that we are not aware that the work is being published. We respect the space that surrounds us and each follows its path. We breathe a lot. The house is always there. Now, for example, I wanted to occupy my space and find what I wanted to tell, without relying on anyone, and for that I gave myself permission.” Likewise, Olaizola makes sense to be part of the Kamikaz collective, which is beneficial for both.

On 8 December you will see the doll in Lesaka. This is the last date agreed at the time of writing these lines. From there, he hopes that he will look for the interests and curiosities generated by mouth.