The good: love and theater

Lautaro Villo is the author of this one-man show that describes the female world from a sharp and funny point of view. Veronica Pelacini plays the main character, a “mom” in trouble. In this interview, both (a real-life couple) talk behind the scenes of the play.

Unipersonal starring Veronica Pellacini, screenwriter and director Lautaro Villo, the good offers based on an everyday situation – a funny gender perspective on the male universe and a wonderful positioning of female power. Guadalupe is a real estate agent who neglects her job for a while to accompany a friend, the mother of her son’s classmate, to an art class. Over coffee later, she tells him about a problem that’s been plaguing her, a family legacy to sort out. Her friend offers her help as unusual as it is unexpected. Faces and masks He was at the premiere and spoke with the actress and director of the play, who are also a couple.

– How did you come to write this text and to be able to perform it on stage?

Lautaro Villo: – The work arises from the desire to do something together and for this thing to be a solo action in which Vero would act. It was an idea that had been brewing for years, I think since we met eighteen years ago. From there, and considering the bond that unites us, I began to work on writing about the idea of ​​infidelity. This immediately forced him to define characters, characters and specific situations, and in that line of constructing fictions very close to real life that some of my monologues have (as I once heard Ricardo Monti say: one writes mystifications about one’s own life), territory of our paternal situation emerged for me: the co-existence with fathers and mothers at school, this new group of belonging that opens up as children go down to kindergarten and then to primary school, these comrades, partners and friends of family logistics. Also other senses of fatherhood and of time together and of these times: how this ineffable happiness of being parents involves us in a series of behaviors and functionings common to so many other people, how our own time ceases to have this self-centered singularity and to be governed by the immediate whim of the past, how this new situation gives us reflections of our own parents and sometimes we find ourselves in gestures we thought we would not repeat, how erotic love is emphasized, obscured, rediscovered, transformed and power or not in this way, how passion can become a terrorist of what we take for granted and is part of what is natural in our lives. All these impressions came together as I wrote this adventure of Guadalupe, which is the name of the main character. After the text was written, we made an installation, first assumed, in the spaces that allowed the realization of another installation in which we both participated (When we the dead wake upby Ibsen, in Cervantes) and this year we decided to return to the material and stage it definitively.

Veronica Pelacini: -When I met Lautaro, he was acting with his work act of communion at the international theater festival. I was in one. I think he does too. After a while the picture changed and we started talking (wordy). The first thing I thought when he texted me on Facebook was, “I want to have a project with this guy.” And we did, only the project was family before work. The work arrived now, eighteen years later, but it was in demand from the moment I encountered it. Imagine the horror that made me start rehearsing it. And now this? What if it doesn’t work out? Not my style, but there it is. He wrote alone. I memorized myself. The tests were daily, between two and three hours. It is a privilege to have this production written and directed for me and him. I am an actress who can work and live by my profession, but until now I have never been the exclusive “protagonist” of a theater project. To have their insight, intuition and intelligence is a privilege.

– How was the experience and the rehearsal process of understanding that, in addition to being a director, a playwright and an actress are a couple?

MF: – The process was complex, stimulating, discovery, anguish, immense joy, it had everything. Difficult above all because of the necessity and the initial difficulty of setting a boundary to start the work and separate it from all the other activities, all the other projects that we share in everyday life. Invigorating and a discovery because, although I was very clear that she was a great actress (and I’m not saying this because she’s my wife), we had never worked on these roles together in a project. And when you’re directing an actor or actress, what you’re encouraging and helping is the unfolding of their head and their feelings, the movements and swaying of their aesthetic sensibility, you can see them reach their cultural, aesthetic, technical baggage. This is an extraordinary privilege for a director if he wants to really do acting. And this time, what I found was wonderful. It’s a shame because when things didn’t work out, you came home from rehearsal and there you continued to live with the whole cast and the possibility of breaking away, of broadcasting was less, and also because the single person has another ingredient that makes it more indeterminate, than it works with more performers: the partner is the audience, and in a more radical way than in other equations. Already when there are two actors on stage, at least in the final moments of the montage, one has the feeling that the edges of the form are sharper. With more instruments, it’s easier to tell if it sounds good or bad; with one tool it is sometimes harder to distinguish, the shape can be more diffuse. Fortunately, at every point of the process we had amazing rehearsals and it was a great joy. When we arrived at the premiere and saw him in action, it was pure bliss.

– How is the character?

PV: -Guadalupe lives in Buenos Aires. She is a real estate agent. She works a lot, she is good at what she does. She is married to Sergio. He never gets his act together and also lacks a bit of determination. She can’t get off the hamster wheel: zero satisfaction, comfort zone. She is a good mother, she is not stupid or stupid, she is aware of the life she has. Intelligent, ambitious in the best sense of the word. Want. desire. It’s vital. And I think he deserves all the good he wants. Until then, she has friends that stem from the bonds that come from being a “mom.” And one day he finds himself in the middle of a situation he would never have tried to generate; but this cannot be denied her, and from that moment on a passion is unleashed in her, which to me makes her my best friend. It starts to be another one, finally it becomes her. As far as the character building process goes, it was orthodox in the best sense. We didn’t improvise to see what the play was about, nothing like that. The material was provided to me entirely written by Lautaro. The work has, I think and several people have told me, a great feminine sensibility, but it’s not the result of searching through improvisations or because I’ve decided “she says this or feels this way”. That was in the text. Guadalupe appears, conforms, and exists as a consequence of the situations that arise from reading, understanding, and doing what the dramatic text encourages. As in the best stories, she is an ordinary person to whom extraordinary things happen. It is a work that cannot boast of its aesthetics, which of course it has. I think this is one of the most valuable finds of the production and direction. It is so modern that it allows you to see it without having to go around bringing up the self-awareness of a theatrical play or inventing strange resources. It’s direct, intense, fun, exciting, very fun work. Come see her!

DATA SHEET
Text and direction: Lautaro Villo
Cast: Veronica Pellacini
Costumes and scenography: Cecilia Zuvialde
Lighting Design: Facundo Estol
Assistant director: Sofia Garcia Lazzarini

the good It’s on Sundays at 8pm at Cultural Moran until November 27.

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