“Divine words” on stage

Newer opera version divine words It reminds of two significant stagings of Valle-Inclán’s work. The first of them was produced at the Teatro Español in Madrid. Let’s call it a happy event, the brilliant presentation of Mari Gaila fixed by Margarita Xirgu. Also the decorations made by Castelao for the occasion.

Moitos anos apoje, another xenial actress, María Casares, an eminent Galician interpreter of the French theater, made her debut at the Buenos Aires Coliseum, in Valleinclanesca, with the same work by the writer Arousán. From a literary point of view, divine words to become one of the most submissive days that came from his pen. Since the aesthetic situation is somewhere between the novel cycle of the author and grotesque.

It has been repeatedly said that Valle-Inclán’s text should be written more for reading than for presentation. Nel deu renda frees the author to his powerful imagination, ignoring the problem of his place on the scene. It was to our credit that the directors in both cases avoided such obstacles and obtained a dramatic version of exceptional fluidity and continuity.

The interpretations performed, at different times, by Margarita Xirgu and María Casares, showed their magnificent talents as actresses. They dominated the stage and fooled the audience with their presence. We never sketch the identification version that Xirgu dera Mari Gaile, essentially a body muller, “harmonizes the rites of body and voice.”

In the case of María Casares, claws, vibrations, they fought especially in relief in the scene where she succumbs to the horror of pulling a carriage that will be a dead idiot. The last few tickets were also released, not that the rest of the cast finished high.

Encouraging characters divine wordsThe two plays we are evoking took on a special life when they moved from the script to the stage. Thus Luceo, sometimes called the Seventh Meow or Compadre Meow, an amoral vagabond, merciless in love and friendship. Mari Gaila eo seu home, or Sancristán drunk, with incestuous appetites. Joanna the queen is an idiot. Rosa the Tátula, a beggar, Celestine vocation. Women, a thief and cocaine. And others of the same kind.

Valle-Inclán used the dirty games of this xentalla to show his corrosive irony, his deception of the human creature. Practicou, in a way, or as one would say black humor, with sharp, certain features, that, in a way, alixed or tragic, painful and painful course of action. In addition, it is worthy of praise for the gallantry, magnificent composure, succinctness, vigor and strength that the Galician writer established in two of the greatest stylists of the language used.

Article published on March 3, 1998

Fernández del Irrigation in the Voice of Galicia