By Luis Felipe Alegre
Reviewing the work of The Whistle Vulnerado in which Maria Elena Walsh (Ramos Mejía, Buenos Aires, 1930 - Buenos Aires, 2011) has taken center stage, we appear absences, where Walsh was an elliptical character and where we did not say any text you. Absences seize In some episodes of her life, she told herself, for fabulous on stage.
Below you can read a scene from the script, but try to explain the process before the show and the significance of Walsh as a tangential figure in the plot of the play.
ABSENCES
We work to order. In 1999 Congress had fever on the English exile started 60 years ago. The Institute Studies organized the Huesca Huesca and roamed around Sas, Dueñas and Brun, Mainer chaired the scientific committee. I do not know of them would leave the idea. The theme was the English exile and the literature produced about it. Theatrically speaking, the outlook for sub-topics and possible approaches was extensive with many strings to pull.
1. EXILED. Many of the exiled writers came at the end of the war and did not return (before Franco died), if Leon Felipe, Cernuda, Salinas ... Others endured until Franco died and where they were allowed back, as Alberti. There was an internal exile of those who stayed and gave a "significant," as Vicente Aleixandre. But exile interruptus had many variables: the exile who returned to die in his homeland, as Benjamin Jarne, internal exile occurred abroad, such as Juan Gil Albert. Returning exiles had for a while and finally migrated the case of Gomez de la Serna or Max Aub, and those who went, as Ortega y Gasset, with one foot inside and one outside. There was pre-exile, as Juan Ramon. And many post-exile in different periods of Franco, and Fernando Arrabal and Agustín García Calvo.
Also, special cases and tragicomic as the de Rivas Cherif or Jose Bergamin. Not to mention the recalcitrant Juan Larrea, the last to return.
The circumstances and reasons for each exiled motivates tensions, expectations. The "English exile" was tense and heterogeneous. José Gaos spoke of "transtierro" when it was losing hope of returning. Gallicism also coined the "friendly " inclined to wait.
2. POETRY. The exiled poets continue and finish their work, more or less as the default would have before the war, with mixed influence of patriotic drama . But there is also grown in exile.
Pedro Garfias :
"Spain we lost not miss us, keep us in your front collapsed ..."
Luis Cernuda:
"(...)
Life always gets revenge against those who refused:
The story of my land was actuated
bitter enemies for life.
The damage is not yesterday, nor now,
But as ever. That is why today
English Existence, coming to a climax,
Stupid and cruel as his bullfighting.
A people without reason, since ancient
indoctrinated in believing that the reason of pride suffers
And before the cries which impunity: Death
intelligence, was fated to end up worshiping
chains and that adult worship him bring
Where we see today: in chains,
No joy, freedom and thought.
indoctrinated in believing that the reason of pride suffers
And before the cries which impunity: Death
intelligence, was fated to end up worshiping
chains and that adult worship him bring
Where we see today: in chains,
No joy, freedom and thought.
If I'm English, I am
In the manner of those who can not
be otherwise: and between all loads
That, when I was born, the fate
put on me has been that the hardest . I have not changed
land,
Because it is not possible to whom their language unites
to death, the need for poetry.
In the manner of those who can not
be otherwise: and between all loads
That, when I was born, the fate
put on me has been that the hardest . I have not changed
land,
Because it is not possible to whom their language unites
to death, the need for poetry.
(...)
not feel like I am English
can who lives as far from their land
No regrets or nostalgia. I learned
The office of hard man,
So I put my faith in him. Whether you prefer
not return to a land whose faith, if one has ceased to be mine,
Whose ways were I rarely own
remember so Cuyo I have become hostile
And which time absence and missed me. (...) "
Rafael Alberti:
" the dove was wrong,
wrong.
wrong.
To go north, south
was believed that the wheat was water.
was believed that the wheat was water.
believed that the sea was the sky that night
morning.
morning.
That the stars were dew
the heat, the snow.
the heat, the snow.
your skirt That was your blouse, your heart
home.
home.
(She fell asleep on the shore.
You, on top of a branch.) "
You, on top of a branch.) "
the house,
horse and gun .
Mine is the former voice of the earth.
You keep all
and leave me naked and wandering in the world ...
But I will leave you speechless ... Dumb!
How are you going to pick
wheat and feed the fire
if I took the song? "
Etcetera. And for all tastes.
3. DIFFUSERS. Some poetry is a sort of "wizards" or "secondary" contributing to the knowledge of the poets and their works, book and magazine publishers, booksellers, bards, singers, literary critics ... are responsible for the works to come to us. The relationship of this guild varied "amplifiers" to the authors, beyond the commercial, they know the inside story of the books and the inner desires of the authors.
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| Buenos Aires, 1948. JRJ and Walsh. Arch. S. Facio, A. D'Amico |
5. INSIDE-OUT. For Chicho Sánchez Ferlosio: his songs those recorded in Madrid around 1960, were adopted by the environment of exile as if the songs were Republican civil war.
6. POLICY.
The conjectures of how it would affect the Allied victory in the Franco regime determines exile movements of the various factions of socialists, communists, republicans and anarchists.
Franco's policy to recover exiles begins with an amnesty in 1945, which was expanded by successive pardons.
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| Last Statement by the President and the Government of the Republic in exile |
"The institutions of the Republic in exile put to an end the historic mission that had been imposed. And those who have remained until today, they feel satisfied because they have the conviction of having done his duty. "
ABSENCES play with poems and songs.
The stage is divided into three zones. Left: the office created by the secret services in Madrid to secure the return of exiles meanings. In the center, the scene of the Ateneo de Mexico. On the right, empty space.
Act I
1 st Scene
(Year 1949. In the Absent Monitoring Department. The inspector
Jimeno Ernesto read a report that, despite the camaraderie to be treated, appears to be superior. Both cartridge and blue shirt. A table, a portrait of Franco, flags and a large world map where pointing deformed when a country or city name).
JIMENO .- (Reading) And was that, according to Ms. María Elena Walsh to Carnegie Hall ...
ERNESTO .- (correcting pronunciation) " Carnegie Hall
JIMENO .- red As the poet had given him an invitation to see Rubinstein,
ERNESTO .- "Rubinstein"
JIMENO .- took the agglomeration input to distract from his bag some papers that I copied during the first half of the concert. And then returned the original to the bag at the break.
As I see no urgency in the letter, the channel control by civilian is a fragment of something that has been writing for at least seven years. When the Seneca began in Mexico.
For the maid of Zenobia Walsh know that Argentina will go to Baltimore to visit Salinas in college. But I do not need to control the interview . (Look at Ernesto and, deeming that it is not interested enough, screams:)
Spain!
(very strong) Viva Franco!
ERNESTO .- (Looking at the sides) Viva! (Welcoming had reflexes) bastard.
JIMENO .- I I read the copy: What irresponsibility of this daring and Pepito used Bergamin, put a preface to the Works of Antonio Machado, no less! (pause and look at Ernesto)
This traffic with the illustrious dead, we all know what they thought of it!
Besides, basing the prologue and the book with him on a frightening reality, but occasional, accidental, as the war " in " Spain and the death of Antonio Machado. Make a work of peace a foreword by war, because the circumstances have become "warriors" the last part of this book hesitantly, the true work is relegated to the background as our life is relegated How tragic under any circumstances.
Unamuno, Machado, García Lorca are "enjoying" (Ernesto) says "enjoy" using quotes
ERNESTO .- Aha.
JIMENO .- are "enjoying" now a reputation based on war, thanks to the teeming activity of these profiteers of bodies and reputations.
who knew well the three, knows the repugnance felt had three such hoopla sobremuerte stroll. (pause and look at Ernest, who is rubbing his hands)
I know well the anger that caused him to another poor César Vallejo
the freshness of this Bergamín when he "wrote" (Ernesto) "wrote" in quotes.
He wrote to his book Trilce a prologue that he had not asked that Bergamín decided to "put" (see Ernesto)
ERNESTO .- With quotes?
JIMENO .- (Nodding) by the circumstances in which it was released.
The prologue was full of nonsense, like that final comparison between Cesar Vallejo and Rafael Alberti, with apparent decline of Vallejo, who have extended to decrease.
I remember now those young writers who came to our house with corset, silk and embroidered socks, bracelets, powders and a sickle and hammer gold tie. "Then," some of them have become sickle and hammer fist arrows and hypertrophied hypertrophied in open hand, from time to display. That bloated hand of Ramón Gómez de la Serna in the film's political orator.
ERNESTO .- (Hissing) de la Serna, Alberti ... (points to Argentina on the map)
How GIMENO .- laughed Pedro Salinas, the balancing of that giant hand!
Today I received, via Portugal, a follleto Los Angeles de Compostela Gerardo Diego, with a loving dedication.
ERNESTO .- (with joy) That's fucking great.
JIMENO .- What?
cojonudo ERNESTO .- That is the missing type at present, which is the best way to have them linked to the Motherland. JIMENO: - All writers write from them, and every day cards and letters will come, but so far only is Gil Albert. Because (sarcastically) Don Mammon Gomez de La Serna came back to Argentina. But what more could I ask the kid with him? If he even received the Leader and post it on the node!
ERNESTO .- Time to time. Follows.
JIMENO .- Very significant that a writer who was always "right"
send me to me that I was always "left" (what a word, what right and what is left, what the law and what left) and right-wing gibberish which combined have armed and writers in Spain.
Now try to rescue the dead who were killed in one way or another.
For them, is theirs Unamuno, Antonio Machado, Lorca them and to them. As they can not talk. Any day the "communists" in Mexico are made of them, the phalanx, " phalanx" with Jack .
ERNESTO .- Juan Ramón is unique
JIMENO .- What?
ERNESTO .- That is the only one who writes phalanx with Jack.
JIMENO .- Ah! is make the phalanx not by death but to be alive, too alive. And Leon Felipe, the howling Hebrew, we shall see in the "Land of Promise."
(Leaving the papers on the table) Here ends the loose. Leaves no puppet head.
ERNESTO .- Male, comrade, saves Gerardo Diego.
JIMENO .- Yes, and the dead, as if they were alive ...
ERNESTO .- (laughs) Well, you have to put another "partner" to control the travel of Argentina agent.
JIMENO .- Agent? But if only 19 years ...
ERNESTO .- (Confidential) Do not you find it strange that at that age, let go to live with that crazy? Sooner or later we will know what does.
JIMENO .- not delirious, Ernesto, the chick is a poet's house well. Look who gave him an award and ...
ERNESTO .- Nonsense. It is clear that you have made a past. His father is English ... it could be operating with the British services.
disimularía JIMENO .- So better not take these papers into the bag, or ... do you remember the bus ride and the poet Rojaz Zenobia around Maryland?
ERNESTO .- Yes three sat in the area reserved for blacks. So what?
JIMENO .- What if she were a spy would have been avoided with that signified subversive gesture.
ERNESTO .- Bah! That means that before he has to pretend it to Juan Ramón. (Settling the issue) Any other news?
JIMENO .- (Taking another folder) Monitoring Palacios. The bard Palacios has received letters from Pijoan, María Zambrano, Madariaga, Sender and Francisco Ayala. Bulky envelopes. Share writings in his recitals, is assumed. Excelsior gives his performances in Mexico and contact us copy all the news.
ERNESTO .- Nothing else?
JIMENO .- Well, Ortega y Gasset has returned to Germany.
ERNESTO .- (Punch on the table) Fuck the Jews!
JIMENO .- These bastards that are more outside than inside ... (Grabbing a bottle and two glasses of desk drawer) A jeriñac?
ERNESTO .- (Sipping a drink) Come on, now plays the Madrid and I'm on the stage.
(They coats)
JIMENO .- (entering) You know, Ernest, that Peron has sent a million eggs Argentines?
ERNESTO .- (Turning off the light) Poor Spain! Many balls, but few eggs ...
*
Synopsis of the rest of the work:
scenes Absent Department are interspersed with those of the University of Mexico, where he works the bard Palacios. In this scenario, Palacios tested Sender prose and Pedro Salinas. Also recites, 14 April each year, Felipe León poems, Cernuda and Alberti.
succession des scenes is for decades. Walsh reappears in the fifties, in relation to the English exile in Paris, where he is singing with Leda Valladares. The duo Leda and Mary "had contact" with Bergamin, especially.
Sixty scenes in the Department infiltrates Jimeno's daughter in the company of Palacios. After the death of Franco and the amnesty, only remains for the Department of Missing the return of Juan Larrea.
Among the skits, songs and poets already named Chicho Sánchez Ferlosio.
*
Notes on mounting
The project was born with release date and had to limit the time to document. Fortunately, the issue was not strange to us, many biographies were known and, for my own political activity of youth, knew the story of the historic Republican exile. I started working in two directions: the memoirs of José Ruiz-Castillo Basala and songs of Chico.
The script was sketched during the month of May in Buenos Aires. There was with Javier Tárraga, invited by the Fair Book, acting at the Gathering of Storytellers, and then Babylon, in Astrolabe, in the mutual Homero Manzi ... As I pulled the item, I heard many stories of English exiles, writers or not. Upon completion of the functions I went to Bolivia to find general information relating to Red, thinking it might be a character in the play.
When I arrived in Madrid, called Chico and went to his house. As in other Latin returns, I took recordings of colleagues who sang his songs without knowing that they author. I remember a tape Rolando Alarcón Chilean and Uruguayan murgueros disk for Missing and Rest, which singing of "They say the country is ..."
I talked about how interesting it would be his performance on the job. But there was no way to accept it was a long time until October. also was doing the songs in a film about Durruti and could not think beyond. The alternative was to wait for a couple of weeks before the premiere and see if it was going well, but of course, was to expose a lot. In addition Chicho insisted that Carmen would look very good songs. I got the impression that going to act until Huesca did not like. Instead he became interested much to the character of Parker and I ventured some tips for aging scenes.
to recite poetry well, though the best is an actor-storyteller and the best character is the same. There was an exile in Cuba Antonio Palacios, opera singer and reciter of poetry. From him I took the last name for the bard in exile in Mexico, which always appear in the Athenian imaginary scenario of a Mexican. A Palacios what I embody.
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| Paula Bozzano |
Despite the poetic and musical component, the work was theater and theater-I, without Héctor Grillo next, I saw actors devote the necessary time. I also had long and complex tax poems for those who needed all the attention. I enlisted the help of Viridiana group of Huesca and the team was able to complete solvency. The always superb José Luis Esteban, who had spent five years working on the whistle, I could add to Huesca Miguel Olles and had a good couple of policemen. In the production provided and Agustin Barrio Pilar Pardo and Jesus Arbués completed my shortcomings in management. Was tested in local Dies Irae of Zaragoza, at the good Samaritans were generating energy and ideas. Another headquarters was the molehill and there, Paula and I Bethlehem convinced that Young could well move from paper to the forties quinceañera.
Some important materials for the script were sent by Grassa Toro from Bogota, where he found treasures and print. That summer we had gone two to Perpignan to advise me Narciso Alba, who knows the subject. After a few days back there on the occasion of another conference to hear some presentations and especially commend Don Antonio in his tomb of Collioure.
The face of the exile would be my character, the reciter Palacios. Of all the exiles whom I had popular, the ARDE were, in my opinion, the most representative speech. Also, disposition and demeanor were well known because I had treated in Toulouse and , and in Spain, in party congresses. If any political thinking out of Palacios, would be in that line.
The police represent the paradox of his delusional mission, translucent differences between the factions of the regime and revealing the moods of exile. The clarity of the songs and recitations of Palacios, were invited to use the tragicomedy in the scenes of their opponents. At the end of the day were the only officers to facilitate the return to the "anti-English" from outside and not to persecute the inside. The character of Pilar, the daughter of Jimeno infiltrated the company Palacios, exemplified by new generations of English that they had no war as a matter of argument.
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| Arde, 1977, signed by Captain Eduardo Prada |
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| Carnet 'French' Burn, signed by Francisco Giral |
Less pleasing is the memory of what collect the subsidy cost us, then, a few days, I was representing Bululú and other stories in Colombia, with Grass Toro, Raquel Arellano and David Giménez. Then call me Maria, or Soledad Jimenez, urged by Mr. Sobaberas, an official of the Ministry of Culture, Government of Aragon, to sign a document immediately necessary for recovery. Since I could not come at the deadline, Marisol managed to sign my name thanks to the good vibes that, as always, we have with counseling. However, the insistence that it was me who signed personally, I am forced to severe concentration exercises as acting at the University of Los Andes had left me white and only one word came to my mouth: "Sobaberas.
The day I took the documentation to the Department, I ran into a problem of administrative interpretation: what is a playbill? Mr. Sobaberas denied that category to the boat that, once deployed, showed the usual information of a play. He thought it was a joke or a provocation. I do, very dignified, I explained that the creator was me and if I said that was the program was the program. Something went wrong in my statement because Sobaberas not hesitate in his reply: "'Go away from here now." I still wonder what it was that bothered him "the brown color fact sheet cardboard boat? Is the name of the ship, Absences? Do the colors of the apex?
Pictures and a Song of the work
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