Three sisters who have lived apart For many years they gather after their mother’s death on the beach where they were once happy, in order to throw her ashes into the sea. The three of them face a complex present, product of situations experienced in childhood. Talking about the past, after denying it for so long, will relieve their pain, perhaps starting a path of healing. The mother has left them written her last will, aspiring for them to come together again, but the differences between them are too many. Because, as these three very particular sisters will tell (us), the past cannot always be buried in the sand.
We talk about “His last will”, the work of Julián Moldavskywhich will premiere this Saturday at Deriva Teatro under the direction of Gustavo Lioy and the performances of Estefanía Martínez, Luján Urreaga and Irma Tomasczik. “His last will” can be seen on Saturdays in April, at 9:30 p.m., in the Neuquén room at Sarmiento 841. Reservations and advance reservations can be made to the phone number 2995307602 and the value of the tickets is 5000 pesos. In dialogue with RÍO NEGRO DiaryGustavo Lioy told details of this staging.
Q: How much rehearsal time did it take?
R: We started rehearsing in October of last year, we made a break during the summer holidays and resumed a month and a half ago to get to the premiere well.
Q: What issues in the text did you emphasize?
R: I have long chosen materials that tell stories I want to see and hear. In this case and following the line of “Martín”, my last premiere, I chose a work that talks about family relationships. Sisters, in this case. But also these very particular sisters and her mother, now deceased, and everything they claim about what her childhood was like. The focus is on the past, the unsaid, the childhood traumas that we carry up to the present and that we often do not want to take care of.
“Each of the sisters “They have their version of what happened and each one processed it as best they could and in a completely different way,” says Gustavo Lioy.
Q: How did your bond with actresses develop?
R: Honestly, the relationship was very harmonious and professional from the first day, with the first reading. We were clear about the path ahead and the depth of the text. We flowed in a very beautiful way, which is very appreciated as a project director.
Q: How was the choice of actresses, why them for this work?
R: In the case of Irma, we have been working together on my latest projects, so the challenge was to find a character where she can show a different side to what we have already played. I knew Luján and Estefi from seeing them on stage in productions with other directors and I always wanted to work with them. I called them and they immediately accepted my proposal, and that’s how we started pre-production. It was a huge learning experience to share this project with each of them, because of the way they took ownership of their characters. Today I can’t imagine other actresses for these three very particular sisters.
The past and the unsaid, The focus is there, says the director of the work.
Q: How did you think about the very particular scenography of this work?
A: The play takes place on a beach facing the sea. .. So we thought about how to recreate that space and decided to make it real sand on the stage, so that the actresses could play with it and feel it on their feet. Furthermore, this sand modified their walk in the scene, due to the difficulty that the element generates, something that was very interesting to achieve the desired climate.
Q: How did you work on “removing the past”?
R: The past is the only thing we can change. We can decorate it with details that were not there and we add them; We can alter certain memories in an unconscious way to make the transition to today much easier. Each of the sisters has her version of what happened and each one processed it as she could and in a completely different way. And as if that were not enough, the mother leaves a letter telling something that they did not know… This is what makes this work more exciting. No matter how much we want to avoid it, the past comes back again and again, and we have to face it.
Q: Will there be music this time?
R: Always. Music is an active part of my productions and is a semiotic element that helps me tell what is not in the written text. It accompanies, but also says a lot about the story. We are very happy with the final product that is this work. Now it’s time for the public to enjoy. We look forward to seeing you all, because theater is the best alternative, always.
Performances: Saturdays in April, at 9:30 p.m.
Entries: $5000.
Location: Deriva Teatro (Sarmiento 841, Neuquén).
Reservations and advances at +542995307602.
The classic love-hate relationship
consulted by RÍO NEGRO DiaryJulián Moldavsky, author of “His Last Will”, revealed the origins of this work, the way in which he worked on the past of his protagonists and why it is also a comedy.
Q: How did the idea for this work appear?
R: The idea of the work was to deal with the fraternal bond and the dysfunctional ties of families in the comedy genre, but as the writing progressed and I began to delve into the fiber of the characters, I felt the need to take the story on a more dramatic side.
Q: How does the bond between the sisters occur?
R: The sisters are estranged. The separation they have is sporadic and helps them avoid discussing topics that in one way or another they want to avoid. It is a classic unimpeachable relationship of love and hate where almost all types of treatment are allowed. But deep down they need each other and deep love exists.
For some, throwing away the ashes may mean losing, for others they may free themselves a little or believe that they will be able to do so, but the ashes do not drag the past and it does not free them.
Julian Moldavsky, author of “His Last Will”
Q: What was the job of “removing the past” like? To the pain of throwing away the ashes of the dead mother…
R: Resolving the past is precisely what they try to avoid or cannot do. They end up doing it because a circumstance confronts them with the memory that floods them as if it were an unexpected wave and to get out they have to swim in the memory. In each case, their ways of being allow them to do it in those three different ways.
Q: Do other pains from the past appear?
R: For some, throwing away the ashes may mean losing, for others they may free themselves a little or believe that they will be able to do so, but the ashes do not drag the past and it does not free them.
Q: How did you work on them in each case? I suppose that ironies, discomforts, quarrels, nice remembrances and so on appear.
R: Clear! Everything is mixed. That’s why some overtones of comedy.
Q: Did your mother achieve her last wish that way?
R: The mother, yes, is freed by her own death and in some way anticipates that the pain accompanies us until the last breath.
Moldavsky recalled a question he was asked on the radio about how he came up with the work and answered: “I don’t know, I’m not clear about the creative process. It’s like I’m daydreaming. It’s like a movie. As I write, I rewrite. The details of the events with which I feel most comfortable are deepened and that is how I move forward with the castings, the calls and the rehearsals. “Sometimes things end up being rewritten.”