‘Lo que son mujeres’, a comedy set in Morboria

PUSH figurative comedyAs for comic comedy or caricature comedy, this is a genre that Morboria artists have been involved in for more than three decades, making the leap from street theater to the hall to focus on classical theater.

The company holds in a strong place in aesthetics -coloristic, baroque, carnival costumes and scenography with a great visual impact-, which leads them to lean towards the comic genre, preferably involving ridiculous characters. His enthusiasm for Molière was widely demonstrated, featuring variations of his works (Miser, Los enredos de Scapin, Imaginary sick man…).

Last year we presented a work at the Almagro festival that we are now presenting in Madrid: What are womenLong before it was published by the French pues Rojas Zorrilla in 1645, it was echoed in the XVIII. century and was not until the 19th century, when he lost interest in its representation, including the creation of different versions. Following is Eva del Palacio, Director of Morboria, It was 150 years ago that I didn’t play the tabla.

The text serves Morboria’s purposes well: cartoon characters abound to those that the creative team of the group (Eva del Palacio, Fernando Aguado and Ana del Palacio) saw with pantomime and imagination, with trajes that look for the eighteenth century rather than the Spanish Barroco in the deliberate excess and freedom of their conception, and which, I believe, lend themselves to depicting pranks and mocking customs.

Rojas Zorrilla is also considered by academic critics Feminist author for her energetic and rebellious theater womenwho behave like men in matters of love. Here we are presented with two married couples, the beautiful Serafina (played by Virginia Sánchez with a solid and wonderful comic character) in front of a woman (Matea, the one who lived Luna Aguado) who, due to their different physical conditions, approach marriage in a very different way. Like the action, the giant Gibaja, starring Fernando Aguado.

The comic game is conceived as the choice of a suitable husband, who presents the women with the dueñas of his bed, and even rebellious to the marriage of one of them – the submissive Serafina, who only tries to ridicule the candidates -, while the passionate Matea shows lax moralshe says “si en la vida I’ve seen men/ who don’t look good”, he criticizes her for hermana.

Antagonism between people serves the author for the plant moral and emotional questions surrounding the heavens and social amenities with a freedom that today – endowed with the typical Protestant puritanism that we still cared about, seems dark for its time, a freedom that is empowered and illustrated in this assembly as if it were a portrait of the habits of the courtiers of Madrid.

total, new actors on stage to recreate this court fiesta musically staged by Miguel Barón, also present on the harpsichord with a musical selection, a mix of baroque, classical and romantic pieces, for which some popular pieces are found.

In the first and second meetings, the work remains sufficient to fit into the text, the last is reserved a meta-theatrical play where Gibaja/Fernando Aguado reunite in Rojas Zorrilla is a festive concert that revives a rare breakdown of the original text. At night from the outside, this work created a sense of satisfaction in the public and in the company that celebrates 40 years of its life in a scenario as symbolic and merciful as that of the CNTC.