jueves, 21 de enero de 2010

Fedra o la desilusión


Cuando uno se dispone a presenciar una Fedra encarnada por Ana Belén y dirigida por José Carlos Plaza lo hace, puede que erráticamente, frotándose las manitas. Eso fue lo que me ocurrió el viernes pasado. Lo más interesante fue la deslumbrante escenografía, que era una llamada al derramamiento de sangre, un acertado suelo plastificado, que reflejaba los púrpuras y rojos del gigantesco panel de fondo y la iluminación precisa y virtuosa. El panel, a su vez, servía de pantalla para ilustrar con proyecciones sutiles los cambios en las escenas. El resto de elementos, salvo la cama de Fedra (que aparecía y desaparecía según estuvieran o no en la habitación de Fedra), eran de atrezzo. El vestuario de la diva era perfecto, así como el del ama Enone (Alicia Hermida). El texto, versión de Juan Mayorga, era acertado, justo y evocador, pero tampoco esto sirvió para darle al espectáculo el empaque de obra total que yo, ineptamente, esperaba de él. Ana Belén mantuvo a su Fedra en picos de histerismo extremos durante toda la representación, lo que hacía tomar distancia de su dolor, por cansino y repetitivo. En cuanto a presencia escénica y expresión corporal estaba fantástica, pero esto se le presupone. Se deduce un error de dirección, Fedra no tiene altibajos, es una sucesión de agonías y aunque en algunos momentos hay destellos de verdad, el monotono los engulle. Alicia Hermida se destaca en muchas ocasiones, pero en otras, no sabría decir el porqué, se acelera y pierde pie, como si tuviera prisa. Del trío juvenil, encabezado por Fran Perea (¡Hipólito!), cabe decir que el texto les viene grande, que aprendieron sus papeles y los recitan. En el caso de los amigos, unas estéticas y equívocas (por la tensión sexual) luchas escénicas, con lanza incluida, rompieron el ritmo y embellecieron el conjunto. Mención especial me merece Víctor Elías, el pequeño de Fedra, que aún no habiendo bordado el papel, tuvo momentos de gran verdad escénica. De Teseo (Chema Muñoz) mejor ni hablamos, porque el poder casi telúrico que representa este personaje se desmadeja en una ejecución forzada y poco justificada.

Casi me olvido, cuando entra Hipócito, herido de muerte en brazos de su amigo, lo hace con una tela roja que se arrastra por todo el escenario... En fin, sobre este punto no añadiré nada más.

Lo que terminó de desquiciarme, fue la agonía del pobre Hipólito, en primer término, mientras el resto de personajes soltaban sus parrafadas unos tras otro. Nadie se acercaba a él, era desesperante, me daban ganas de levantarme de la butaca y abrazar a Fran Perea (fijaos lo que me hacen decir).

En mi descargo diré, que no creo que los actores (en general) estuvieran mal, si no que la dirección no se ocupó demasiado en cada uno de ellos, no se vislumbra un trabajo de grupo, no se siente la unidad del conjunto. La distancia entre el texto y los actores era palpable, demasiada reverencia a la palabra, poca interiorización de la tragedia.

11 comentarios:

La monaca di Monza dijo...

La obra una mierda...pero tu que brillante!!!!

Profesor Higgins dijo...

He visto un par de obras de Jose Carlos Plaza (La Rosa Tatuada, La Venganza de Tamar, aquella cosa sobre Lorca que montaron hace unos años en el Generalife y que no me quiero ni acordar...) y por lo que cuentas este hombre sigue igual: grandes ideas escénicas, escenógrafía deslumbrante (y cara) pero los actores a su aire, de forma que los que saben estar bien sin dirección están bien, y los que no directos de nuevo a Los Serrano. En febrero vienen las Bodas de Sangre que ha montado para el CAT. Veremos.

GALINSOGA dijo...

hgahgahahah! mancantao! ni un cavernícola sin su porrazo! Así se despelleja!

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