Gaviota

‘Gaviota threatens all expectations of what interpretation should be; it doesn't let audiences know when to applaud, to laugh or to feel emotion; it allows a new and intimate kind of sensitivity to flow for each spectator. These kinds of plays are the most consecrated haven that art will ever have before the inexorable intrusion of virtual, domesticated and alienated life’.

Mercedes Méndez, La Nación

‘The project is the result of Guillermo Cacace's continued interest in Anton Chekhov. We had already done an immature and dysfunctional version of his first work: Platonov. In this adaptation, we decided to develop a synthesis with what we considered to be the essential characters for the telling of the story, and we used the character of Masha, who works in the house of Arkadina, as the eyes that accompany us to discover each of these broken bodies. Understanding Chekhov as the playwright who can achieve the nearly impossible feat of combining the everyday with the sublime, I tried to identify throughout the original work the tragic elements in each of these characters, concentrating the essential parts in the scenes and attempting to incorporate the passing of time into the cadence and rhythm of the dialogues. The playwriting came to be with an initial version tested in the rehearsals, including modifications and work on the staging notes that were added to the action. At the same time, because the work had begun during lockdown, virtual rehearsals also had a bearing on the playwriting, bringing about the final touches added to the version presented here today. What is the essence of this legendary play? What can The Seagull say to us today? How did we deconstruct and reconstruct it? How was the playwriting handled with actresses in all the roles and how does that affect the dialogues and poetics?. We tried to keep the playwriting within the portrayed period, like indivisible spaces; like an ongoing work that may or may not conclude on opening night. This version of The Seagull takes on the impossible task of starting with a whisper and achieving the sublime results of the original, capturing the essence and everything that cannot be said in words but is on the surface".

‘There is a procedure underlying nearly all my latest staging, an operation with limits for development that are particular to each piece and each context of production. It has to do with a search linked to the idea of the rehearsal never dying and not being killed by the premiere. The rehearsal is something like tidying the unresolved, the imperfect, the eternal test, the permitted error or the unfinished. It may be likened to providing the scene of the accident that, in my opinion, contributes to the process, a vital condition that staging and its confrontation with the public sometimes try to control. Someone told me at some point that this idea of mine could be described as "rehearsal aesthetics", which I quickly accepted. Still, I preferred to see it as being about the aesthetics of an open rehearsal and the ethics of the rehearsal associated with socio-emotional alliances. With this rehearsal ethic and its poetics, the group we define expresses a political gesture that seeks to associate an alternative for the forms of finding ourselves.