Carmen Machi devoured by the decline of politics – EntornoInteligente

Carmen Machi devoured by the decline of the political / World / On a stormy night in the climatological, which fortunately did not prevent its staging, representation of classical tragedy ‘Antigone’ at the Festival of Classical Theatre [tenfold has been recreated in this scenario along of its history] It brought together with reliability and efficiency all the conflicts that devour the political class and its current decline. Corruption [and not only economic, also it exchanges] and an inevitable decline with the passage of time that dilute the noble purposes of newcomers and alarmed Sophocles observed in young Athenian democracy, the transformation of all those who touch the power and that make them unworthy lonely, suspicious wolves, no ability to listen and analyze, and committing same mistakes they themselves had denounced before coming to power.

Hence the splendid performance of Carmen Machi in the role of Manuela King Creon and Antigone in Paso could well apply to any current authority. And indeed, that’s the background that lets the message of the work. Which the director, Manuel del Arco, to grant him a traditionally male role Machi no squeaks during assembly but on the contrary because the actress performs an exercise so effective, poise and control of the scene that the public [that is already receptive to surrender to the television actress Popularity] discovered during the hour and half mount another Machi, marvelous in his dual role of mother and boss, in his diabolical struggle between power and heart.

Because leaving the work is a constant struggle between the laws applied to its conclusion even if they are injustas- and emotional conflict caused when carried without exception until the end cause more deaths, more blood, your flesh and blood, not painful and your niece and your daughter, as the case of Antigone, but your own son, who kills himself in front of you for having reacted too late, wrong. Only makes late and fear of personal misfortune when a visionary warns you of doom you get for your arrogance and rigidity which ends up in power, their loneliness and fears: “All conspire against me” warns again and again, a little before Creon obsessed when proclaimed that ended the bloody war, following a trail of corpses on the ground, even brothers who had killed each other, Thebes finally awoke under a sun of hope. It was the start of construction of a new state, a time of hope, fairer, forgetting the past. But that lasted very little desire to bring to the end the rule of the law for anyone, “come what may”. Until it touches yours, of course, and then the conflict of interest has no solution and no turning back.

The texts of Sophocles in the version of Miguel del Arco echo in the vital consciousness and deep democratic system weaknesses: “Money creates corrupted servants and opinions and faster than death” proclaims Machi, who agrees not tolerate even a hint of corruption, but its exaggerated military discipline to impose order you end up paying dearly to implement an incoherent, inhuman and taken to the extreme decree: that of not being able to bury a dead unburied, even a brother, as in the case of Antigone, condemned ending in a cave with no light for the rest of his days, even before repentance Creon is death, which triggers the final tragedy.

If it is powerful and convincing representation of Machi, of Manuela Paso is not far behind and slash at least the same level as the previous one, with a piercing paper and which especially shines in breathtaking dialogues , full of reason and feelings, without even caring life, against the tyranny of his aunt when he has pity is already hopelessly tade. The conflict between the two and the blindness that represents each one of them, convinced to the end of his reasoning, are the best minutes of the assembly that grabs the audience from the beginning to the end, moved by the terrible end to be encouraging hopelessly .

Through a scenario, the Roman Theatre, naked, without decorative devices [that helps you focus on the role of actors and choreography chorus] what transmits the play is pure theater, based on the speeches of some texts that go directly to the public, which closed the evening with a standing ovation, as deserved as for each and every one of the performers of ‘Antigone’, as Angela Cremonte, Christopher Suarez, Raul Prieto, José Luis Martinez and Santi Silvia Alvarez Marin. This assembly’s trilogy consecutively from Wednesday (first with ‘Medea’ -espléndida with Aitana Sanchez Gijón- and later with ‘Oedipus Rex’ -more irregularly) occurs in Merida company ‘City Theatre’ in collaboration with ‘Abbey Theatre’.

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