Here’s a version of Unamuno’s ‘Niebla’

This juicio stands out against the applause the public gave her at the end of the show it was April 3rd and with a boy who Entries are required every day this week. Ship 10 Matadero programmed a total of 27 functions in a room with 260 butakas, or sea, got rid of 7,020 entries for this gathering. We are talking here about the “theatrical exit” of works from public spaces, because it entered a long time ago, without taking into account the ridiculous time spent on the poster and forums; to be a private room that lives from the table, I think you will consider this given.

But let’s get to work. Reference title for the literary output of Miguel de Unamuno, now reprinted level which so many talented studios deserved on a philosophical tone and on an existentialist plot and let me think about it One person must have had a lot of fun writing ittrying to entertain the reader with a melodramatic story of a drab and boring man, but following a humorous reflection on his own writing of the work he is holding in his hands and which is connected to other themes of a larger philosophical nature, e.g. there is no power of intervention that man holds over his destiny.

This metaliterature de Niebla yes el announces it false Víctor Goti’s prologue and the answer the author gives her, and even the same is translated into the character of the novel. We explain how the characters of the work are invented or imagined, we ask ourselves what is real and what is not, and we explain it in Chapter IV down to the title: “Los hombres succumbimos a las grandes penas ni a las grandes joys, y es porque esas penas y esas happiness is stamped in immense darkness, the darkness of a small accident.”

Understandably, in Orazi these Pirandelian echoes of the novel encouraged her to illustrate it. According to the described elements, that’s it built with lots of dialogue and soliloquyrecursos, which the author states as definitive levela genre that is also invented in defense of the anti-realist novel, without psychological portraits of characters or descriptions, and the action proceeds as in a theater through dialogues.

But why did the literary work captivate you from beginning to end, and did I find this representation soporific? On the puesta enscena he advances slowly like a paquidermo until the last two hours, with one character with an alarming environment and also Orazi as you found him Electrait plays in a way that mixes humor, absurdity and drama with other stories that keep us as viewers so far, I don’t forget the story until I am totally entertained.

The actors are good, but they succeed with characters that function as symbols and Juan Paños’s attempts to give her protagonist Augusto Pérez organicity fall apart; his conversations with his friend Víctor (Pablo Montes) take place in strange episodes; about Orfeo (Javier Ballesteros), whose sentences act as a tearful blanket of colorful brushwork; and wives Eugenia (Leticia Etala) and Rosario (Carmen Angulo) are composed of furious and contradictory characters. But they all act like puppets, devoid of emotion and humanity.

Orazi composes paintings according to the dreamlike aesthetics of Magritte, in which the scenography is inspired by (Cecilia Molano) – one zapatos in the attic, a decoration of clouds over there, an olive tree over there, and chaise longuemanzana… — from which the conflicts based on intrigue and metaphysical power of the novel emerge.

Finally, the main character’s actions are recorded the unbearable fake laughter that the list toasts themin the style of those enlarged TV series and that I don’t really understand their function here, why should I point out the funny nature of the work?

It is surprising to find in the story a version of Orazi, the character of the same author, Unamun, who appears as the creator god of the work, who decides the fate of the characters, replaced here by a kind of director. Everything is more secular and less spiritual and sacred, as the challenging times tend to be.