Wednesday, December 8

‘Inloca’: the Matarile theater company presents in Madrid its exploration of the desire to enter the unknown

Matarile Teatro, a company based in Santiago, is going to premiere one of the works that will open in 2022 at the Centro Dramático Nacional (CDN). On January 14 he will present his new work, Inloca, co-produced with the CDN, at the María Guerrero, a space that will serve in itself to the creators to raise the reflections they want to launch with the montage. It is a “symbol” of “old Europe” and of the traditional approach to the scenic act, explains Ana Vallés, the director and creator of Inloca. For this reason, it is “very seductive” to him to use a framework that others built before, to “undress it enough” and to present different questions and different languages.

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Vallés explains that the idea that is in the germ of Inloca it is the need that humans have to “enter unknown places”, over which they do not exercise -or not entirely- control. And in line with this, he wants to emphasize that “everything is extremely fragile”: concepts, bodies, relationships, feelings, memory. “We have a tendency to define what are the frameworks and concepts. Everything is very delimited,” he assures. In Europe, the environment in which it is centered, there are stereotypes that “mold” Europeans. The intention, he believes, should be to avoid that the limits established by concepts of the past “constrain” today.

This has to do, according to the director, with another question that she considers necessary: ​​that of being in the present: “Especially in Europe we are constantly feeding ourselves off the ruins of the past.” He believes that one should not reject what it means to be European, but clinging to an immutable past “weighs heavily.”

On Inloca the mixture of scenic languages ​​that Matarile has traditionally uploaded to the stage is present. “In the formal aspect that ambiguity or fragility of the concepts is reflected. Where does the theater begin, where does the dance end, where does the dramaturgy of the image or light come in? I am always interested in not having a predominant language, an authoritarian language, “explains Vallés. The nine performers come not only from the world of acting, but also from the world of dance and the circus.

The work is the second part of what is conceived as a trilogy. It all started as a proposal from the director of the National Dramatic Center (CDN), Alfredo Sanzol, to Matarile to develop a work in cooperation, says Vallés. The pandemic interrupted the first advances, but she and her team decided to launch in 2020 what would be the first part: The devil on the beach.

This play will be able to be seen again in December at the Teatro de la Abadía in Madrid. With only two interpreters, the basis for this first chapter is Gilles Deleuze’s ideas on chaos. From there, the work delves into issues such as distance and approach or what is the right distance to communicate, explains Vallés. The beach functions as a “metaphor for a non-place”, a space between the land and the sea in which no traces are left, he exposes. The closing scene of the play will be the opening of Inloca to mark the connection between the two. The third part, which will focus on the concept of Europe, is scheduled for 2023.

The team is in full rehearsal period to release Inloca within eight weeks. They have not yet fully closed the proposal or how long it will last and for Vallés this is a stage of creation. To start his projects, he uses ideas that arise from texts, photographs, cinema and other elements. And also of the contributions of the team of each work. “We never think alone, we never do anything alone, we always think with others,” he reflects. In his next proposal there are “many invited voices”, he says, alluding to his references in the creative process.

Faced with the importance of the two bodies of the interpreters in The devil on the beach, on Inloca the focus opens: “The sensation of enormous space will dominate, space as landscape, dominated by light,” says Vallés. This concept, that of lighting, is important in the work: “There are no limits in light.”

As a synopsis of this new work, Matarile offers some “subtitles”, not all of them developed and which are defined as “motivations”. They speak of the fallen angel, of the fight against chaos, of light and the capacity to create and of where to take “the ruins of old Europe”.

Entering new territories, says Vallés, means revisiting the past. “We carry concepts, iconography … we should lighten that load, be more willing not to cling to experience.” The play will begin to be performed on January 14 at the María Gerrero theater in Madrid, where it will run until February 6

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