Crítica de Película
Jerusalem on fire part of the texts The Hair of Absalón by Calderón de la Barca and The Revenge of Tamar by Tirso de Molina, which serve as a channel to enter a biblical story, in which the Judeo-Christian morality (which is still so ingrained in our lives today) will be harshly exposed and subverted. For that we will delve into the family history of King David, yes, that brave soldier who defeated Goliath with just one wave, yes, the one who was anointed by God, who unified kingdoms and reigned over all Jerusalem and, definitely, yes, the one whose bust was carved in marble by Michelangelo himself. And also… the one whose sins have been forgotten.
the roots. The roots of a decadent, violent, envious society… What made us who we are? Maybe the answer has always been in front of us, we just didn’t want to see it. (SHIP 73).
The Bestiario Teatro company reaches the Golden Age with Jerusalem on fire, a work based on the texts of “Tamar’s revenge”, by Tirso de Molina and “Absalón’s hair”, by Calderón de la Barca. Thus, they put as a starting point the figure of King David, one of the most popular icons of religions such as Catholic or Jewish. Although, the work is built on two pillars that combine: the richness of a more lyrical language versus the reinterpretation brought to modern times. Thus, two narrative structures are mixed, which allow the text to enjoy a fresh air and not be a mere version of the original material. Likewise, there is a very well-measured level of intensity, which leads the public to denounce violence, with special emphasis on violence received by women.
The importance of recovering the classics can be seen in this theatrical play, which managed to consolidate its form and obtain a very powerful drama.. Thus, it guarantees that visitors who arrive with the intention of seeing that more poetic aspect are satisfied, but it is also right for those who are attracted to a more visceral faction of the company, as seen in “Antigonia”. But it can be dense in some parts, where the story doesn’t save on details, it can seem that the evolution is slower and the action is a little affected. Consequently, the dynamism decreases, which means that, in this sense, it can still explore its potential further. despite him, the overall result is in line with what is expected of this theater group, which knew how to imbue the work with its own stamp of identity.
As has happened in previous productions by Bestiario Teatro, Jerusalem on fire once again has all the recognizable faces of the company. In the first place, Borja Minaya is exquisite, an impressive David that borders on caricature, while giving him the solidity that the character demands.. Therefore, within this ridiculousness of the icon, it is appreciated that Minaya gives it a very unique strength and shines from start to finish. Later, Moisés Chic also surprises with impeccable dramatic work. Thus, he steps onto the stage, enveloping it in a very characteristic sensibility, which makes it impossible to take your eyes off him. It can be said that this job, of the three in the company, is where his talent was most expressed. As a detail, highlight a perfect diction and voice placement for the verse. Patricia Berenguer meetsbut it’s a little more dispersed.
Paula Susavila delivers one of the most sweeping and moving performances of the play, seeing that personal nightmare at the same time that the strength diminished by what happens to his Tamar. Also, has a dramatic magnetism, which makes its own expressiveness capable of supplying the dialogues. With that, he has a wealth in his non-verbal language, which elevates his work on stage. The same happens with Lorena Cervera, who takes care of the expression, accompanied by good visual support. That’s why Cervera draws attention, despite being on stage in less time. On the other hand, Pablo Ríos maintains this commitment to his dramatic work and this is seen in the concentration and energy he emits on stage.. But it could reduce the intensity of vocal expression a little in some lyrical parts.
the staging of Jerusalem on fire it is based on metallic structures that unconsciously lead to autopsies. Therefore, the symbology contains the artistic fabrication of the project, it has a great dramatic charge in itself, which allows playing with archetypes, visual metaphors and giving that hit of effect in the montage. The scenery is constantly changing, which encourages that feeling of continuous movement. That cold air that emerges from this proposal contrasts with the meaning of “familiarity” that is usually kept in mind, which is perfect to portray this family. They also use other elements like water, colors, mud, a crown of thorns… PSo that the spectator obtains a richer imagery and is not guided only by the word.
The finished wardrobe gets a very subtle elegance,the most striking point of disagreement being that of Tamar, a wise decision for what this character means to the work. Another element that the scene takes is the music, which involves the spectators in a tense sound space, fitting perfectly into the tone of the project.. On the other hand, the choreography, as well as the direction of movement and the bodies, generates a very favorable interest, giving greater strength to the show. Even so, there is still a sense of need for greater cohesion between the different elements to offer a higher level of spectacularity. An example of this was seen in his own “Antigony”, as here there are small gaps that prevent this climax from occurring. Nevertheless, with time, the proposal will certainly take hold and these aspects will be put to work.
Jerusalem on fire takes the viewer to the Golden Age with a combination of thought and reflection of current times. Thanks to this, the classics are recovered while offering freshness and creativity in the dramaturgy. Likewise, we must applaud the cast, with a very well calculated work, leaving body, soul and energy on the scene. However, we must highlight Borja Minaya, Moisés Chic and Paula Susavila, who leave some of the most emblematic scenes of the montage.
On the other hand, the staging bets on a high-level artistic appeal, full of movement and dynamism. Each aspect that is part of the proposal confers a very rich symbology in the imaginary of the work. It only remains for him to settle down to finish uniting the whole in its totality. A review of the norms through a powerful debate, showing that the classic and the current can form a very rich synergy.
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