Macedònia ocre i amorosa

Dunes

Dunes

Se m’acumulen la feina i les poques possibilitats reals d’assistir als espectacles d’aquestes Fires. És per això que “envio” a veure Dunas a una corresponsal de confiança. La meva filla Clara torna amb notes preses en fulls d’una agenda. Em parla amb un entusiasme sense mesura de les teles ocres, de la sorra que s’estén, metafòrica, per l’escenari del Municipal, de les mans de María Pagés, unes mans que s’escampen i es converteixen en arbre. Em parla de la compenetració dels dos ballarins, de les ombres que dialoguen amb Pagés i amb Sidi Larbi Cherkaoui, del to sincopat de la primera i de l’alè poètica del segon. De les formes que Cherkaoui dibuixa sobra la sorra real que es converteix en llenç fugisser, un jardí japonès on es concentra la capacitat artística del ballarí. És molt interessant la seva comparació entre dansa i pintura:  “Les dues dimensions ja no em bastaven. I llavors vaig començar a ballar, i el bonic de la dansa és que has de ballar constantment per a visualitzar el dibuix. És més, et converteixes en el llapis i en el dibuixant al mateix temps. La dansa és un dibuix temporal, s'esvaeix quan acaba el moviment. Així doncs el dibuix es pot sobreescriure i pot ser dibuixat un altre cop en qualsevol moment. Cada interpretació ha de ser dibuixada de nou la nit següent”. Perdoneu la cita, tan llarga, però tan il·lustrativa. Cesc Gelabert comparava el futbol i el ball perquè deia que tot consistia en un control, un domini de l’espai, una combinació d’equilibris. Cherkaoui planteja la dansa com una pintura que es mou i es desfà , que necessita l’acceleració del moviment per no perdre’s en el no res.

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També tinc una corresponsal amb Marta Carrasco. És Mercè Sibina, lectora d’aquest bloc i amiga, que m’escriu i em parla diu: “passió, moviments salvatges i a batzagades, que et colpeixen... una verge amb una cabellera infinita que es mou per l’escenari fuetejant amb els cabells  i, tot això, amb la litúrgia dels reclinatoris i l’encens”.

No podré anar a veure els sonets de Shakespeare i tampoc els inigualables Faemino i Cansado, humor intel·ligent, iconoclasta. És una llàstima. Dues funcions tan diferents! M’hauré d’acontentar amb una relectura de les traduccions de Salvador Oliva (o de Carme Monturiol, en una edició criticada però que va ser la primera que vaig conèixer: la regalaven fa molts anys a l’extint Banc dels Pirineus). O amb el recull de sonets que Francisco Rico aplega a Mil años de poesía europea.

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 L’amor s’alimenta de presència, i jo no hi seré.

El veritable Quadern Gris

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La tarda del dissabte 24, al Teatre de Salt hi va haver un espectador d’excepció. Era Jaume Subirós, el propietari i xef del Motel Empordà.  Hi anava a veure uns comensals que el dia abans havien tastat les excel·lències clàssiques - probablement la majestuosa llebre à la royal - del restaurant on Pla va fer estada els últims anys de la seva vida.  Se’l  veia emocionat, perquè el muntatge de Joan Ollé li havia agradat d’allò més i perquè Ivan Benet lluïa a la seva americana una agulla en forma d’espina d’anxova que Subirós li havia regalat mentre dinaven.

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Era una picada d’ullet a la intensa amistat que Josep Pla havia tingut amb Josep Mercader, el creador del mite Motel, i una manera discreta d’arrelar aquest Quadern Gris al territori on va ser escrit, anys després, molts anys després, de les notes que el jove Pla prenia en un quadern de color gris. Aquesta reconstrucció excepcional, aquesta visita madura de l’escriptor a la joventut, aquesta “novel·la” d’aprenentatge, arriba, de la mà d’Ollé, a aconseguir transmetre, amb un entusiasme crepitant i amb un respecte colossal, el sentit últim de l’obra planiana: la intensa i voraç devoció cap a la literatura.

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Noranta anys després de les dates que figuren al dietari, els creadors d’aquesta peça van ser al Mas Pla i al Motel mentre preparaven el muntatge. Va ser una excursió delitosa, estiuenca, de color amable i reposat. En Modest Prats, en Salvador Sunyer, la Bàrbara Obrador i jo mateix els vam acompanyar, de la mà d’Anna Aguiló, directora de la Fundació Josep Pla. Vam visitar els espais i vam veure les plomes i les cigarretes i, sobretot, l’autèntic quadern de tapes grises, que va ser palpat com si es tractés d’una joia. El nebot de Pla, el senyor Keerl,  el va treure del calaix d’un xifonier, amagat en una capsa de cartró, feta a mida. Jo crec que aquell contacte visual i tàctil va informar, va animar l’espectacle. En el sentit que el va dotar d’una ànima profunda, d’un alè estètic emocionant. 

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L'autèntic Quadern Gris i el facsímil editat pel professor Xavier Pla

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Història gelada de cronopios i famas

Charlie Rivel, 1899

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L’espectacle de neu i records, de trens que s’allunyen i memòries que es recuperen, aquest exercici estilístic, desenfadat, esbojarrat i sensible de Slava Polunin té alguns moments d’una alta intensitat de clown. Moments absolutament genials, com la conversa dels telèfons, els encontres i desencontres entre un home i una dona interpretats a base de canvis de tons, de subtils inflexions de la veu i el gest. O com l’homenatge a Charlie Rivel (de fet, n’hi ha uns quants, començant en certa manera pel vestit del pallasso català – una variant – i acabant amb el seu famós udol) en la, per a mi, millor escena del muntatge: l’abraçada entre Slava i el penjador, aquella conjunció de mans estranyes que provenen d’un mateix actor, d’un mateix cos que es capaç de desdoblar-se, de partir-se.

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Els personatges d’aquest espectacle de neu i personatges desorientats m’han fet pensar (i no m’ho puc treure del cap) amb els Cronopios i els Famas de Cortázar. M’hi ha fet pensar la seva lògica irracional, el seu capteniment col·lectiu (una alteració coral dels augustos clàssics), a vegades servil, a vegades enlluernador. La successió d’entrades de pallasso del començament de la funció, una coreografia dispersa i alhora amb contrapunts que la fen entenedora, amable, surreal, és un encert, com ho són els trencaments dels “moments poètics” gràcies a la distància de qui no se’ls acaba de creure, allunyat dels paràmetres ensucrats del Cirque du Soleil.

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Si algú llegeix les primeres crítiques que ens arriben del Macbeth de Cheek By Jowl i no corre a les taquilles a comprar les primeres entrades de Temporada Alta, si no fa això, és que no té sentiments.  “Tant proper, tan trasbalsador”, diu Alexandre Debatty a Actu24.be. “Després de dues hores i quinze minuts de furor shakesperià, podem dir que mai no s’havia vist, en un escenari, la desesperança, la follia, la violència i la mort com ho vam veure ahir a Namur”.  Fa venir salivera, i encara més si continues llegint. Will Keen, en el personatge de Macbeth, és “époustouflant”, una paraula que no se sap ben bé què vol dir però que ja indica una magnitud superba. “No pots sortir indemne d’aquest Macbeth” que és fidel als plantejaments que té Declan Donnellan des de 1981, quan va fundar la companyia.

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Per ambientar-me, vaig als orígens, és a dir, a les paraules de Donnellan. Hi ha una gravació esplèndida que resumeix la seva filosofia. Hi diu que concedeix llibertat de moviment als seus intèrprets, que no vol escenes coreografiades. Però afegeix: “La llibertat és sinònim de disciplina. Hi ha poques regles, però n’hi ha dues d’essencials: els actors han de ser bons i han de ser útils”. El treball de Donnellan té un respecte estricte pel detall, “començant per la poesia i el text”, i aquest respecte s’aconsegueix a base d’hores de lectura i anàlisi i també d’exercicis físics (colze a colze, com el nom de la companyia), “perquè no n’hi ha prou amb el cap per entendre; cal aconseguir-ho també a través del moviment”.

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Donnellan considera que un muntatge mai no està acabat. S’estrena, però no es pot deixar estar. “El teatre és un viatge, una recerca espiritual”. No té data de caducitat, encara que s’hagi d’aixecar el teló en un dia i en una hora determinats.  Cal estar amatent a la veritat que es transmet, cada nit, en cada sessió.

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“La vida és un conte explicat per un idiota, plena de soroll i de fúria, i que no significa res”.  Ho diu el rei assassí. Frisem per escoltar-ho a Salt.

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Hi ha un detall curiós en els cartells del Projecte Ibsen. Sobre la planta d’una habitació (el decorat reciclat que funciona com a metàfora d’un  món, en aquesta producció de Veronese), hi ha la silueta d’una persona: sembla que es tracta d’una dona i sembla que està morta, com si es tractés del dibuix d’un equip de forenses. En El desarrollo de la civilización venidera (la reconstrucció de Casa de nines), la dona és dins l’habitació. En Todos los grandes gobiernos han evitado el teatro íntimo (la versió d’ Hedda Gabler), la dona és fora de l’habitació. Nora es mor, de fàstic, de tristesa, de menyspreu. I potser també es mor de veritat, en aquell clos on mana l’home ridícul, mesquí.  Hedda es suïcida, fora de focus, després d’haver procurat que tot es desenvolupés segons els desitjos. Cosa que no succeeix, és clar.

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És un detall curiós i alliçonador. Tancats en aquelles parets, els primers; o en aquells decorats, els segons, saben que tot són decorats i parets que impedeixen la sortida, la fugida. Tancats en un teatre, els de Veronese aconsegueixen transmetre alenades d’energia amb un ritme que és continu, una mena de cadena que no té moments de descans sinó un afany extrem per ser veritable, per allunyar-nos de l’empostissament de l’escena i fer-nos creure que tot allò és cert, carnal.

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