{"id":8345,"date":"2013-11-12T02:00:00","date_gmt":"2013-11-12T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/11\/12\/l-artificialitat-i-la-violencia\/"},"modified":"2013-11-12T02:00:00","modified_gmt":"2013-11-12T02:00:00","slug":"l-artificialitat-i-la-violencia","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/l-artificialitat-i-la-violencia\/","title":{"rendered":"L’artificialitat i la viol\u00e8ncia quotidianes del s. XXI sota la mirada d’ El Conde de Torrefiel i altres t\u00edtols llargs"},"content":{"rendered":"

\"2013-10-23_22-08-31.jpg\"<\/p>\n

Lyotard escrivia sobre la postmodernitat com un temps en qu\u00e8 les grans narracions de la Hist\u00f2ria es veien des-legitimades i tot el protagonisme l’adquirien els micro-relats. Aix\u00ed s’argumenta que \u201cPulp Fiction\u201d, de Tarantino, sigui considerada una de les pel\u00b7l\u00edcules del cinema postmodern per excel\u00b7l\u00e8ncia: trenca amb la linealitat d’una \u00fanica narraci\u00f3 i es composa de petits fragments i accions simult\u00e0nies aparentment desvinculades les unes de les altres. <\/p>\n

La companyia d’arts esc\u00e8niques El Conde de Torrefiel, formada per Pablo Gisbert i Tanya Beyeler, tamb\u00e9 presenta les seves obres en un format fragmentat: encara que les escenes esdevenen les unes darrere les altres, n’hi ha que semblen independents de la resta. Si b\u00e9 en l’obra \u201cEscenas para una conversaci\u00f3n despu\u00e9s del visionado de una pel\u00edcula de Michael Haneke\u201d (2012) aquest fet em sorprenia, a la seva \u00faltima pe\u00e7a \u201cLa chica de la agencia de viajes nos dijo que hab\u00eda piscina en el apartamento\u201d ja el reconec com una marca de la casa, aix\u00ed com ho s\u00f3n tamb\u00e9 els moviments corporals repetitius, els neons i el fum, tamb\u00e9 usats en l’obra \u201cTu, yo y Torell\u00f3\u201d, realitzada per El Conde de Torrefiel amb Enric Farr\u00e9s i Quim Packard pel Festival Festus 2013 de Torell\u00f3.<\/p>\n

\u201cLa chica de la agencia de viajes nos dijo que hab\u00eda piscina en el apartamento\u201d evidencia que el treball de El Conde de Torrefiel \u00e9s un teatre de text que inclou denses reflexions sobre la contemporane\u00eftat enmig de di\u00e0legs del tot banals, a m\u00e9s d’una gran quantitat de refer\u00e8ncies a l’art, com es veu en la llista de v\u00eddeos de referents publicada al web de Teatron <\/a>.<\/p>\n

En aquesta \u00faltima producci\u00f3 presentada al TNT de Terrassa les protagonistes s\u00f3n dues amigues que, cansades de la seva rutina, van a passar un cap de setmana de vacances a un lloc indeterminat. Encara que apareixen m\u00e9s personatges, les \u00faniques que parlen a escena s\u00f3n elles i quan ho fan es posen sempre en la mateixa posici\u00f3: una d’esquena al p\u00fablic i l’altra, uns dos metres al seu davant, mirant de cara a la seva interlocutora i tamb\u00e9 al p\u00fablic. Mai tenen un di\u00e0leg lineal: quan una parla, l’altra calla, aguantant-li la mirada. Fins i tot si s\u00f3n preguntes el qu\u00e8 una pronuncia, la receptora no diu res, fins que arriba el seu torn de paraula i es canvien de lloc a l’escenari, com si sols poguessin parlar des d’aquella \u00fanica situaci\u00f3. Aix\u00ed el p\u00fablic es troba davant d’escenes del tot cinematogr\u00e0fiques per\u00f2 amb la possibilitat de veure els tr\u00e0nsits que, si aix\u00f2 fos una pel\u00b7l\u00edcula, quedarien entre plans, amagats pel muntatge, i provocarien errors de r\u00e0cord. Per\u00f2 no \u00e9s una pel\u00b7l\u00edcula i aquestes accions s’inclouen en l’obra esdevenint aix\u00ed uns processos que resulten artificials i absurds. En algunes ocasions el di\u00e0leg no es pronuncia sin\u00f3 que es projecta en forma de text sobre la paret del fons funcionant com una veu en off mentre es representa una acci\u00f3 que pot no tenir res a veure amb les paraules que l’espectador llegeix.<\/p>\n

Despr\u00e9s de preguntes com \u201ct’agrada el gelat d’after eight<\/em> que t’est\u00e0s menjant?\u201d poden procedir llargues reflexions que analitzen la societat actual. En general des d’un punt de vista esc\u00e8ptic i amb humor negre. La mescla entre aquests dos elements, sumant-hi l’absurd d’alguns moviments i l’austeritat del decorat i vestuari, fan de l’obra d’aquesta companyia una pe\u00e7a violenta perqu\u00e8 \u00e9s f\u00e0cil emmirallar-s’hi i recon\u00e8ixer la decad\u00e8ncia i l’artificialitat del nostre moment. Si Tarantino opta per la sang a dojo i agressions expl\u00edcites, aqu\u00ed s’agredeix a trav\u00e9s de la quotidianitat i la desconfian\u00e7a vers aquesta, amb una viol\u00e8ncia molt m\u00e9s similar a la que es pot percebre al film \u201cAmor\u201d, de Haneke. \u00c9s aix\u00ed perqu\u00e8 ho fan a trav\u00e9s de les paraules i les imatges que tots coneixem perqu\u00e8 hi convivim per\u00f2 potser ens neguem a distanciar-nos-en i veure-les en la seva cruesa: com l’escenari de despr\u00e9s d’una festa qualsevol, ple de deixalles, pudor i cossos bruts. I cal anar al teatre per veure-ho representat i dir-se a una mateixa que s\u00ed, que com acabes de sentir, \u201cel segle XXI \u00e9s una merda bonica\u201d i despr\u00e9s riur\u00e0s i aix\u00ed ser\u00e0 encara m\u00e9s violent. <\/p>\n","protected":false},"excerpt":{"rendered":"

Lyotard escrivia sobre la postmodernitat com un temps en qu\u00e8 les grans narracions de la Hist\u00f2ria es veien des-legitimades i tot el protagonisme l’adquirien els micro-relats. Aix\u00ed s’argumenta que \u201cPulp…<\/p>\n","protected":false},"author":1259,"featured_media":8343,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nL'artificialitat i la viol\u00e8ncia quotidianes del s. 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