ALMERIA, 14 (EUROPE PRESS)
Rafael Álvarez ‘El Brujo’, one of the referential playwrights and actors of classical theater for decades in Spain, has swept this Friday with his proposal ‘Two tables and a passion’ the stage of the Maestro Padilla Municipal Auditorium within the framework of the XXXVIII Conference Theater of the Golden Age, which coordinates the Department of Culture and Education of the Almería City Council, framed in the development of the spring cultural program.
As they have highlighted from the Consistory in a note, it has been “a concoction in aliquot proportions of ingredients such as knowledge, wisdom, experience, irony and an indomitable sense of humor, for which it almost leads to anger”.
Throughout his “prolific” career, ‘El Brujo’ has staged and adapted works and texts by Plautus, Molière, Dario Fo, Shakespeare, Pío Baroja, Fernando Fernán Gómez or Fernando Quiñones, and also from the Spanish Golden Age , such as Saint John of the Cross, Saint Teresa of Jesus and Miguel de Cervantes.
Thus, many of them came to life last night in ‘Two Tables and One Passion’, but “in the particular and torrential manner” of the actor, who “alternates classic recitation passages, gems in themselves, with a waste of critical irony, both political as well as social and cultural, in an apparently chaotic development, but based on constant conceptual interconnections”.
With verses by William Blake, the journey through the Golden Age begins, through which the connections between ‘El Caballero de Olmedo’ by Lope de Vega and ‘Don Juan Tenorio’ by José Zorrilla, “the Darth Vader of love”, defined by ‘El Brujo’, Garcilaso de la Vega, Santa Teresa de Jesús, Calderón de la Barca, Francisco de Borja, San Juan de la Cruz, San Francisco de Asís, Shakespeare, Góngora, Quevedo and the final duel between the Cervantes ‘Don Quixote’ and ‘Romeo and Juliet’, again from English.
The most solemn names that, however, “do not prevent him from making similes or pinching political parties and their representatives, but also with Pegasus, with Rozalén, with Survivors, subsidies, aid from the European Union or feminism”. “Little was left for not taking the dart of the word of ‘El Brujo’ in his intense two hours of monologue, watered and sweetened by the hieratic presence of the violinist Javier Alejano, who could also act as occasional prompter”, they have reported from City Hall.
“Love as an invention of the gaze and as the Holy Grail, the oneiric dimension of life, the political nature of Art –not the other way around–, the spirituality of serving a greater purpose and not the earthly mundane, the symbols of purity, the immortal character of ‘Don Quixote’, which is full of heresies, the lessons of humility for geniuses, the ‘more light, more shadow'”, they have underlined, adding that “it is a new era represented in the letters of the literature of the Golden Age”.
In short, they have highlighted that it is “poetry on the skin for an actor who again unanimously raised applause to the stalls as soon as he exercised the right to farewell”, where ‘El Brujo’ has toasted “for the continuity of these Golden Age Theater Days”, asking to take care of them as they are “the essence of what this country is”.