Titzina Teatro is a slow cooking company. This is how the director of Beckett, Toni Casares, defines it. Formed by Diego Lorca and Pako Merino, they have created six shows in more than twenty years. But the slow, documented, careful elaboration is a sign of the identity of the two artists. His latest production, Búho, is now coming to the Beckett Hall, which is “a kind of road movie for a brain that has lost its memory”.
The road movie is the journey that the person whose memory has been affected must take in order to recover it: “The story is about Pablo, who loses his memory and with the daily work with the neuropsychologist we go inside the mind, to the search for who he is. It is written like a thriller, because it forces him to look for himself. Layers of memory are recovered, but not everything is as it was”, declares Lorca.
And for this purpose, the two creators have done extensive documentation work, which Merino details: “There is the subsoil, the whole world that is underground. For memory we had the Guttmann Institute. For the underground we had the Mossos d’Esquadra underground unit. We had four agents for two weeks to get to know the underground of Barcelona. There are also YouTubers who sneak into Barcelona and Madrid through these undergrounds. Then there are the cave paintings and how you connect them to universal history, to humanity as a species. And we also did speleology for 24 hours, without light inside a cave”.
From all this Búho was born, a production by Titzina with the support of Sala Beckett, which is performed there from April 19 to May 14, as part of the program of resident companies. The other company is Las Chatis de Montalbán, who are premiering Derecho a pataleta, a work in Catalan with the subtitle La misÃcio mes pepidante de les Espies de veritat and which will be seen from April 26 to May 14.
Berta Prieto and Lola Rosales have created an anti-heroic piece, based on cartoons with three superheroines that they made on Super3. The goal is to free yourself from the responsibility of saving the world. “The world is fatal, but it’s not my fault”, sums up Casares.
“The work talks about being very tired and breaking with this illusion of art and wanting to change things,” says Prieto. “They gave us a fine for being drunk with Bicing, and the policeman told us that everyone has the ‘derecho a pataleta’, but that we should be fined anyway”. Rosales adds: “We review our references from childhood now that we are adults, and that’s how we also talk about ourselves. Perhaps because of our age, something more vindictive is expected, but we want to make humour”, he concludes.
