A theatrical road movie. A stage thriller with mystery and suspense. And also “the desperate story of three people who fight to be happy and who don’t know how to do it, but no one can blame them for not trying,” in the words of its director. Carmen Machi returns to the theater with Our Hidden Acts, where she returns to be the mother of Macarena García like her in the series La Mesías. Together with Santi Marín, she gives life to the new production by the Argentine director and playwright Lautaro Perotti at the Naves Español in Matadero starting next Tuesday.
Our hidden acts is the story of Azucena -Carmen Machi-, a woman who does not fully accept her early illness and who goes with Patri -Santi Marín-, her son and faithful companion, at the call of her daughter Elena -Macarena García -, responsible for a tragic event. They will star in a desperate escape along lost roads that will transform into a profound encounter.
“They are three very lonely characters, with many shortcomings and who need each other even though they do not know how to ask each other for help, they do not know who the other person is in front of them even though their family ties are close. They are characters who seek to be accepted, love, and who They don’t know that they have him there, very close, that all the efforts to carry out their lives could be easier if they saw the one in front of them, if they could meet the one in front of them,” explains Perotti.
And he emphasizes that in part the work arises from the fact that he was always concerned about reading Lorca’s Yerma. “In different instances of my life I have returned to her and I wonder what happened after killing her husband Juan. This is not Yerma 2, nor would I dare, but it is something about what can happen to a human being after having done something like And I was also interested in talking and delving into stories of attempts that turn out to be unsuccessful, that don’t work, but have the courage to try to change their lives or achieve their dreams, even though they are frustrated.”
And in that sense he details that “the work seeks to talk about talented people who did not have circumstances, luck, companies, an environment that helped develop that talent, who are aware that it was not and could have been; about people who have dreams with motherhood and they seek it by doing it not well or in an unorthodox way; and of a character who wants to have a place in a family, in the world and fights for that.
Carmen Machi, who had already worked with Perotti on the production Chronology of the Beasts, emphasizes that it is “an atypical family with relationships that are different from the conventional; I am the mother of both of them and I have very different relationships with them.” “Azucena is a frustrated pianist. And the worst thing that can happen to you is being a frustrated artist. If you don’t develop your artistic capacity, it’s very painful, apart from the fact that she is a bitch. She is a woman with a fairly significant burden of frustration, and sometimes resignation leads to bitterness. He has a lot of talent and by not being able to fully develop it he has been left in a place of pain, taking the blame on others.”
Macarena García says that her Elena is a daughter “with a feeling of internal lack of love, of lack of love from her mother, which has made her survive by pushing forward, developing a very strong personality, a fighter, a warrior, a very powerful character and with an imperative need to be a mother, a non-reflective decision. I am discovering her character, quite savage,” she laughs. “About the neighborhood and football,” says the director, and she concludes that “she is instinctive, she is moved by her desires and needs and she does whatever it takes to satisfy them, not because she is bad but because it is the only way she has found to move forward.” “They are three characters who have no tools and do what they can to move forward.”