Arpeggione has two actors in stage and a modest scenography. The history of a moving mankind, where difficulties for establishing affective relationships in work spaces is constantly present. The other main motive of the piece is the authentication of artists, the contrast among “second-class” artists and renowned people, There is, also, an a laughing fit that changes everything.
“Rosa is to great pains, she wants to amaze him, connect with him, and have an authentic conversation but she mistook in a tone”
Rosa (Claudia Cabezas) is hired by Lorenzo (Nicolás Zárate) to rehearse Arpeggione. She is not professional, he prepared a tour with his companion, but they left him and he needs to rehearse. She admires him, Lorenzo knows that Rosa is the daughter of a good musician but has no academic training. They play. Rosa is to great pains, she wants to amaze him, to connect with him, and have an authentic conversation, but mistook in a note.
“Why is it not better to hold up all the sharps in a circle?” Is Lorenzo’s dry response to the pianist’s second mistake. He is coarse, distant. She has a propensity to converse, to engage in dialogue, to talk about her father, famous, connoted. For Rosa this is a good pituto, an opportunity to play with a renowned professional, better than her, more than her. She who is so common. Rosa is like the pianist who is in the “bench” of the municipal orchestra, or the friend who knows how to play guitar and sings in some marriage or book launch. Or as professional interpreters who exercise something else.
And, apart from all the admiration that Lorenzo causes, Rosa wants to prove herself. It wants to be worth doing an art well. She is the result of a deterministic reality where the father decided that his daughters did not receive professional education. To teach music, but half. Because without a diploma there is no work. As the father has died, she looks for the way out of that imposition, the question is, does she get her release?
In the middle of a routine conversation they suddenly stand up, greet each other and sit down again. It’s another rehearsal day, another scene. The scenography is still two chairs, two light panels, a pair of microphones and in the background a TV that remains off. The minimalist stage design of Tamara Figueroa works in many areas. And the internalization of the plausibility of the situation in the public is reinforced in this type of thing: they have common and current conversations, there are several dialogues that do not have great dramatic airs to reinforce that this story happens to any neighbor.
“Breaks the fourth wall and the uncertainty start generating movements in seats, concern sights”
They play. They play the Sonata in A minor for cello and piano, by Schubert, better known as Arpeggione. Rosa laughs at that word, arpeggione. Lorenzo laughs at the other name of the play “sonata of laughter”. But still is not the time for laughter.
They rehearse. Lorenzo does not know if his accompanying pianist (lover?) Will return to start the tour. He is hurt by abandonment. He distrusts Rosa’s perseverance, he does not want to establish links with new people who can leave him. “Let’s play?” She says, but she persists in speaking. “Let’s see the score,” insists Lorenzo. “If it’s easier for you to think it’s like entering a forest,” he advises. They touch Rosa begins to imagine the forest, her piano and Lorenzo’s cello begin to sound good together. She, apart, begins to sing, to narrate when she was a little girl and went out with her dog and her father to explore the forest. In the background, the television lights up and shows the script of Arpeggione, of the scene that happens in front of the audience of the “micro room” of the Centro Cultural Matucana 100. The effect is disturbing, the tension goes up. The screen breaks the fourth wall and the uncertainty generates movements in the seats, looks of concern.
“Buenaventura” says Rosa. It is the name of the trilogy of Luis Alberto Heiremans that closes Arpeggione, which was released almost 50 years ago. “Buenaventura” calls Rosa. Lorenzo begins to express his concern about the lack of echo in the forests.
Lights out. Silence.
“We emphatize with a person that does not exist because we see its fragility in the stage”
“Do you want to have some tea in my house “says Rosa with a voice as if reaching out to someone in need, which may well be her own need to bond with the cellist. “Ehh … mmm … nnn … nno” says Lorenzo accompanying everything with gestures that he is really considering it.
The interpretation of the gestures and gestures achieved by Cabezas y Zarate is very appropriate. The roles are very daily and reach a very credible performance. The more you notice this is in the attack of laughter, which lasts about five minutes and there is no one in the audience does not rise to this uncontrollable wave of laughter. That’s the image: the whole audience laughing from the stomach.
“How does it feel to be a real artist?” Rosa asks Lorenzo. She feels ordinary, her struggles are small, her interests limited: she admires him. But it is these moments in real life that change a life. And Rosa, Rosina, as she likes to be called, in the nervousness of the first scene she said, “it is getting harder and harder to get to places”. We know that when the letter that ends the work arrives, it can suffer, we want to save that, we want the relationship between them to last in those moments of joy. We empathize with a person who does not exist because we see his fragility on stage. We do not want to stop listening to the echo of laughter.
That is, it is worthwhile to be moved by Arpeggione. If you do not reach this weekend, pay attention to the Teatro a Mil program because it returns to the M100 rooms in January 2019.