Teatro | 2118, tragedia futurista

Patogallina presents 2118, tragedia futurista (a future tragedy) at Matucana 100. The piece is a mixture of theater and puppets, with music alive, shows the celebration of the tercentenary in 2118, when “the conservative demons” overthrow the first anarchist-feminist president. From there, Ana, the main warrior character, travels back to murder 9 conservative persons that marked her present.

“Ana finds her new objective, Lucía Hiriart, singing opera in bed.”

To talk about 2118, it must be said that the work is more fantasy than science fiction, even though there is a journey through time in a murderous proposal like the Terminator. It is not the time machine that matters, but the powers of the conservative demons and how their infiltration corrupted all the governments of the country. That is why the work is full of references to the Chile of the transition and several foundational moments of the motherland.

However, except for the projection of words of Salvador Allende at the moment in which they overthrow the feminist anarcho president, little is deepened in the proposals of both sides. “Democracy” and genocides are extrapolated, but there is little discursivity in the work. There are also few spoken dialogues, most are projected words. But, although it is said little, it shows a lot through puppets and choreographies very well achieved. In this sense, the finishes of the aesthetic aspects of 2118 are very well taken care of and how we will see next, the movements of the puppets as well.

“The beast-Guzmán is presented together with Diego Portales, many years before being the right hand of Pinochet”

The level of handling of the puppets is seen in the excellent choreography of fights that take place in the presentation, where flying kicks and special effects that maintain tension constantly abound. Apart from the two puppets for Ana (and the two actresses who also interpret this character), the figure that catches the most attention is the one that Jaime Guzmán‘s mask uses, for two aspects. On the one hand, the beast-Guzmán appears with Diego Portales, many years before becoming Pinochet’s right-hand man. Second, for its threatening and frightening extra-long neck that confirms it as a demon of conservatism. The battle between Ana and the beast-Guzmán seems an anime fight and the audience looked delighted.

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Cuestión de principios

Ka kiñe, ka kiñe

Regarding the clothing and the design of 2118 spaces, we can only highlight the work of the company, Pedro de Valdivia and the anonymous soldier of the Pacific War seem so in their time as the policeman of the tercentenary who uses an electric baton. The masks of the historical figures are so well achieved that many of the people who filled the river room when Lucia Hiriart appeared on stage singing opera in bed for her husband. Besides, that Hiriart is the target that Ana must kill in that temporary trip is like a glance at the topic of Lady Macbeth, because Hiriart is seen sending the submissive general, and his conservative influence is recognized as a greater threat than the man who he holds the power.

When putting in tension that in the future celebration of the tercentenary of the independence of Chile a blow was realized to maintain in the power to the conservatives, is where this theatrical piece confluences with “Don Guillermo” of Jose Victorino Lastarria. In the novel published in 1860 by Lastarria, the gringo protagonist learns that Chile is governed by “the geniuses of the colony”, conservatives who through magic remain in power and that “independence” was almost a change of symbolic name In parallel, in 2118 are “conservative demons” that through terror are imposed on the population. Since we are talking about literature, the temporary trips of 2118 bring to mind the novel Synco (2008) by Jorge Baradit, in which the protagonist of the “uchronía” discovers that the war for the independence of Chile is waged through the tunnels of time, that the present is truncated by a freedom never obtained because the destination was mortgaged since the founding of the country. That is to say, even in the fictions of this territory, conservatism is a nightmare that returns eternally.

Ana, having in mind these 300 years of historical defeat, travels over time to murder 9 responsible people of her president’s homicide. She is a puppet and her threads are moved by the tragedy.

Under the direction of Martín Erazo, 2118 remains in the billboard until April, 28 in the main hall at M100.



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