Accidental death of an anarchist, or a tractor driver?

Morte accidentale di un anarchico (Accidental death of an anarchist), a Nobel Price play by the Italian Dario Fo, it has a season in the Teatro UC Theater, which updates this satirical proposal to present the facts (the staging and farce) in a New York that looks like Chile, in a police station where the terrorism defendants fall from the highest floor’s windows to reach the freedom of the road surface. The comedy was written in 1970, nonetheless, each performance from Wednesday to Saturday seems to look the current Chile straight into its eyes.

“-Mind the hand, it is fake”

Foto: Prensa UC
Photograph: Prensa UC

Here is a crazy man who causes laughter. That is, very different from the newly released The Joker, although there is a scope on the business card. This does have a criticism, but armed people are not in the leading role of the work, but in law enforcement. Of them are the guns. The character of Héctor Morales – the main character – is in some ways an insane archetypal like that of the tarot, where orate is the card 0, the wild card, which can be all that his wild will wants. And, at the same time, it stands on the edge of an abyss very similar to a window. Due to his histromania – the drive to interpret characters – the Madman embodies many powers that validate the actions of the police. Costumes, hairstyles, prostheses, everything is useful to characterize and infiltrate the intrigue that surrounds it. Question right and left from your particular way of understanding the world. Little by little a particular way of understanding the theater-world appears that makes each function of the work an experience in itself.

Photo. Nacho Rojas

When attending this “accidental death” it should be remembered that the events do not happen in Chile but in New York, even though in those lands an “Hurricane Operation” is alluded to. The projections that through the window are part of the scenic design of Pablo de la Fuente and the visuals of Pablo Mois help to place the comedy in the 70s, the views of the Big Apple follow one another to place fiction in the same city Fo used to tell the story of Pinelli, the railroad that “flew” from the fourth floor office of an Italian police station. Thus, theatrical fiction is established in a distant city of memory, although on some occasion someone, by mistake, says “tractor driver” instead of “railroad worker”, a direct allusion to Camilo Catrillanca. And that slip of language – casual events that attract so much attention from psychologists – becomes a turning point that demonstrates the urgency and validity of this play. The “suicidal” and those who die “accidentally” are terrors that torment nations and require full coordination to take place. That a madman is the one who questions the structures that allow these assemblies is not also a way of suggesting that these facts are so naturalized that no one “normal” looks up from his cell phones?

Foto: Prensa UC
photo: Prensa UC

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Francisco Krebs directs this comedy that brings laughter and applause among the abundant audience. In part, it is due to characters such as the Chief Commissioner, who plays Willy Semler, a fragile and somewhat older leader who despite his emotionality is aware of everything that happened in the railroad incident. This double personality walks gracefully throughout the scene, the audience falls prey to his charisma and suspends his questions to laugh with the antics and phrases with double significance that the agents say. They break the law, they say “how ridiculous it would be for someone enforcing the law to break the law,” people laugh and everything stays the same. The communication crisis passed. At the most there is a journalist in the mood to ask about the accident in which a defendant of terrorism died, what does it matter if the defendant’s innocence has been proven if he has already ended his life?

Does justice matter? The truth? Or is it crazy to worry about those things? The answers in each performance of accidental death of an anarchist in the armchairs of UC Theater from Wednesday to Saturday until November 23.

Prensa UC
Chief Commissioner and Journalist. Prensa UC

Activity Data: Teatro UC – Jorge Washington 26, Ñuñoa – From October 2 to November 23, Mi a S 8:00 p.m., Ana González Hall, Teatro UC.

Author Dario Fo / Director Francisco Krebs / Staff Héctor Morales, Willy Semler, Jaime Mc Manus, Karim Lela, Alejandra Oviedo y Felipe Arce / Set and illumination design Pablo de la Fuente / Outfit Design Daniela Vargas / Music Alejandro Miranda / Audiovisual Pablo Mois / Production Assistant Valentina López / Saging Assistants Patricio Herrera y Camilo Moya / Production Teatro UC



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