Lucia Carballal's life in a caravan
Spain is not going to know her or the mother who gave birth to her, Better story than ours, Habitable people, The storms, An American life, the latter directed by Víctor Sánchez Rodríguez, are the plays written so far by the young playwright, some of them represented and whose texts have been published. "My works have very different arguments from family to work. In common only the concern of being contributing something to the present, of capturing what is in the air and that we have not yet verbalized. My job is to translate it into something that can also move viewers. "The resistance, which Carballal writes, a scholarship from the Pavón Kamikaze, will be performed within a year, and the actor and director Israel Elejalde will be responsible for taking it to the stage.
Living in caravans in the United States is not strange. They are inhabited people who are at the edge of poverty and who raffle with an effort to climb the ladder. The playwright Lucía Carballal uses that scenario to move a family from Madrid's Tetouan neighborhood to a forest near Lake Crow Wing in Minnesota, looking for a lost father.
In the story is Linda, accompanied by her mother Paloma, and her little sister Robin Rose. It's the Clarkson family that of Americans only have the names. They try to reconnect with Warren: the American that Paloma fell in love with in Madrid in the 1980s, Linda's father and Robin Rose. What in principle seems like a comedy is taking on dyes of drama in which the characters perform a kind of group therapy. They bring out their pettiness in order to move on in their lives. It is a trip to the wound from fantasy and humor, so says the writer of this work that is performed at the Teatro Galileo in Madrid until March 4.
Carballal's invented stories have always been good and were clear that his thing was to tell, especially in theater, what she knew. For the desire to feel foreign and learn from the theater that was done in other places different from Madrid moved to Barcelona to finish the race at the Institut de Teatre. It was Catalan for three years. Then he went to Berlin, to continue learning at the University of the Arts, and was German for five more years. In 2013 he returned to his city, Madrid, and now he not only writes theater, but also films.
She affirms that his writing starts from realism, from what is recognizable, to move forward and to be able to enter into worlds that he does not know and to get hold of them. Believe in the stories and the characters, and in the increasingly heroic effort to find them, to tell them from beginning to end. When proposing a new project, she always asks herself what is her connection with what she is telling, from where she is telling it, why she must be the one to tell it.
Design the characters and before putting the dialogues you need to be clear about the end of the story. Then find the voices, that takes time. The luck with Una vida americana is that she knew who the interpreters were: Cristina Marcos, César Camino, Vicky Luengo and Esther Isla.