In a greenhouse and eaten by time, with the iron bitten by the years and the yearnings or desires that you have lived in it, continues to live a man, Samuel. All night of a day that is started when a policeman, a character that is never seen on stage, go to that place to try to find out what happened to Silvia, the owner of the greenhouse, disappeared years ago. The viewer thus becomes witness to great of what really happened in that place, damp and silent.
All the nights of a day, arrives at the Teatro Bellas Artes, Madrid (until 6 January), after several months of touring Spain, with Carmelo Gómez and Ana Torrent of protagonists, is the first theatre encounter between the playwright Alberto Conejero (Max award for best playwright for The dark stone), and the stage director Luis Luque. It's been years of working together to make this poem theatre, winner of the third Contest of theatrical texts of the Association of Authors of Theatre (AAT), up to a stage. “I needed somebody who was capable of understanding the materiality of poetics which contains the text, but at the same time turn it into theater and to exploit all the drama that can contain the poem. I needed a director who would appreciate the poetry, but that does not incidiese both in the poetic, that is already in writing, but in the dramatic tension. And that man was Luis Luque,” says Conejero. “This poetry wild and high that breaks the text had to seek the flesh, the spirit and the materialization of that spirit,” adds Luque, who refers to his partner as “a poet of the people”.
Summoned by this newspaper, Alberto Conejero (Jaén, 1978) and Luis Luque (Madrid, 1973) provide a review of the vital materials, and obsessions of theatre that pass through the function. The meeting comes a rainy morning, and something sad in the Botanical Garden of Madrid, in the middle of trees and plants with beautiful names.
Alberto Conejero. The work starts precisely when a man, who has taken refuge in the silence, you are forced to speak and, therefore, to order his thoughts. It is a journey through the shadows going towards the light, when the man is able to share what happened and it turns into something liberating. Telling you we understand. That is the function of the theatre. This work makes a bet radical by the silence as an act subversive. It is an attempt to escape the noise of the world. In this sense, the plant world gives us many lessons. Has been pivotal, both in the text and the dramaturgy, what we can learn from the silence of the plants, because they speak with other eloquence than words, but it is there. That greenhouse is a place in the still silence occurs, against the noise of the world. One of the meanings of this function is to bring the silences to the theater.
Luis Luque. Today the silence is an act of provocation. In the work are listening to the silences and invites the viewer to value it, live it, and get excited about it. With these silences, the importance of the word and is Betnano what is essential. In All the nights of a day, we let the plants breathe, and talk to the ghosts and the memories. The silence will harmonizes with your surroundings.
A. C. We are what we remember. Our memories make us as much as the dreams. In All the nights of a day those memories are so vivid that it seems that does not leave space to the present. They are two characters that drag a crack powerful memories and struggling to be in the present. I'm interested in the fact how the memory can be invented and also protest to take the voice. The theatre allows us to put chairs to the absent and to hear our own ghosts. An obsession of mine as a playwright has to do with the management of the memories and of how, by defect or by excess, one must have a healthy relationship with their memories.
L. The function raises how to live with our memory in the best way possible. It is our own life experience, and our pains are in our art. The pain you spider for always, but I can't nor do I want to escape who I am or what I have lived because that is the food of my proposals. My theater lives in my memories. Do theater for me often turns out to make adjustments with the life. The only loophole that saves me is the art.
A. C. The theatre has of naming things uncomfortable and complex. This work touches on topics very close to them. Perhaps it is one of my texts where the shadow and light fight with greater ferocity. On the one hand, I think there is something very vital, for the beauty that supposed to be with the love, but at the same time grow ghosts are mine own and for which I have no answer, as is death, disease or the right of every man to leave life. I do not believe in a theatre that give unambiguous responses, but the one that makes me think. In this sense, the work asks whether we have the right to leave this life and when we do, who we left behind.
L. L. Is a question to the world, or the right to the death, it hits us in the chest but for which we do not have answers. I know what I want for me, that is the right to decide when to leave and I would not want anyone to legislate against that. More than that is accepted by all, I believe that there is a struggle for that to be possible.
L. L. That love that lives in the greenhouse is tragic because it has been profound and vital. That is the love that we claim, love is painful and not the liquid. Living hurts, and love is part of that journey. The horror of tragic love in All the nights of a day has more to do with the fate of the characters with their decision. We speak of the love that hurts but that also makes you touch the sky.
A. C. we Live in a time very cynical, in that love and to suffer for love is as banned or old. I wanted very much to have a deep love story, that perhaps is a story for another time, and that was a man who proclaims devotion for this woman and tries to heal the wounds of his beloved. Proclaim love not from a place of dependency, but of kindness and care.