We See What We Are, by Les Joglars

Sergio del Molino wrote that, thanks to Maduro's kidnapping, we have finally been able to distinguish those Trumpists who were hiding under the flag ... of liberal democracy, just as the stance on the Chavista dictatorship differentiated the democratic leftist (sorry for the redundancy) from the sectarian. Because for most, unfortunately, facts serve to show credentials, and not to formulate an objective judgment or at least one detached from their gut feelings (not to mention changing their minds). You can be a liberal and not see a problem with your leader of the moment intervening in tariffs; a democrat and support the abolition of political parties; a nationalist and celebrate the violation of a country's sovereignty; a feminist and deny the moral prostitution of a minister. Therefore, in a society so attached to the narrative, rescuing and updating Cervantes' 'The Tableau of Wonders' by Les Joglars seems like a wise move. Because we are not what we see, but we see what we are.

And if you give Ramon Fontserè and Albert Boadella a stage, in this case the Teatro Cervantes, which has co-produced this work with Les Joglars in tribute to their 65 years as a company, then you know what to expect: a biting view of current affairs with a dose of farcical comedy that they master so well. Cervantes' interlude extends its tableau to the current state of art, religion, or gastronomy. Fields full of gurus who dedicate themselves to selling nothing in abundance and at a good price. And of course, Les Joglars takes a swipe at everything that moves to its left, whether it be Podemos, woke culture, inclusive language, or pet-friendly policies. A total exercise in freedom of speech that, to my taste, is the most powerful aspect of any Boadella and company staging. We are so trapped by political correctness that it's refreshing to face actors who go around saying whatever they please. They themselves admit: "of the comic, poet, and madman, trust not a bit."

Premiered on Friday the 9th, with a second performance the following day, this piece by Cervantes reconciles me with two things. First, the vindication of small works, what we now call microtheater (a word, by the way, recently accepted by the RAE), which as Les Joglars well demonstrates can provide much in duration and depth. And second, how well a dramatic resource now extinct, the aside, works on stage. I vote for its recovery. However, understanding the respect for the stereotyped and comical world of the Spanish interlude, with those plots of deceit and the rogues as antiheroes so typical of the Golden Age or the commedia dell'arte, it is true that the work ends up resembling a New Year's Eve special by José Mota. Yes, it is full of gags related to current affairs, but with a scope that I believe will not go beyond offending some unsuspecting individual or some collective. Most, released as quips and not as hand grenades, are unlikely to have that effect of "sacrificed art," of transgression, of rebellion, of whatever makes theater relevant as in the past.

And I won't say more, lest those from Les Joglars read this review and end up incorporating it into the tableau with the meal made of air or the postmodern scatological artwork. Accompanying Ramon Fontserè in the performance are a wonderful cast of actors and actresses: Pilar Sáenz, Dolors Tuneu, Pep Muñoz, Bruno López-Linares, Javier Villena, and Rafa Blanca. All were very amusing in their roles. All were much appreciated. Also notable is the costume design by Pilar Saenz, with many changes of clothes and those wonderful carnival masks. And a scenic space, by Joana Martí, that was a tableau in itself. Fontserè, on behalf of the company, collected the Málaga Theatre Award for their trajectory. I believe they had a great time and so did the audience in Málaga. The Málaga Theatre Festival kicks off.