The resurrection of Francisco Casavella and his forgotten Barcelona within the Transition that fascinates followers | EUROtoday

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These days, cultural Barcelona has been shaken once more by its fusion with Watusi daywhich on this case shouldn’t be a mulatto who’s 7 ft tall and weighs 169 kilos, however the theatrical adaptation that Ivan Morales has made, directing it, from the emblematic novel by Francisco Casavella.

Its two weeks on the Teatre Lliure de Grcia, from April 21 to May 5, have been prolonged on the street and media buzz as a result of expectation generated. The proven fact that there are not any tickets for all performances has created a particular ready checklist, an modern simply in case for one of many season's huge premieres, much more so for an distinctive forged headed by two Goya awards comparable to Enrique Auquer y Bruna Cus. He is absolutely the protagonist and he or she is yet one more cog within the equipment of actually luxurious supporting roles, every one versatile with regards to capturing of their roles a really demanding textual content on this four-hour adaptation that forces them to distribute roles, intense and at all times well-solved, with brilliance for each a type of concerned.

All this commotion can solely be understood, earlier than returning to the work, if we contextualize the phenomenon Watusi day. Casavella's novel is a trilogy revealed between 2002 and 2003 by Mondadori. They make it up The fierce video games, Wind and jewels y The unimaginable language. They narrate a protracted interval of Barcelona, ​​Catalan and Spanish historical past. from the eyes of the informant Fernando Atienzaa textbook rogue wrapped within the day by day nitty-gritty of the Transition and beforehand hardened within the disappeared shanties of Montjuic, the place he was reborn on August 15, 1971, the day of Watusi, a very powerful day of his life.

The legend was brewing for nearly three many years. Francisco Casavella died in 2008 on the age of 45. The trilogy was virtually unfindable and this, along with the bodily disappearance of the writer, I turned her right into a curse. In 2010 it was tailored The unimaginable language to the cinema, directed by Rodrigo Rodero, with out a lot echo, not like the excellent restoration of Watusi day in January 2016 with forewords by Miqui Otero, Kiko Amat and Carlos Zann. Today Otero is likely one of the model new signings of the brand new Alfaguara, Amat is likely one of the greatest novelists of his technology and Carlos Zan directs the Bcnegra Festival.

The publication had one thing to systematize the underground from the simulation of not shedding it within the midst of all these actions. Recovery was needed and It was claimed from a rogue Barcelona, ​​of pre-Olympic lowlife, very refined but delirious prose and the pop label. El día del Watusi out of the blue grew to become the good novel of Barcelona, ​​main phrases in that personal style crossed by signatures of such substance as Merc Rodoreda, Juan Mars, Carmen Laforet and even Enrique Vila-Matas, hidden narrator of the City. Count.

The simplification of the parable has trivialized the depth of Watusi, a much-mentioned and positively little-read novel, maybe as a result of it’s overwhelming between the overdose of citations, with the hazard of turning into slogans, and its virtually 9 hundred pages.

The extension was the good threat of adapting it to the theater and Ivn Morales, obsessive about the undertaking for greater than 5 years, channels it in three acts, with two intermissionsvery targeted on being trustworthy to Casavella's textual content, forcibly critiquing it as a result of in any other case all of the depth displayed would turn out to be insufferable.

All the spectators wished the play to start. Enric Auquer has just lately been surrounded by a sure aura, as if he had been the actor who’s coming or has already arrived, particularly after his efficiency in The trainer who promised the oceanmovie directed by Patricia Font. Leading Watusi and being Fernando Atienza 3 times shouldn’t be inside everybody's attain. In the primary half, he’s that teenage boy from the barracks, grown up with beatings, who’s concerned along with his good friend Yey, performed by a sensational Guillem Balart, in a revolutionary occasion, the loss of life of Elsa, Celso's daughter, and the persecution of the Watusi, that invisible and omnipresent prodigy.

In the second half we might understand a mute feeling in among the attendees. The Lliure shouldn’t be a neighborhood theater, simply because the Watusi is a priori not an unknown prose, however Attending the play with out studying the novel have to be a hallucinatory trance. with moments the place the entire thing appears lengthy, one thing remedied by the relative brevity of the third act, the place Raquel Ferri stands out as Elsa in her performing complicity with Auquer. He, Fernando Atienza, is the vortex of all this restrained insanity properly watered with music, some nudes and loads, maybe an excessive amount of focus of vitality in which there’s some battle towards the impossibility of doing justice to the magnitude of what was written by Francisco Casavella. .

The most symbolic of all this spring declare with Watusi day es How the novel serves as a reference framework for institutionalized tradition. The Lliure, like Casavella's novel, embodies an area frequented by joyful few with the flexibility to legitimize and make their very own a sure discourse that seems to be groundbreaking attributable to how it’s bought.

The trilogy was by no means underground, though his delusion was commercialized as such within the creativeness of a pop that was finally not corrosive to the systemic being. Josele Santiago was impressed by dialogues from Viento y Joyas, very properly carried out on the Lliure stage by Xavi Sez, for his track Cmo rer. Watusi's fame is a bit like his character's namesake: It is at all times on everybody's lips when virtually nobody has seen it.