The terror of the 'case of the Alcàsser women' reaches the theater | Culture | EUROtoday

Laura Domingo and María Velasco had been the identical age. They had been each from Burgos. In April 1991, six-year-old Laura Domingo was discovered lifeless in an space close to Burgos, 20 days after she disappeared whereas she was taking part in in a park and from which she emerged holding the hand of a younger man. María Velasco, playwright and author, grew up underneath the phobia of that historical past and that absence, with worry and complications. The poster of Wanted He has lived along with her since then.

Thirty years later, María Velasco meets a buddy from Burgos and she or he broadcasts that she is pregnant with a woman. It was then that Velasco determined to boost the voice of that lady from her childhood and of many different younger girls who’ve been subjected to sexual violence and dying, with the textual content First bloodwith which he gained the XXXI Jardiel Poncela Theater SGAE Award in 2022, and which might now be seen on the Valle-Inclán Theater in Madrid till June 2.

First blooda piece that strikes between the memorial and the doc, the thriller and ghost tales, stars María Cerezuela, Javiera Paz, Vidda Priego, Francisco Reyes and Valèria Sorolla. María Velasco is among the most spectacular voices in modern Spanish playwriting, winner of the 2021 Max Award for greatest playwright for I’ll reduce down males underneath the face of the earth and who has additionally written The foam of the times o Harakiri.

The violent dying of Laura Domingo, a case that was closed unsolved, was adopted by many others, comparable to that of the 2 women who disappeared in Aguilar de Campoo, on the finish of April 1992, or that of the three minors who had been tortured, raped and murdered. in Alcàsser, months later. María Velasco grew up with all these tales, uncovered repeatedly in these scavenger and sensational tv packages, wherein, the scandalized playwright assures, she all the time centered on the conduct of the sufferer. “Either they were in the wrong place or they were dressed in a certain way or they had transgressed some rule,” says Velasco, after the exhaustive investigation that she has carried out to sort out this work.

“I had to live a real struggle between my fear and my freedom. In my case it was a very conscious rebellion to understand that to travel alone, walk at night and interact with strangers I had to overcome the accumulated traumas and wounds,” explains the writer and director after an essay.

Velasco acknowledges that it begins from a reminiscence that’s not essentially goal and that has loads to do with one's personal emotions and subjectivity. “All my works arise from self-inquiry, when I come across something that worries me or hurts me. But it is not an individual inquiry, but rather shared concerns, shared searches with women my age, with actresses from different generations and people around me. In the case of First bloodI have shared this process especially with Nerea Barjola [autora del ensayo Microfísica sexista del poder. El caso Alcàsser y la construcción del terror sexual]”explains the director, for whom the work has loads of fantasies and ghosts.

“I have realized that it is necessary to shed light on all those horror stories that were made of these cases, illuminating another type of narrative that would be healing and resurrect all the dead to build the story. Let the dead be the ones who can teach the living that there is a duty to live, a duty to freedom. Fight against the fear and dangers of those paternalistic stories that prevent us from crossing the limits,” continues María Velasco, who honors all these victims via poetry and sweetness. “I want to dance with all those minors murdered in the nineties and for the girls who went out into the streets asking for forgiveness with the feeling that the public space was not theirs.”

First blood flees from the macabre and even seeks humor inside a world of violence. “Without humor, beauty and poetry, everything would be impossible and unbreathable. “We have not renounced the luminous aspects of life and have fled from the cliché of the dead and recumbent body.” For all this, there’s theater, Velasco proclaims, “that resistant and powerful art that transforms an individual when the work hits you like a dart.”

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