Iñaki Rikarte, the theater director who turns every part into gold | Culture | EUROtoday

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The identify of Iñaki Rikarte is on everybody's lips within the Spanish theater world. Everything he directs turns into gold, his works fall in love with each the general public and critics and he’s profitable the primary awards within the sector this season. In the latest Talía Awards, awarded by the Academy of Performing Arts, he was topped greatest director for Forever, a shifting wordless masks present by the Kulunka firm. At the Godot Awards, Madrid critics' prizes organised by the journal of the identical identify, he acquired the identical distinction for The monster of the gardens, by Calderón de la Barca, which premiered three months in the past with the National Classical Theatre Company (CNTC). But subsequent Monday he may additionally win two Max awards, reference prizes on the nationwide scene, which can be introduced in Tenerife: greatest route and greatest theatrical co-authorship for Forever. They would be a part of the one who gained in 2023 for Supernormales, A stunning manufacturing by the National Drama Centre (CDN) on the sexual life of individuals with disabilities.

All this has exploded within the final two years, however Rikarte has been on the stage for greater than 20 years. Born in Vitoria 43 years in the past, he started working as an actor in performs by the CDN, the CNTC or the Basque firm Tanttaka. But in parallel he launched himself as a director in several teams in Euskadi, primarily Kulunka. In 2020 he was a finalist for the Max for greatest route for Disdain with disdain, by Lope de Vega, in one other CNTC manufacturing. Since then he has not stopped: 4 completely completely different and profitable productions in 4 years. Has he discovered the key method for achievement? He smiles: “There is no recipe. Each show requires a different process and I cannot guarantee that the next one will work. But perhaps there is something in common that I propose with all of them: that the public understands and enjoys it.”

We are on the Comedy Theater in Madrid, headquarters of the CNTC, the place its staging of The monster of the gardens. The performances have already completed, however it will likely be revived on the Almagro Festival from 19 to twenty-eight July. It is a mythological comedy by Calderón de la Barca that’s not often carried out attributable to its anachronism and issue: gods, nymphs, oracles, the hero Achilles and the Trojan War within the background. All in Golden Age verse. How do you handle to hook the twenty first century public with these elements? “Realism doesn’t work with the classics, especially because the characters don’t speak normally. So you can’t try to make something that isn’t ordinary into something ordinary, you have to find a code so that these words seem credible in the performance. That’s what I mean when I say that I want the audience to understand it,” Rikarte solutions.

He discovered the code after pondering many occasions in regards to the query: what is that this work actually about? “It is the story of forced recruitment. Achilles is in love and does not want to go to war, but the forces of the State act in such a way that he cannot avoid it. They manipulate it. He could be a young Russian who lives in a village where the army bus passes and takes him away. Or a Ukrainian, an Israeli, a Palestinian. The destination is the State,” displays the director.

In his staging, Rikarte doesn’t allude to any of the present wars, however moderately performs with the Spanish creativeness to show the stage right into a metaphorical house with simply identifiable indicators: legionnaires, civil guards, processions and virgins who’re like modern oracles. A celebration during which nothing is free as a result of from the primary minute all of the conventions of actuality are blown up. “If Calderón made his cloak a tunic with the myth, why aren't we going to do it? That's what myths are for: so that we can reconstruct them and use them to explain who we are today,” Rikarte summarizes. The historical past of Western theater is the historical past of everlasting rewriting.

With the identical query he confronted Supernormales, the present for which he gained the Max final yr. Written by Esther F. Carrodeguas, the work is a succession of tales intertwined by a personality who provides sexual help to folks with useful range, with a blended forged of actors with and with out disabilities. “I was lost, it was a world totally unknown to me and the text is brutal, without taboos. Until one day I found the key while watching with my son how some gardeners worked in a gazebo in Madrid. Among them were people with disabilities and it seemed like the idyllic image of integration: blue sky, those people planting flowers, everyone in uniform. But suddenly I thought: is it really idyllic? What's underneath that picture?” Rikarte remembers. The scenic translation of that query was: a wonderfully trimmed French backyard rises, disappears and beneath stays a disabled boy masturbating on a mattress.

Perhaps that’s Rikarte's secret method: his capacity to condense the essence of a scene into a picture that connects immediately with modern sensibility. Or maybe she has developed that ability in her a few years of labor with the Kulunka firm, specialised in masks theater with out phrases. There is not any alternative however to depend on visible language. “For example, you see a mother showing her son photographs that she takes out of a tin box and you understand that she is telling him something about her story. Even if the characters do not speak or you do not understand well what Calderón's verses say. The situation is the heart of theater,” he proclaims.

With Kulunka, based in 2010 by Garbiñe Insausti and José Dault, he premiered that very same yr directing André y Dorine, an aged couple who falls into apathy after which into Alzheimer's. The present was cathartic and was so widespread that it’s nonetheless being carried out around the globe: it has already been carried out in 30 international locations. Later got here Quitamiedos, Solitudes, Edith Piaf, Hegoak and Forever.

One query stays, probably the most tough one but: How do you handle to fulfill each the general public and critics? Rikarte shrugs and solutions with one other query: “Aren’t the critics also the public?” But he doesn’t evade the query: “I do not consider myself an avant-garde director, in the sense that my aim is not to experiment or to amaze with innovations. But I do use contemporary stage languages ​​and everything that can help me in each show. Maybe it is simply a matter of using them sensibly.”

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