THE CELESTINE

THE CELESTINE.

For some reason that I have barely thought of, I tend to be interested in works that are difficult to represent. I sense that the puppets I handle must have something to do with this.

In that first moment in which you wait for some breath to make your skin crawl so that it acquires signal value, in recent years, I return to what once moved me and I ruled out addressing it due to insecurity. I must find myself at a particularly reckless moment because a good dose of risk is necessary to venture into La Celestina by Fernando de Rojas; for its literary immensity, for its historical relevance, for its complexity and linguistic richness and, especially, for the sublime humanistic stroke with which the author draws his characters.

The world belongs to the daring.

The choice of La Celestina could have responded to the need to find a source of inspiration that would feed a creation in which to address some more personal unrest. But it hasn't been exactly like that. I do not feel that I want to offer my work but that of another, but in the process of reading, understanding and recreating it I end up convinced that this work is completely mine and this gives me a joyful feeling of brotherhood with the one who gave birth to it more than five hundred years ago.

The poison of the theater.

I didn't remember this work like that, so dense and intricate. Nor did I remember his philosophical subtlety, his intellectual vividness. I didn't know that everything, in essence, remains the same five hundred years later. That universal drive that is matched with a hundred stage moments by other great universal playwrights.

Life is understood by writing in it.

I have made my cloak into a tunic. I have had to dare to recompose what is said in the work, letting my theatrical sense flow, guided by that puppeteer's sense that tends to substantiate the grotesque now and the sublime later to finish off with a good blow.

The puppet synthesizes the representation.

And finally, I would like to say that as I rethink what the characters say and how they say it, countless childhood impressions come to life in me in that town of mine full of people whose hidden hearts beat to the tune of identical passions and animosities.
I marvel.

Jaume Policarpo, director.