It is a craftsman no doubt one of the great successes of theatres of calle Corrientes,
, work which saw 95 thousand spectators. He also directed
State of anger
, work with those who achieved excellent calls and the unanimous praise of the critics. Then he returned to the circuit from the off with
, a show around the figure of Stanilasvky that first presented within the cycle of Invocations in the San Martin Cultural Center and that will have new functions in The boot of Sanchez when you cease the limitations imposed by the quarantine by the pandemic of the coronavirus. Ciro Zorzoli comes, from years ago, getting results virtuous in every place I pisa: an off-road vehicle that moves with the same fluidity as the public theater, the commercial and the alternative.
Starring Juan Minujín, Jorgelina Aruzzi, Valeria Lois and Hector Diaz,
did 201 functions in 2019 and the plan is to do other forty this season, once again in the room Neruda’s Walk to The Plaza, if the theatres reopen its doors, of course. It is a special case because he got that event in a context of strong economic crisis and with the results of box office theatrical in constant low. “It may sound naive, but I think that the secret of
is that what actors have found a space for the game. That makes the work dynamic and very funny -holds Zorzoli-. I found it very stimulating to work with this cast. Fail to adapt to the times of production of the commercial theatre, which are short, and together, build this playful space. Beyond that a material I wake up curiosity, the result always depends on the group of actors, the encounter with them is attractive and allows us to discover something together.”
– Does the methodology work is similar in the public theatre, the commercial and the independent?
-What they have in common is that they are supported in an invitation to find ourselves. I priorizo the game and the meeting between the actors, the back and forth that is essential for it to work the scene. Both in the case of
that was an existing piece, as in
elaboration of poetic material and the creation of an imaginary in a process of experimentation, the scheme was the same. That meeting between the actors encourages past, many functions, like to continue chatting about every detail of the scenes, something that prevents the work being machined. Question, rethink, we problems positively.
-The public-to which you turn in every circuit is different, isn’t it?
-Try not to be naive with respect to the target audience of each work, it is clear. But always there are chances of smudging which is more common in the commercial space. The commercial theatre is not an aesthetic in itself and it allows you to leave a little of the conventions. In truth, this can be noted in the use of the stage space, for example. After, to me I like people to have fun in the theater, especially if it is a comedy. I want the public to feel involved in the game.
– What tools do you use to promote that meeting at which considerás so important in every cast?
-Key for me is to lower the demand of efficiency, to be able to generate a space open enough for everyone to encourage each other and do not proceed as autonomous entities, as if they were lenders and individual service. What can lead to a good result is to work in terms of network. So everything becomes more dynamic. Is the other one that you can open the door for the emergence of something that to you you didn’t come. Open the ear. This is to enable more listening that the demand for produce.
– How arribaste to these conclusions? Was there someone in your training that had a direct impact on those arguments?
-The training in the School of Metropolitan of Dramatic Arts (EMAD) was very important. There I began to understand the theatrical work as something multidisciplinary: the voice, the body, space, movement, all that is important. There are that understand it as a whole. And Marta Serrano, a teacher-only, articulated in such a way that, from there, it was impossible to understand it any other way. She insisted a lot with the issue of the use of space. Although it may seem obvious, the space is a circumstance of the action, is not only a field in which they work the address and the person in charge of the scenery. Not everyone has an awareness of what you are doing depends on the place where that happens. The action does not have to do only with the expression. It is also intimately connected with the place, which always determines what you’re doing.
– Does it cost the actors to take that concept?
-I have not had difficulties in this regard. I think that an actor accomplished is aware that the performance depends not only on its expressive capacity, which also has a lot to do with how it is planted in the place that it is. It is crucial to have the ability to perceive with clarity what is around you, absorbing it and transforming it into what you need. There are actors who know very well how to take everything that happens around and to transform it into something that makes the scene happen. I always say to the actors that the keys are time, space, rhythm, and in the end they, as a result of all of that.
– Why did you choose theatre as a way expressive?
-For years I thought I was going to devote myself to music. But after I arrived in Mar del Plata with the idea of entering the film school of the Incaa. It was the time of the return of the democracy and I also had started to interest in acting. In the end I ended up entering the EMAD. And I found that the theatre research moves you to the search. It is an encounter with the outside world, something that gives you the possibility of getting out of yourself. It is not simple, because the times that we live does not collaborate to cumming from the I and think through what they propose, or we may reveal the other. The performance art involves an ethical commitment. This is not to make it so that you look and you compliment by what you do. That’s why relativizo the ideas of failure and success.
– What we never had fear of failure?
-I live as all the world, I think. But I try to distinguish when it is something that has to do only with the love of self is wounded. It is very difficult to work if you do not assume that the failure is one of the possible variables. You are not going to come to the world down that’s why… That fear will disappear when acumulás experience. All fear is a means of paralyzing. And moreover, nobody guarantees you anything in terms of results. What is important is that it makes sense the encounter with the other. When trabajás in a work of theatre must encourage the desire to meet the other, that there is a desire for communication, not only to show you. At this time the people leave it for a while, the screen of the cell to meet with others is really revolutionary.