Falstaff no cree en la otra vida (pero juega con ella)
Falstaff doesn´t believe in the afterlife (bus plays with it)
"Falstaff no cree en la otra vida" es ante todo una farsa grotesca inspirada en el carnaval, que aprovecha sus tres ingredientes tamáticos: sexo, religión y muerte; incidiendo especialmente en este último: debido a la grave enfermedad que sufre María "Muxarra", vieja juerguista de un barrio portuario de algún pueblo del País Vasco, a sus jóvenes amigas de parrandas no se les ocurre mejor idea que convocar un macabro juego de apuestas necrófilas semanal, con el objetivo de "conjurar al fantasma de la muerte", a decir de Elisa, la protagonista, en el momento en que enfoca este asunto como un juego divertido (como tantas veces ha sucedido, desgraciadamente, en un país tan acostumbrado a convivir con la muerte violenta casi a diario durante algunos años)... hasta que la muerte se presenta de verdad, con su terrible rostro. Es entonces cuando aparece la reflexión y la farsa adquiere tintes de tragedia, haciéndola cruelmente grotesca.Los personajes evocan los que creara W. Shakespeare en su "Enrique IV", especialmente el inmortal Falstaff que también volvería a parecer en "Las alegres comadres de Windsor", por ser el más universal y carnavalesco de todos ellos.
Falstaff Doesn’t Believe in the Afterlife is above all a grotesque farce inspired by carnival and based on three thematic ingredients: sex, religion and death, focussing most on the latter. When María ‘Muxarra’, an old pleasure-seeker from a portside neighbourhood in a town in the Basque Country, falls gravely ills, her young partying friends can think of nothing better than to organise a weekly, macabre game of necrophile gambling, with the aim of ‘summoning the phantom of death’. Elisa, the protagonist, sees this event as a fun game – as has been so often the case, unfortunately, in a country well used for some years to living with violent death on an almost daily basis – until death really does present itself, with its terrible face. It is then that we are forced to reflect and the farce acquires a touch of tragedy, making it cruelly grotesque. The characters evoke those created by Shakespeare in Henry IV, especially the immortal Falstaff, who will also return in The Merry Wives of Windsor, as the most universal and carnivalesque character of all
Falstaff Doesn’t Believe in the Afterlife is above all a grotesque farce inspired by carnival and based on three thematic ingredients: sex, religion and death, focussing most on the latter. When María ‘Muxarra’, an old pleasure-seeker from a portside neighbourhood in a town in the Basque Country, falls gravely ills, her young partying friends can think of nothing better than to organise a weekly, macabre game of necrophile gambling, with the aim of ‘summoning the phantom of death’. Elisa, the protagonist, sees this event as a fun game – as has been so often the case, unfortunately, in a country well used for some years to living with violent death on an almost daily basis – until death really does present itself, with its terrible face. It is then that we are forced to reflect and the farce acquires a touch of tragedy, making it cruelly grotesque. The characters evoke those created by Shakespeare in Henry IV, especially the immortal Falstaff, who will also return in The Merry Wives of Windsor, as the most universal and carnivalesque character of all
| ComediaComedy | |
| > 3 | |
| 60 - 90 min. | |
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Nota: “Todos los datos han sido aportados por los/as autores/as, por lo tanto, la AAT no se responsabiliza de su veracidad”.
Note: "All data have been provided by the authors, therefore, the AAT is not responsible for its accuracy".
