The most humane and sensitive instances

Lintel 15/20 is a book that brings together my last ten short works, all of them premiered at Microteatro Buenos Aires and in a cycle that bears the same name. Their titles are: Amalia, Feather earrings, Wooden spoon, Compost, Toilet soap, Jet Lag, Parda la mejor, Pestañeame, Vitel toné and Heteroflexible.

The theme of the works has to do with the themes that are at the center of the society scene: the familiar designs that arise from the new ties between people, or rather that always existed, but with which we have a change. of gaze, more loving, or at least that is what these works propose. All of them try to show the characters in more human and sensitive instances. Another topic that appears is our relationship with death, which is still a relationship with life itself. These works present our paradigm and scale of values ​​in society in everyday scenes. Of course the economy comes into play. For me it is very important what is the relationship between the characters and their economy. These stories shed light on each other’s instances of micro power and how we use it when bonding with others. Each of these works tries to put a magnifying glass, always deformed, to remove our mask and see our own contradictions and our own share of power that we have in certain circumstances. Humor strings together everything, it’s a bit tragic humor, since it becomes tense the conflict with which the characters are linked.

This book has a prologue by Gabriela Oyola, which is a beautiful and generous painting that she makes of my work. Among other things she says: “The theater of Florence Aroldi sits under a lintel and frames, under the aesthetics of the grotesque, profound scenes that portray us culturally and subjectively. There is no character in this frieze of short works that does not paint us full body”. Each book is an invitation to play with others and in this case meeting Gabriela in this fertile ground of the word is a joy of all colors. I invite you to enjoy his way of seeing the world through the prism of these ten works. It is uniquely exquisite.

The images are by Vicente Noce, a great photographer who is also my son Genaro’s nonno. This book, like all the ones I publish, is made with a lot of love.

With Oscar López, the editor of Nueva Generación, we are already a team: the previous books were Celosía 15/20 Teatro por cuartos and Ochava 15/20 Teatro por corte. This year I brought works from this new book to the stage. The format consists of assembling four works, four directors, a musician on stage and nine actors and actresses who live together in the same space throughout the performance. I did the same with Celosía and Ochava. It is a wonderful experience for being a large group. The principles of independent theater, in a cooperative format, are exercised by all of us who make up these casts. And all these cycles were unforgettable aesthetic and human experiences.

Each book is a bridge with others, as I said. With actors, actresses, directors and directors, in principle, to later reach more readers and viewers. I am happy that my works are being performed in more and more provinces of our beloved Argentina.

I am already working on the next one, which will be called Puerta cancel and which will also include short works.


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