Ropes, hires and flowers
Dramatic art is an ephemeral art that makes each stage different. One of its deficiencies, from the research point of view, is the lack of documentation. However, lately we are lucky. On the one hand, the publications of EHAZE and on the other, the Ganbila collection, born of the collaboration between EHAZE and Susa.
If we add the feminist perspective to this, we can talk about another vacuum. On the problem of the spectacularity of creative women, which happens in all the arts. But we're also lucky there. Eneritz Artetxe published in 2019 in the Triple Carambola with EHAZE the idea that being a Basque creative woman is a triple oppression that makes the road very difficult.
In 2021, however, Amancay Gaztañaga has come with 39 flowers. “We need dramatic women who know the theater world well, write whatever you want,” they told him, and he has. 38 flowers say they heal the soul and the author introduces one more in the branch to make his personal contribution.
Artetxe and Ganbara have taken the witness and have placed the theme of their experience and knowledge in the first chapter: the Basque creator, the playwright, the character and a small reflection on the theater. Then create a play: 39 flowers. In the last chapter she shows us female characters of classical theatre, “beasts”, which are at the base of the characters of the play.
He has made a re-reading of the female referents given us by the world of theatre. On the one hand, clarifying that men are written from an androcentric and sexist perspective and, on the other, denouncing the limits and oppression of the female role. It talks about the need to overcome it, it is a proposal to create new liberating models, which can be done by reviewing existing ones or creating new ones.
The strings appear in the work and the desire to release them. Women are invited to play, to create, to share their eyes. Welcome flowers to heal wounds.
Martin Martina and the Mystery of the Golden Comb
by Amancay
Gaztelañaga Batu, 2024
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