César Camarero converts a photographic documentary in Goldsmith Narrative | Culture

César Camarero (Madrid, 1962) is a composer who, under an apparent tranquility, with resident clothing in the wild West, hides the rockets of fire he costs to recognize. The proposal of musical theater that the Juan March Foundation staged this Wednesday, How to load the stairs without stepsIn Co -Prostration with the Turina Room of Seville, it is a good sign of what has been said. It is a story told with Photonovela, docurama e thriller To which live music supports from a healthy base of quiet beauty.

The substance is that of an alleged detective (everything is taken here), which follows the steps of a woman from whom she suspects something tied to a espionage or some plot with secret keys. Everything is counted by mobile photographs and an off item that describes the operations to another colleague of “assumption”. The two protagonists of the story, she and he, are fixed in a video that contains the photos, voice and, at some point, a significant video.

Formally, the waiter, the composer and creator of all intrigue defines the experience as an existential drama and there is a good trace, this docurama on the photos has a lot of experience like that of Chris Marker In The pier Or, to a lesser extent his other film Level fiveAnd, as in them, a waiter also presents an enigma to be solved. The first of the puzzles is clear immediately, he discovers that someone sneaks into the photos, which observes the observer, who probably follows what follows it. And that mirror, perhaps the killer, if there is a crime, is nothing more than the waiter who comes out so dressed with a hat and a visible beard, both in the photos and in the end, when the composer himself appears on the scene with similar clothes and delivers something to the pianist with the same secretion seen in the images.

That idea that perhaps the killer is the author himself also tells us to another great French creator, Georges Perecthe one who wrote an entire novel of events in which the letter was missing and who, in the end, turns out that the disappearance (The disappearance) who are investigating is that of that missing letter. The text, however, derives from a history of American Stanley J. Reeve Re -tabajada by Virginia Nogueira.

But there is something more disturbing. In the middle of the plot, this time it appears on video to show a sort of thesis in which she tells us a little known episode in which A journalist from the old newspaper Pueblo Interview with a “death sentence for a false crime” and who managed to beatular for more than three decades. For that article, the journalist had been sentenced to several months in prison he met, it was the year 1970 and Franco did not join those things. That journalist was called Julio Camarero and his memory leads us to that “wild” journalism that some names, Pérez-Revererte, Raúl del Pozo, Carmen Rigalt, José María García …

In a recent article by Day De La Rioja, signed by Javier Villahizán, described the imprisoned journalist as follows: “One of those illustrious ones was Julio Camarero This, before becoming a corresponding and head of the passage of writing through events. In that department he did everything for an exclusive, from the improvement of the police to steal the photos of the deceased to cut the rest of the journalists who would have covered the news. “

All composers are liars

At the end of the piece, a poster indicates that he is dedicated to Julio Camarero, “my father”. In short, the piece investigates something that is nothing more than the mystery of that legendary father of the musician. The composer cites in the hand program Epimenides paradoxTunisus: “All composers are liars”, but the real problem lies in another script turning point, sometimes composers say the truth.

And how does this interesting plot work with contemporary music as a support and a video schematized in an intelligent way? This is the one million dollar question, above all because this proposal, the debtor of the traces of the avant -garde of the twentieth century and with the intention of investigating new ways to tell stories, has few background and everything that is new without being scandalous has more and more difficulties in admitting normal. If I have to risk a personal opinion, I find it fascinating. It is not the work, it is not theater, it is not cinema or it is a concert and, however, all the genres cited are involved. In my opinion, it also has another virtue, it is extraordinarily cheap, it shows that it is possible to try other ways of counting without excess production.

As for the artists involved, the mention of the Siviglia Sound Workshop group is forced and exceptional. This excellent sextet of contemporary music does not need to demonstrate anything to what already done in a demanding artistic career of over 25 years. The music that a waiter wrote to them with an unusual character, must count without counting, maintaining the impulse from a sort of beats that show a few fluctuations but that support interest. It is difficult music, as well as a waiter in general, but without perceiving as such. In addition, the members of the group were involved in tasks such as the production project, carried out by the pianist Ignacio Torner, or by the sound effects, head of the percussionist of Balomeno Llorens. It is, in summary, a team success to which the actor’s phrase must be added Manolo dearExpressive and pregnant with nuances of the old detective, and the actress Rocío de frutos, who crosses a Sevilla away from the topics, sowing mysteries and always distant, as always the characters who have things to hide.