Elsa metálico
Elsa metálico inaugurates my “Theatre of Silence,” an anti-theatrical aesthetic bet for which I chose the Asturian language. Two characters who have nothing to say to each other engage in a dialogue full of silences; in them, it seems that I am only looking for the audience’s despair, but that is not the case. I am not dealing with incommunication, but with communication when the ways of the world no longer work. Dialogue, then, is a plea, a prayer to someone who is lost to us even though he is right in front of us. “Elsa,” of course, refers to the female character in the myth of Lohengrin. “Metallic” has a touch of bladerunnerian replicant.
