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Everyone knows that "so much water was needed to put out so much fire", "neither drunk nor asleep", and that's it. There was no more knowledge left. Nothing is known about what he thought. I went to rescue the thought of him. How to make poetry with political economy was not very theatrical.

The first interpellation on gas in the country was in 1966. He talked for 14 hours. How to make that in a scene interesting?

A theatergoer is not going to learn anything about politics. To tell his life story was the challenge. His love story helped me.

My wife is an actress and I am a dancer. She left her classical dance academy to follow me, she has two children with me, and she lives in a country where her language is not spoken. I wanted her to do a dance academy, but I realized that we had to work together. She had never spoken on stage, she had never acted, and she had never done theater.

I worked to save my marriage so that she would have something with me. The wife was a dancer. Her figure grew because of that. She had to hold me, give me a handkerchief, and give me water.

She became the main figure after suddenly becoming important.

When I did the premiere in La Paz, my wife was walking by on ballerina tips as my widow, who was old and in a walker, came to be represented on stage.

When I left the work, Doa Cristina grabbed my wife's hand and said "You are my Cristina". The other cried like a fountain. People made the pilgrimage to greet us in La Paz.

The figure of MarceloQuiroga appeared in a previous work.

I think that this work can be thought of as testimonials theater.

The idea that someone can live in my testimony is a kind of Bible for me. I mean the possibility that someone relates to another person. Creating works of art is a way of expressing our experiences through sensitivity.

Some of us become artists because of this. The artist is the one who restores something to us. Art is only beautiful, life is everything.

Through beauty, we can see our misery.

I fought with the two youngest in the group because they said that the work was not necessary to discuss the present. And I said no. Everyone will relate to the present if I put two or three small instances of it in the Iliad. I put three pieces.

The first is that of the martyrs of the COB, the Bolivian Workers' Confederation, of which I later made a show that is Marcelo Quiroga and that has to do with the fact that on the first day of the last coup, the paramilitaries assaulted the COB and three people are killed: Gualberto Vega, who escapes through the bathrooms, is shot and his skull is smashed; Marcelo Quiroga and Carlos Flores, who was in front of Quiroga and died from a shot that escaped from the machine gun to the hit man who assassinated Marcelo.

Rodolfo Walsh is the other instant of the present.

The third fragment is a scene in which I use an aesthetic procedure that is grotesque, which I define as the seamless juxtaposition between the comic and tragic. After a terrible and violent scene, Dolon, one of the warriors from The Iliad, has his head cut off.

Aphrodite, the prettiest girl in the group, is wearing a dress that has a slit up to her hip. She picked her dress. I only approve or not.

I respect the modesty of my actors. I remember that when she showed me the scene and put on the suit that she had sewed for herself, she asked what I thought and I said "Look at your ass, do it again." This juxtaposition of Dolon and Aphrodite was offensive to me. So I added a text that I took from Nunca más, which is a union letter about the death in which the workers of the morgue of San Vicente, Córdoba, Argentina, respectfully address General Jorge Rafael Videla, asking him to please dowry them. of odor masks, shovels, rubber gloves and boots, because they arrive to work at the morgue on Monday and find dozens of corpses that, they say, not exactly with these words "We know they are subversives, we know that they have been justly executed.

We respectfully request that you make us homeless, because we are forced to work with bare hands and with shoes on, because there are ten centimeters of worms on the floor. When I read that letter, my blood was red. I decided to include this union letter about death because the blood on the floor after the scene is a grand puppet scene.

The three trips to the present were made in the Iliad.

The 9th century B.C. is far from us, and the Iliad is not an easy text. How did you reach Homer? Why did you choose that?

My mother was a literature teacher, so she had a slightly higher access than average to the classics, but I read the Iliad as a child. Like all that literature, I forgot it. While on a tour in Italy, I came across a text on the bedside table of a friend's daughter, who I had seen born and who was going to university.

I was made to sleep in her room because she wasn't there. I started it from the back to the front. I also do that with newspapers, maybe because sports are on the last page. For me, the last song of the Iliad was a kind of shock.

The first western poem talked about the present. I began to leaf through it with greater attention and shock. He had struck a sensitive nerve in me.

However.

I was attracted to the minor characters from the Iliad, for example Dolon, who is part of the first description of a third degree interrogation. The warrior was caught by the Greeks and caught trying to spy on them.

"Do not fear death and speak," said the cunning one, who is the great deceiver. When he betrays his friends, the other speaks and asks for their release. My father is going to pay a lot of things. Ulises said that he wouldn't kill you, but that you shouldn't fear death. He has died.

And he kills him. Briseis was one of the characters that attracted me. Briseis is taken into slavery on her wedding day, after her father and husband are killed by another person. She has seen her husband killed and then fall in love with her.

The story reminded me of a character from our modern history that you should not know, and who is called Graciela Daleo, a disappeared person from ESMA, the Navy School of Mechanics, who is now working for Human Rights. I wrote her story for the play, but I didn't put her in it. The ESMA has a woman taken to it. During the torture she would say "My God, my God, my God".

They put a gun to her head and said "Aren't you going to say Viva Montoneros?" She exclaimed, "Oh wow, wow". They shoot next to her and don't hit her, but they take her away. One of her hitmen said he was happy for her. If I were in her place, I would have a lot of shit.

She is saved because she is a perfect type. She is useful because she does in ten minutes what other people do in two hours, which is a journalistic team. I think of Briseida when I think of the 1978 World Cup, when Argentina won it. I was already in exile when I went to the factory council to speak out against what was happening here, and I watched the Argentina matches alone because I supported them.

The ESMA want to celebrate when the champion comes out, so they take two prisoners out to celebrate. One of them is named Graciela. They are in a stroller with a hood raised and she is surrounded by people and feels like crying. Everyone celebrates and she is in this hell from which she has been given a ten-minute vacation to go to another hell. She is afraid that if she starts to cry, her jailers will suspect her, because they are almost certain that she has been recovered.

She asked for permission to show up and celebrate. She shows up for the stroller when everyone is screaming. He cries for her but pretends to cry with joy. This is what Homer says about Briseis. Briseis cries for Patroclus when she dies, she cries for her dead husband, her father, her family, and her condition as a sexual slave of the murderer of her family.

She pretends that her pain is her owner's pain in order to express herself. I thought the poem of strength was wonderful, and it is what Simone Weil says later in her text.

She was the ethical guide. The character of Briseis moved me so much that she thought the poem could not have been written by a Greek.

This was written to flatter the Greeks.

The work is violent.

I spoke about the Iliad to warn about the return of violence.

To tell my friends that this farce was going to end in violence and that they would not have hope. The hope that we had with our ideologies was lost a long time ago, and the only violence that remains is that of the one who slaps his hands because he is overwhelmed by his own misery. The democracies of Latin America seem to me to be the same as before, despite the fact that there are now apparent winds of change, which we hope will move a little more than this still fetid breeze in which we live.

The actor who played Achilles said that the crisis in the group began at that time and lasted until today, and that almost He destroyed the group.

There are very few of them today. "I don't want to give so much," said Gonzalo, who is still with me. It is one of the few times in my life that I have seen an actor in a state of mind. When I play Priam, he approaches me and I'm really scared, because he wants to ask for Hector's body in the final scene.

He is not the same person. He says it in a very simple way because he is pure.

He doesn't want to give much. I don't want to be so generous, but I know you have to. He felt like he was giving too much.

The groups that are more than ten years old need to be renewed.

There is no violence in our relationship. Over time the curiosity is lacking.

The swan song of that group was triggered by The Iliad. My colleagues said no because they didn't know what Epidaurus was. The finishing touch would have been it. Each one continues with his own path.

It's very nice. I don't want to defend my group or my institution, I want us to work because we feel good and we are happy doing what we do We realized we weren't happy at a certain point in the middle of the Iliad.

It was too much for us. The younger ones left and continued on their way. We love each other very much, but we have to keep going. There are five of us. The time is right for the group to be reborn.

I am going to teach young people how to recreate the Odyssey in a workshop.

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