LA REPRESENTACIÓN DE TODO A PARTIR DE LA “NADA”

Por Miztli Ahuachtli • Rocío Antonia Hervert Hernández

Cuando me enteré que habría una versión teatral de “Nada”, la controversial novela juvenil de la escritora danesa Janne Teller, me entusiasmó pensar si el montaje sería igual de impactante, que el libro.

Fue la producción general de Teatro UNAM, quien asumió el reto. Bajo la Dirección de Mariana Giménez y la Adaptación de Bárbara Perrín Rivemar; con los actores Eduardo Abraham, Lila Avilés, Pablo Marín, Andrea Riera, Lucía Uribe y Leonardo Zamudio; “Nada” se presenta de jueves a domingo, en una corta temporada del 17 de noviembre al 16 de diciembre de 2016, en el Teatro Santa Catarina.

La historia comienza el primer día de clases de un nuevo ciclo escolar, cuando Pedro; abandona la escuela, después de aseverar frente a su profesor y el grupo, que ha descubierto que nada importa en la vida y por tanto no vale la pena esforzarse por nada; sale del aula dejando a sus compañeros perplejos. Desde ese día, Pedro sube a un ciruelo desde el cual, desafía constantemente a sus compañeros con sus argumentos sobre que en la vida nada tiene sentido. Tanto los desmoraliza; que estos se empeñan en demostrarle, pero sobre todo convencerse a sí mismos, que Pedro se equívoca y que en la vida hay cosas que sí importan. Deciden hacer una “montaña de significado” sobre la cual, cada uno aporte algo de verdadero valor. A partir de aquí comienza un juego que se torna cada vez más siniestro hasta el final, alcanzando dimensiones realmente insospechadas.

“Nada”, es una fábula para adolescentes y adultos que invita a la reflexión, pues plantea interesantes dilemas psicológicos y existenciales sobre el sentido de la vida, y del miedo que se experimenta ante la posibilidad de que nuestra existencia no tenga trascendencia. En la historia los protagonistas (preadolescentes), se convierten en unos fanáticos y obsesivos de esa búsqueda, haciendo aflorar la vena irracional y brutal del ser humano.

 

En esta adaptación teatral, se respetó fielmente los acontecimientos descritos por Teller en su novela, sin embargo, no por ello se percibe como una copia de la historia original, pues el montaje cuenta con una personalidad propia; como lo es el diseño de escenografía, la cual se caracteriza por la ausencia de decoraciones visuales, telones o mobiliario adicional; dando congruencia al título de la obra, pues tal como puede leerse en el programa de mano “es ese el poder del teatro: hacer algo donde antes había nada”.

 

A excepción de quien interpreta a Pedro, a quien le percibí plano y falto de emotividad en su personificación; ese escenario aparentemente vacío, fue cubierto en su totalidad por las potentes y convincentes actuaciones del resto del juvenil reparto; quienes lograron transportarnos a los diferentes lugares donde se suscitaban los hechos; un aula de clases, una fábrica abandonada, etc. Asimismo, auxiliados de accesorios simples, como una diadema de cabello o un gorro; pero sobre todo, gracias a su capacidad interpretativa y estupenda expresión corporal, dieron muestra de su versatilidad histriónica al dar vida a los diferentes personajes que intervenían en los acontecimientos, y hacernos vivir su angustia.

 

La obra mantiene un ritmo dinámico con subidas y bajadas emocionales, humor, expectación y drama; momentos en los que la iluminación y sonido estuvieron acordes con el tono del instante particular que se vivía.
“Nada”, merece la pena verse, porque sacude la conciencia y perturba interiormente. Es un montaje en el que con aparentemente Nada, pudo representarse Todo.

 

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