There is something that war stories have lacked and continues to lack: tenderness. This is where the writer has put the emphasis Moon Miguel in his first foray into dramaturgy. Tenderness and defeat It is an approach to the Numancia de Cervantes, from the perspective of love, tenderness and desire. A monologue and a dialogue at the same time about how to talk with the classics, about using and enjoying them. That is why he has taken to the stages of the Classical Theater with a staging that refers us to a room of a teenage girl. “I do not feel like a debut, in the end I have tried to integrate what I was doing in my life, writing and reciting. More than an actress I feel like a declaimer, a poet of yesteryear”, explains the author in the Cadena BE.
Daughter of a literature professor, Cervantes suggested many things to him, but also a more human side, close to love, something he had seen in the Numancia de Nao d’Amores. “I insisted on looking for the times that the word love appears in the work and I became obsessed with it, with doing a rereading of war literature, from La Eneida to La Iliada and seeing the relationship with those loves that are also protagonists of those works warfare “.
Hence, this look at Numancia implies something more than talking about war, victory, defeat, soldiers or the essence of Spain. The warlike also has a feminine side. Beyond the resistance of a people who prefer
to die rather than to be devastated and raised as the enemy’s trophy, there also appears that misery that surrounds an empire full of corpses, which has not known how to take care of its people. “If war literature does not speak of tenderness, love, conflict resolution, there is no such war literature.”
Love is spoken of as a revolutionary concept, far from toxicities and romanticisms. What about cuteness? Is it revolutionary? “It is very difficult to make a revolution in it these days, but I do believe that it is that slowly and with the small tools that we have been building in recent years, it is possible to make small changes that are added to making big changes. That is why the word revolution is too big for me, I would speak of repair and to repair everything that is broken in our lives, tenderness is essential “, explains the author.
Hence, everything arises in a girl’s room, as an example that the intimate is political. “I think there is no more intimate than a girl’s room, a girl’s mattress, which is sometimes a wall, sometimes a refuge; but it can also be the place where you are violated, where you are abused. “. The staging has a bed and there things begin to happen that dialogue with Cervantes’s text.
“Actually Tenderness and Defeat is the story of a girl in her room who writes a series of letters to someone we don’t know what he is, probably a straight white man and all the labels.” And there are reflections on love, desire, sex, loss, on Me Too and on the concept of only yes is yes. “That girl who reads us her letters of love and reparation, based on the ideas of Cervantes, takes that tenderness in that context in which politically they talk about care and conciliation. I don’t know if it is a feminized politics, but it does. that we propose is a policy of care and vulnerability that we have worked well from our literature and our intimate lives and pass it through the Cervantes tapestry “.
At a time where feminism and black lives matter have highlighted the need to look again from the eyes of today to the great literary and artistic classics, this monologue seeks to speak with Cervantes, seeks to transgress and enjoy him. And it is that Cervantes was and is the author of the transgression, that is why it is still relevant. “He addressed all the literary genres that existed, even invented some and always with the will to transgress them and skip the rules of everything. He skipped the rules of the narration of love, of the narration of violence. He even skipped the metric rules and aesthetics, which were so worrisome in his time. At a time like the one we are in where there is so much talk about the transversal, what we can learn from him is to skip the rules, including himself “, explains Luna Miguel.
“The review has to be in violation,” explains the author. “You have to know the rules to be able to transgress them. You have to know the classics to be able to create almost from scratch. I care a lot about the bibliography. Cervantes has always been a LOL in my life. We have a kind of fascination for that figure who started it. Everything or everything changed in the novel, but it gives me the feeling that many times we have not been able to play with him when his figure is the most playful. “