It must not have more than twenty square meters. It is a dark room with a swarm of chairs in an ascending slop floor, those made of plastic; like they are in the Teatre Lliure de Gràcia in Barcelona. It must be the aesthetic of such theatres called ‘alternative’: small-format theatre, with plays with relatively low budget but with the desire and great illusion as if they were the Paris Opera.
I mean in this case the Sala Trono Theatre in Tarragona, a small space in the old town, surrounded by medieval streets and also having the pleasure of being close to the Dames i Vells square; a honour that only Tarragona citizens might understand.
The Sala Trono was born in 2002, and has been more than ten years offering a typology of small-scale theatre, becoming one of the reference areas with such properties in the whole country.
Let us talk now about the play Frida in the mirror. Directed by Jordi Prat i Coll, with Vicenç Solsona on guitar and a stage almost empty, with two actresses: Mireia Piferrer (actress) and Núria Piferrer (voice). Two women, two twins. An actress and a singer. Two characters that are reflected as in a mirror, the mirror of all-encompassing time. Art (scenic), art (painting) and art (music).
They tell the story of Frida Kahlo, of that young wealthy family belonging Mexican girl who suffered a bus accident. As a result she was damaged for life, physically and spiritually, and it was precisely these wounds that introduced her in the introspective search of herself, self paintings, her feelings and life through her eyes; the violence and tenderness in her painting style. Without this accident -unfortunate- the world would have never had Frida Kahlo.
The stage play plays with the duality of the artist, who since childhood unfolded in an imaginary friend, and as adult reflected herself in the mirror, bedridden because of her long illness. A life halfway between hospital and home, winning the pulse in long stages, but always falling back into illness.
— Cultius Culturals (@CultiusCultural) January 31, 2016
The Piferrer sisters transport us to this magical universe of the painter through biographical texts, such as letters or conceptualizations of paintings, mixing a theatre that sometimes seemed a poetry reading and others a small concert of Mexican-sad ballad, as it was the life of Frida Kalho.
With this work they have tried to shape what was one of the most interesting lives of the cultural world of the twentieth century, wanting to approach her life in a more familiar and delicate way, emphasizing that tribute to life she always professed. Frida Kahlo was, above all, a lover of life. One of his last paintings was a painting of juicy watermelons, with big red colours, and there she wrote: Long live life! shortly before her death.
We keep waiting for more theatre in the Sala Trono, for more high running emotional plays, so that –as they say on the website of the theatre– the viewer “can feel the actor breathing“, and of that, my friends, do not have any doubt.
Video of the play in 2011: https://www.youtube.com/watch?v=tl6JQNB3E6w
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