In Rosa Chacel and in her writing (diaries and memoirs) there is a magnificent and desolating portrait of her writing and of her sole creation.
I say in other words, it’s about the portrait of a judge of the same things and with his ghosts; of writing in freedom conscious of its fallacy in the ideological context that engendered it, because nowhere was it requisitioned and because the establishment expelled from its circle of action this surprising writer born in the city of Valladolid and created in it ancient neighborhood of Maravillas of Madrid.
No wonder in the exile he had to meet on the site and, considering the situation and the social, economic and historical circumstances that he had to live in on his journeys through Spain, Latin American exile and the invisible return to Spain, he ended contemplating them in bronze from a bank of the Plaza Poniente of his native city. All things considered, Rosa was able to keep true to her writing, even as she was also a signature testimony of a whole life and past eras. Desde
In the scenario of the Calderón Theater we ask ourselves to invoke your spirit with respect and love, and look at it to understand the shortsightedness and the sinrazón of our present.
It is precisely in the power of his invisibility where I connect with this lady of the castle who I want to live in a country that is permanently devoted to such a thing to build: “Rosas. Inventario de pérdidas”.
A dramaturgy/oratorio based on the different texts of Rosa Chacel, embodied by the Vallisoletana actress Marta Ruiz de Viñaspre and a heartbeat, which will take place in different landscapes of her childhood and of her vital, artistic and geographical trajectory. “Rosas” is also a medium session, an inventory of lost things, and a botanical garden in the middle of a world called from which we can recover our “life project”, because as the protagonist of his novel “Estación. Ida y vuelta” says, “la vida -our- let us not learn it from ourselves; we will invent it ourselves”.