The masculinity of the winners

It is logical that a good part of the audience that goes to the theater looks for entertainment with laughter that does not make them think. It is no longer so logical that the billboard is filled with this type of theater, ignoring proposals that invite one to ask questions and talk about what has been seen. As you can imagine with this preamble, A small distortion is a proposal from the latter, like almost all the theater of Enric Nolla. A theatre that avoids conventional logic and approaches the dark corners of the human being, as is evident in his dramaturgical debut, Hurricane (2000), passing through White slave trade (2001) and ending with this A small distortion, in which he reflects on the creation of masculinity in our society, making it very clear with the title that it is the author himself who poses the question. And he does so with the help of a character of those who take the air bridge in first class, who have a closet full of ties. A self-satisfied winner who despises the weak and hates failure in a clear critique of a model with Trump-like airs. And the fact is that Nolla's theater is neither innocuous nor kind; it avoids the obvious and responds to the restlessness of someone who confronts an ungraspable world often prone to destruction. We find the protagonist in a luxurious penthouse with impressive views of the city, while he prepares the speech he is to deliver at the company party that has just awarded him the management of an international delegation.

In an empty space where everything is suggested, Nolla sets the protagonist to play with his self-affirmation, with his insecurities and with childhood memories from when he was sensitive enough to enjoy a hug. Time and space, therefore, mingle in a game of images led by a magnificent Sergi Torrecilla who has made a text full of twists and turns his own, without much to hold on to. An acting performance that denotes intimate work between the actor and the author, who is also the director of the show. A direction much more mature than the one we saw in July at Terrats en Cultura with It is not the stake's fault if the toad jumps and gets impaled.