The masculinity of the winners

It is logical that a good part of the public that goes to the theater seeks entertainment with laughs that does not make them think. It is no longer as 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 of the latter kind, like almost all the theater of Enric Nolla. A theater that avoids conventional logic and approaches the dark corners of the human being, as is evident in his dramaturgical debut, Hurracan (2000), passing through Tractat de blanques (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 at the hands 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 Trumpist airs. And the fact is that Nolla's theater is neither innocuous nor friendly; it avoids obviousness and responds to the restlessness of those who confront an incomprehensible world often doomed to destruction. We find the protagonist in a luxurious penthouse with impressive views of the city, while he prepares the speech he must give at the company party that has just rewarded him with the management of an international branch.

In an empty space where everything is suggested, Nolla makes the protagonist play with his self-affirmation, with his insecurities, and with childhood memories of when he was sensitive enough to enjoy a hug. Time and space, therefore, mix in a game of images led by a magnificent Sergi Torrecilla who has made his own a text full of twists and turns and without much to hold onto. An acting performance that denotes an 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 The fault is not the stake's if the toad jumps and gets impaled.