Everything is random in art, including the art of journalism. Fernando Arrabal, The Spanish artist, born in Melilla and based in Paris, inaugurated what was called Art Panic movement in the sixties of the last century. I imagined it A leading trend based on a phrase he built by randomly opening two books anywhere. He put them on a large table and matched the “works of the future”, the first he found, with the phrase “en coupes de teatro”, which he found in the other book.
From there, from that catchphrase, “future works in theatrical beats,” she transformed the Panic movement (which referred to the god Pan) into one of the most, and not only, electric literary bets of that part of the 20th century. It will lead to universal exhaustion first expressed in the very famous May 68th.
he I wanted to leave surrealism behind, who also relied on such collections and, in the end, was helped, for example, by the Chilean Jodorowski and the French Topor, who made interesting those years of world war drowsiness and the stupor caused by the continuation of the world war in Europe. Fascism (in Spain, for example).
Arrabal was able to paint himself as part of the The Last Supper of Jesus Christ and to frighten the fatherland to which he occasionally returned by writing, for example, a devotion which became angry because at that time almost nothing was allowed, not even that joke, in the country of Franco, the black monster of many and also a godfather.
This dedication, written in his book and handed to him by a reader, said exactly: “I care about home.” He was requested by the Ultras police, judges, and newspapers at the time, and the author of that ruling sealed this letter to those who persecuted him until they returned him to the exile he imposed himself years ago.
“What I have already put into the dedication,” he told the representatives of Law and Order in Spain, “I petty on Patra,” referring to a lady he knew by that name, La Patra.
Con los años murió Franco, y aun con el dictador vivo él volvió con frecuencia a este país, donde se fueron estrenando, primero with much éxito y luego sin tanta fanfarria, sus obras que devolvían a la escena su manación de ver la imaginaire que produce life. We always, and even now, begin with that miraculous phrase found in the act of joining underscores from different pages of open books in unison.
Several times I saw Arrabal in Madrid. Decentralization did not make him egotistical or self-sufficient. On the contrary, he was and remains an energetic and fortunate man.
Sometimes I saw Arrabal in Madrid. Decentralization did not make him egotistical or self-sufficient. On the contrary, he was and remains an active man who, as he writes, gets angry and laughs. He lives in Paris, he is now 90 years old, he continues to write, publish and certainly play chess, as he was a recognized champion even by Russian grandmasters.
So, in retrospect, when I saw him in Madrid, he alternated his outlandish dresses, surreal montages and panic, with tremendous human quality, by which he also did good to his contemporaries and to those who came later.
Of all that he did, there is much to be salvaged, of course, and I would suggest a re-reading of his once scandalous and betting works, erasing the contemporary stupidities still employed today in the theater and in other literature. For example, Baal BabylonAnd Fando Willis As for Car cemetery….
But, of all that he did, of all that he contributed to his joy of creation, I always have in memory that phrase written in French (L´avenir provokes a coup d’état), means something which is in fact a part of our life but which has found its definition thanks to the chance that forced it to transgress even what was already written.
Indeed, future works in theatrical coups, And that the common life is revealed, as well as the extraordinary life. The chances of the century turned the Twin Towers into the most outrageous and decisive spectacle of the 20th century (although it happened at the beginning of the 21st century), but if chance had arranged the dice differently, Kennedy’s idea of u200bu200bconquering the Gulf of Pigs could have changed history Cuba, the Soviet Union, the United States of America and all Pacific or fatal initials at that time. The war in Ukraine, the World Cup in Qatarthe fact that we are alive, that we wake up and continue to existresponds to this lore found in the works of Andrè Breton, Marguerite Yourcenar or Arrabal himself, starting with this line that served me to open what we can still name next year.
The war in Ukraine, the World Cup in Qatar, the fact that we are alive, that we are waking up and continuing to exist respond to that science that is found in the works of Andre Breton.
The future is acting in the theater of coups. A few days ago I came across an article of mine that I forgot to write and post. Before then, looking at a shelf, I had seen a sequel of books by one of the great authors of my life, one who made me believe, in fact, that chance makes things, and journalism, for one, veers on the side of reason or nothing. This article, published in Nueva Revista de España and La Nación in Buenos Aires, appeared in April 2021. For those reasons that no one knows, not even psychiatrists, they have been hidden in the back of my mind, where oblivion dwells, and arose at the same time Almost as I’ve looked at books and heard about this text, this is the first bit of serendipity, it popped up on Twitter as if it came out of the blue.
After a brief period I went to meet the actor and theater director Mario Gas, Catalan, born in Uruguay. To speak to him, I specifically conducted an interview with him myself in April 2021, and in its title I misplaced Mario Camus, actor and director; Fortunately, the paper avoided the death of a misprint. Obviously, the author who influenced me the most, about whom I wrote this text that I myself have forgotten, was Albert Camus, one of the most important journalists of the bloody twentieth century in Europe, an author The opposite and right (whose title supervises these texts of mine in Clarin and whose death occurred in an accident on the road which took him to Paris, on the same day, January 4 (1960), where she made oblivion and errors relating specifically though who knows whether The subconscious thought about the Los santos inocentes manager who answered exactly that name had something to do with my mistake. This is another effect of chance.
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future and opportunities. When leaving home, prior to the interview, I found a book by the bedwho always says goodbye to me when I walk out that door, Yesterday’s world Written by Stefan Zweig, with whom I understood the antecedents of the dramas that Camus himself lived and that are concentrated in all the works that describe the plague that humanity suffered when the predictions that led Zweig to suicide came true. Moreover, in my work-bag I took with me, to finish it, a wonderful and admirable book by Edgardo Kozarinski, on Argentina and its shadows; Man, filmmaker, writer, very smart human being, Kozarinski is the author of this urban voodoo (Emecé, 2007, the version is recent), which I accidentally found myself on a shelf in Tenerife and was about to end up in Madrid to talk about its author and about life when I talked to him at La Recoleta in Buenos Aires.
When I came home with so many accidents in my dark bag, there was, among the last packets brought home by chance messengers, within the envelope of Tusquets, this other Cozarinsky book, Dirty sky“A fierce and stifling summer,” reads the band the publisher puts into the book. Then I remembered Fernando Arrabal And I began writing this article in the hope that no coincidence would bite the tail in which forgetfulness also lives.
