elpais.com
Del Arco's "La Patética": Death, Homosexuality, and the Politics of Art
Miguel del Arco's new play, "La Patética," running in Madrid until June 22nd, reflects on death, homosexuality, and the political challenges faced by artists in Spain, marking the end of a six-year break following the closure of his previous theater project.
- Why did Miguel del Arco take a six-year break from theater, and what is his assessment of the Pavón Kamikaze project?
- Del Arco's silence stemmed from the devastating closure of Pavón Kamikaze, a project he deeply valued. His work critiques the lack of political support for arts in Spain, highlighting the need for independent production units free from political influence, contrasting Spain's situation with the more supportive systems in France.
- What are the main themes explored in Miguel del Arco's new play, "La Patética," and what is their significance in the current socio-political context?
- Miguel del Arco, a 60-year-old Spanish playwright, returns to theater with "La Patética," reflecting on death, homosexuality, and the political landscape of arts. The play, running until June 22nd in Madrid, marks the end of his six-year mourning period following the closure of Pavón Kamikaze theater.
- How does "La Patética" connect the personal experiences of the playwright with broader issues of artistic freedom, political support for culture, and the normalization of homosexuality?
- La Patética" uses Tchaikovsky's Sixth Symphony as a backdrop to explore themes of mortality and artistic expression. Del Arco's personal experiences with death and his views on the insufficient normalization of homosexuality, particularly outside of major cities, heavily influence the play's themes. The play also touches upon the threats to LGTBIQ+ rights and the slow response of European institutions to global crises.
Cognitive Concepts
Framing Bias
The framing emphasizes Del Arco's personal journey and emotional responses to events, potentially overshadowing larger political and social contexts. While his experiences are relevant, the prominence given to his personal grief over the Pavón Kamikaze theater closure could distract from the broader discussion of arts funding and political support in Spain. The headline (if there were one) would likely focus on the personal aspect, reinforcing this framing.
Language Bias
The language used is generally neutral, although terms like "devastating" (referring to the theater closure) and "terrible" (describing his father's death) introduce a subjective tone. The use of "bestia" (beast) to describe both the Chaikovsky symphony and the intensity of the Pavón Kamikaze years might also be considered evocative, though not necessarily biased. These terms could be replaced with more neutral alternatives (e.g., 'intense' instead of 'beastly') to enhance objectivity.
Bias by Omission
The interview focuses heavily on Miguel del Arco's personal experiences and reflections, potentially omitting broader societal contexts or alternative perspectives on the issues discussed (e.g., the complexities of the political landscape in Spain, the nuances of LGBTQ+ rights globally). The lack of diverse voices beyond Del Arco's own experience could lead to an incomplete understanding of these issues.
False Dichotomy
The interview presents a somewhat simplistic dichotomy between 'political considerations for culture' and 'independent artistic creation,' potentially overlooking more nuanced approaches to funding and support for the arts. The discussion of the Spanish government's approach doesn't explore potential middle grounds or alternative models of cultural support beyond the examples cited.
Sustainable Development Goals
The play addresses the lack of political consideration for culture and the inequalities within the artistic community, advocating for fairer funding and support for independent productions. The director also highlights the ongoing struggles for LGBTQ+ rights and the dangers of rising ultra-nationalism, which disproportionately affect marginalized groups.