elpais.com
Rebota rebota y en tu cara explota: A Decade of Success in Catalan Theatre
Agnés Mateus and Quim Tarrida's "Rebota rebota y en tu cara explota," a performance piece premiered at the 2017 TNT festival, celebrates ten performances at Antic Teatre, showcasing its enduring appeal and critical acclaim.
- How does the performance use humor and social commentary to address issues of gender inequality?
- The performance hilariously critiques sexist children's tales, jokes, and historical insults against women. It cleverly blends humor with pointed social and political criticism, making it relevant even eight years after its premiere.
- What is the significance of "Rebota rebota y en tu cara explota"'s continued success after eight years?
- The show's continued success highlights the value of experimental Catalan theatre. Its decade-long run, unusual for performance art, demonstrates the piece's enduring relevance and impact, challenging typical short lifespans of such productions.
- What are the implications of this production's longevity for the future of Catalan experimental theatre?
- The show's success suggests a growing appreciation for experimental Catalan theatre, challenging the typical short lifespan of such works. Its continued touring and award-winning status demonstrates a potential for longer runs and greater recognition for experimental artists.
Cognitive Concepts
Framing Bias
The review heavily favors the play "Rebota rebota y en tu cara explota," praising its longevity, the actors' skills, and its social commentary. The headline and opening sentences immediately establish a positive tone, celebrating the play's success and the decision to stage it. The language used throughout consistently highlights the positive aspects of the performance, creating a highly favorable impression. There's little to no mention of potential criticisms or weaknesses.
Language Bias
The language used is overwhelmingly positive and laudatory. Words and phrases like "incansable," "feliz decisión," "gustazo," "seguridad y gracia," "gran espectáculo," and "hilarante" consistently paint a rosy picture of the production. While descriptive, these terms are not objective and lack neutrality. The phrase "Si viviéramos en un país normal" implies a criticism of the current state of affairs without specifying what would constitute a 'normal' country in this context.
Bias by Omission
The review focuses heavily on the positive aspects of the play and omits any discussion of potential negative critiques or counterpoints. While acknowledging the play's discussion of machismo, it does not mention any specific criticisms of the portrayal or handling of this sensitive topic. The lack of balance in the review could limit the reader's understanding of the play's nuances and potential shortcomings.
False Dichotomy
The review presents a somewhat simplistic dichotomy between the experimental nature of the play and the more traditional forms of family theatre. It suggests that experimental plays should also enjoy long runs, implying a false eitheor choice between the two. It does not fully explore the potential reasons why experimental works might not always have the same longevity as more commercially-viable or family-friendly productions.
Gender Bias
The review focuses primarily on Agnés Mateus' performance and skills, praising her age and stage presence. While this is positive, it might perpetuate the idea that older female performers are exceptional simply for being able to still work on stage. There's no substantial analysis of potential gender biases within the play itself or its themes beyond a mention of "violencia machista.
Sustainable Development Goals
The article highlights a performance piece that critiques machismo and sexism through humor and social commentary. The play directly addresses the historical oppression of women and promotes gender equality by raising awareness and sparking reflection on these issues. The longevity of the play and its continued success indicate its impact on audiences.