For her part, when defining it, Mariana Sánchez said that “The girl with the used books” is a story that transmits past and present, because it speaks of situations that have not been resolved and of which many vestiges remain. It invites us to reflect and ask ourselves about the things that we have already changed, those that have not yet changed and those that we should modify so that they do not recur “.
On the stage of the La Nave theater will be the performances of Susana Colosimo, Lucía Prado, Alesandra Roczniak, Aníbal Vescovo, Ariel Kalainis and Carlos Gamarra, who develop 15 scenes in which 10 books and stories parade, through which it is told the personal journey of this protagonist girl and her attempts to subvert the destiny assigned to her.
“These 10 books play a liberating role, because through them the protagonist tells her own story. These books are a way to seek freedom, to free herself from that past that crossed her, modified her and abruptly pulled her out of her childhood “Sánchez highlighted.
Both directors point out that Vargas’s dramaturgy is usually marked by social problems, memory, uprooting and marginalization. In “The Girl of Used Books” the author not only addresses the problem of patriarchal violence, but also makes a claim for resistance and shows in the transmission of memory a liberating mechanism against oppression.
Arístides Vargas is an Argentine writer and playwright exiled in Ecuador during the military dictatorship. Since his exile, he developed his own poetry with strong social content that led to outstanding works such as the “Garden of Octopuses”, “The Age of the Plum”, “Where the Wind Makes Donuts” and “Our Lady of the Clouds”. In addition, he was the founder of the prestigious Malayerba group, which made it a benchmark for playwriting in Latin America.
“The characters that emerge in each work that Vargas does give an account of a space and a time, of different cultures and idiosyncrasies,” said Sánchez.
With regard to “The Girl with the Used Books”, Roczniak pointed out that it is a true story and said that “Vargas knew this story in the 70s and through the stories that he was compiling he led it to a poetic text in the 90s. In 2003 he premiered it with Malayerba in Ecuador, and from then on, some casts from other Latin American countries saw it. they have taken”.
Although the dictatorial context is not directly mentioned, the play reveals the authoritarian atmosphere experienced throughout the continent during the 1970s. Both directors agree that the repressive issue clearly appears in the bodies and in the texts of the play.
The two agree that the emotions that are put into play throughout history are those shared by all human beings. “You can empathize with the characters or hate them,” Sánchez remarked. “You can also have feelings of anguish, wishes for this to end, die of laughter with some interventions that take the viewer out of so much tension and also cry with emotion,” added Roczniak, and clarified that Vargas also offers spaces for relaxation, ” but that which distracts also says something when it is posed with irony ”.
The work questions the viewer about the validity of a patriarchal society that has not yet been able to be left behind. That is why “more than one person can identify with this story or find things that have happened to him in his life or in his family”, concluded Roczniak.
In Vargas’s dramaturgy, violence in all its forms as a mechanism of domination is exposed on the tables to make visible a present model, which continues to be resisted by its victims.