THE TEARS.


SYNOPSIS

The Tears is about the filming of a very successful Argentine soap opera: a melodrama about a country that is always being born.

The audience will assist the filming of a very successful television soap opera named The Tears. The main actress, beautiful Liberty, and the producer, Victory, maintain a relationship in a landslides zone. Its eccentric author and director is a woman that moves around in a wheelchair, the alcoholic and egomaniac Edith. The arrival, almost by chance, of a new director assistant, Marcelo (Martín Urbaneja), will bring information to the characters, information about their past and about the owner of the TV channel, Leopoldo Acevedo. A soap opera about Indians, cross-dressing, ecstasy mixed with wine, electronic music, cassettes, kisses that are not given, a horse that talks, virginity, vomits, a pregnancy and a last supper: a baroque metaphor about a baroque country.

ABOUT THE PLAY

From farce to melodrama, from grotesque to dark comedy, The Tears intends to provide an expansive overview about the accounts of the 70’s, historically investigated under the literalizing magnifying glass of realism. Live music, choreographies, plurality of acting registries, and a story that is as dynamic as it is excessive, as funny as it is tragic and as incredible as it is atrociously real.

About this, the author and director of the play, Mariano Tenconi Blanco says: “The stories establish a territory, that of the truth. Its esthetic is definitively the most significant feature of its political program. All fictions about the 70’s established their stories based on an esthetic: realism. This way, transitively, the halo of truth does not only fall on the accounts from the 70´s, but also on its esthetic expression. And this esthetic extends to all types of stories validating them.We exaggerate: all forms of realism will be true.‘The profanation of the impossible to profaneis the political task of the future generation’, according to philosopher Giorgio Agamben. Establishing the mythical territory based on an esthetic that denies realism is the first profaning gesture of The Tears. The second one is that our play is not about the past but the future.”