Press


JORGE DUBATTI

A tough political parable that talks about social inclusion

23

Vago transmits a deep understanding of certain marginal social sectors of Greater Buenos Aires, or the slums of the capital, and expresses full command in the presentation of their local characteristics: speech, imaginary, habits, bodies, objects…

… But the most important is that he found the way to direct five wonderful actors (…) that assume with excellence the challenges of this poetic. No one could play better the difficult characters: El Nene, La Negra, Camacho, La Mili y El Tute. Research, thesis, imagination, transformed in a pregnant acting event…

Vago works brilliantly that effect of social contiguity, of unity of the social fabric that becomes this world in a metaphore, not of a sector but of the society as a whole…

…But Vago makes a difference making these common social elements to several expressions, a stunning theatrical event. Yoska Lázaro knows (…) how “the theater does theater.” With scenic wisdom, Lázaro edits the realism with narrations of the characters to the public, dizzying ellipsis, expressionists focalizations  in the inner world, parallel scenes, and multiple spaces, humor, irony and grotesque…

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OSVALDO QUIROGA

An aesthetic of Greater Buenos Aires

Prensa Telam

At last, independent theater goes into the social realities of poverty and marginalization. Vago by Yoska Lázaro makes it with excellent theatrical resources.

…What happens in the Teatro del Abasto stage knocks out strongly to the audience. It’s very difficult not to think that a great part of society is responsible of what is occuring there. Because when we despise politics, when we look the other way, when nothing is implemented to search for principles of equality, we’re complicit. The helplessness of the characters of Vago seems structural for a system that lasts already for a long time. But what has made this group of wonderful actors – Fernando García Valle, Romina Oslé, Marcelo Saltal, Julieta Timossi, Nicolás Blandi – is a theatrical fact of a huge power. The staging of Lázaro gives light over a reality that tends to be hidden. At no time falls in the pamphlet or low blow. His theater is a theater of situations. What matters to Yoska Lázaro is to show this handful of loneliness as they are or as he imagines. Whoever is not able to understand this universe is a fool or a hypocrite.

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CARLOS PACHECO

La Nacion

…Framed in an exasperated realism that seeks to explain, even in the smallest details, the way of life of this group, the playwright Yoska Lázaro doesn’t build a formal story, in appearance, but concatenates situations where he exposes to those beings in their most painful internal miseries.

The creator doesn’t seek to contribute, from the metaphor, values that refer us to those problematic; on the contrary, he exposes these behaviors with remarkable rawness contaminated by bad policy, in the context of a society that has left in the greatest distress to men and women whose only expectation is to hold, as they can, that misery to which they are accustomed.

Vago is an extremely painful picture of the time, that contains the germ that any representation of testimonial theater needs to hit the spectator and provoke him,  helping him to understand certain aspects of their environment.

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LUIS MAZAS

Theater. great surprise of the off-theater

They made us like this.

23… Exposed with passion, risk and violence, Vago must to shake and if it doesn’t, audience is wrong about spectacle and objective… Drama of exposition and participation. The work of the group TeatroATresVelas bringing to life to those creatures illuminated by the humanization is very organic and committed.

Lázaro lets part of the play to the acting improvisation, in search of the truth, but his speech is clear, implanted there, behind the bullet. The direction lets the moments flow smoothly – very good lighting – and it’s remarkable that’s not warned the pamphlet but the social sensivity to skin flower. What’s not a little thing, but it’s needed in these time of indifferent ones.

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RICARDO SARMIENTO

A realistic register for the spectator to reflect.

23… The stage of Teatro del Abasto carry us fully to a house at the Greater Buenos Aires, and show us the precariousness of their installations…

With a register absolutely realistic, Vago decides to picture these situations, without searching solutions, for the spectator to reflect, as the director says.

Something more than achieved.

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LUCHO BORDEGARAY

The today for those haven’t a tomorrow

23

… So, Vago is a very careful radiography of a reality that can still be found in neighborhoods despoiled of large Argentine cities. But with great subtlety confronts us with the consequences suffered by any society driven to cannibalism of full market freedom, that it does not even recognize the limit of hunger or the lives of others because they are far away.

Without wearing optimistic fashion t-shirts or pull up flags announcing apocalypse, Vago takes the little traveled road of political theater, returning us to the street with many, many questions about our place in society. Something they achieve through an extensive research, a commitment of the actors that take our breath away, and a constant climate of despair of those being who know they’re a discard of society, who know they have to pay the party to other ones and they want revenge, even generating more injustice.

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TERESA GATTO

23… Without low blow, because the blow is to exist there; with a huge textual potential and very good acting works, Yoska Lázaro directs his puppets in a subtle and forceful way because me, you, he, we and they were on the verge to be slackers (Vago) because the human condition, a two-sided coin, is as wonderful as sinister: it changes without notice in the hands of a specific power which is more intangible than what the point man exhibits.

 

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DANIEL GAGUINE

23There are times that the theater provides those pearls in which the shock transcends the theatrical fact itself. Such is the case of Vago…

After the presentation of each one, it gets on the situations where reality hits strongly but without low blows either right-thinking or educational messages. The dreadful luminescence of the play frames heavy situations, with more questions than answer…

With a keen eye, Lázaro made what it doesn’t make since a long time in vernacular theater: a play with social content, about what it’s happening nowadays, without fall in pamphlets and moralina. Vago hits and unsettles in one of the best plays of the year.

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MARA TEIT

23Its acting code is closer to a cinematographic naturalism… Vago faces up to the challenge of reproducing a social reality. It doesn’t try to be like a documentary because shows that’s a staging since the first minute. But takes advantage of the impact, breaking the fourth wall, and look to shake from that place. Lázaro composes characters based in prototypes of collective imaginary, rooted to the dangerous common sense. From the hand of excellent actors, he manages to escape from the easy commonplace of the stereotypical interpretation.

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NADIA BARREIRO

23… The rawness of the story hits since the beginning.

 

Interview with the director published in press

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JOAQUÍN CHEMILE

23… As a group, the entire actors have all what it’s needed to present a play like this in a very convincing and emotional way… You must to watch the play Vago for its text, for the actors, and because gets the objective that proposed: to show how is the life of a lot of people in the Greater Buenos Aires. Indeed, they tell us what they wanted to tell. Admirably.

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JULIA PANIGAZZI

23… The play establishes a direct and frank dialogue with the audience from beginning to end, the characters are presented with name and nickname. The actions are interrupted to delight us with micro-monologues that allow us to enter their heads, their thoughts, fears and desires, which they verbalize. For this, the gaze is directed toward the audience as well, facing, as it is.

Neither instructive or moralistic: a play to reflect on the consequences of the economic models of the ’90s.

 

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R.S.

23…Among such sordidness, hopelessness, humiliation and decay in the play, as in life itself, it seeps some traces of humor. The most shocking, beyond the performances, is the way the story is told. Between action and dialogue interrupted by small parleys, monologues, perfectly accompanied by the proper lighting and full stillness of the other characters, allowing the spectator to understand thoughts, story, confessions, wants and / or intimate fears of each of the five .

 

Published in press

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