Although it was released in 1987, the play “Power” by Eduardo “Tato” Pavlovsky takes the stage every Saturday at the Cultural Center for Cooperation to challenge his audience about the complicit silence of society during the dictatorship and to focus on the appropriation of children during that period of Argentine history.
The person in charge of putting the body of the only character on a bare stage made up of only two chairs is Jorge Lorenzo, a theater and television actor that most Argentines associate with “capece”a violent and perverse policeman, whom he personified in the saga of the series “The Fringe”produced by Sebastian Ortega.
“It is an intimate work that speaks of the complicit silence of the monstrous dictatorship”, synthesizes Lorenzo when justifying the validity of the text. Then he explains that the production in which he stars premiered in 2013 directed by Christian Forteza and had the blessing of the author, who saw one of his first performances: “I just saw the character on stage just as I imagined him”, I Pavlovsky said that day. And later he assured in an interview that they made him think it was the best version”.
In any case, Lorenzo clarifies that the work was not on the bill permanently during these nine years. Three or four performances a year, on tours of the provinces or the Buenos Aires parties, or in tributes to Pavlovsky and two more extensive cycles in the Cultural Center of Cooperation where it is presented this Saturday at 9:00 p.m. and from the next at 7:00 p.m., throughout October.
From the passage of “Potestad” through the provinces, which he hopes to repeat, the actor who was once described by Gerardo Romano, his partner in “El Marginal”, as having “great face” due to the expressiveness of his features, remember the functions in Neuquén and also in Cipolletti. “In this last city a lady approached me at the end of the play. She hugged me and thanked me. She was looking at me with eyes full of tears.”
There are also tears and sustained applause every Saturday at the Cultural Center for Cooperation, after the interpreter dedicates the work to the more than 130 grandchildren recovered by the Grandmothers of Plaza de Mayo and the 200 who are still missing.
“The search for Grandmothers gives validity to the work– Lorenzo analyzes – but also that it is evident that in recent times, in Argentina and throughout Latin America there is a growing fascism. Only now it’s disguised as something else. Unfortunately, on the continent we were accustomed to dictatorships. Now there is a different right, which is supported by business sectors and creates a climate of great uncertainty. I think the work is going that way.”
“The most dangerous thing about my character is that he is not totally perverse, he can also be tender in his relationship with his daughter,” describes the protagonist and insists that her work talks about the appropriation of children but also about the silence of societyof the mandate not to ask or question anything.
At the time of composing this character so linked to the dictatorship, the actor who grew up in Floresta, near the clandestine center El Olimpo, remembers the traditional phrase that assured “Something must have been done”, when there was news of some disappeared acquaintance or the recommendation that they made him at home not to get together with a colleague who was active and distributed pamphlets, now disappeared. “There was a complicit silence that many times is transferred to times of democracy”, he argues.
From those same years, Lorenzo remembers his time at the School of Dramatic Arts in the early 1980s. “I studied at night and Every day when we entered, at the door, they felt us for weapons, as if we were going to take her to study theater”, she is astonished and points out that this evocation arose when she spoke with Sebastián Ortega after winning the role of prison guard Capece in “El Marginal”. “He asked me to take into account how I felt with that arrogance of the police at the school gate. They enjoyed generating fear. Even in a scene from the third season of the series, after breaking up the entire village, my character confesses to Abel Ayala’s character that he enjoyed when the ranches made shit for them”.
To complete the series of evil characters, from January the actor will be on the daily screen of El Trece with another controversial character. He will be in the second part of “Argentina, land of love and revenge”, in which he plays an assistant to the appropriating doctor composed by Federico D’Elia, dedicated to “dirty work”. His work in the daily Polka strip led him to be surprised by the vertigo with which he had to develop his role, in a way opposite to that of “El Marginal” and even to the ceremony that he represents every night in the theater.
“I have no problem. For me I can play bad all my life since I have fun. It is attractive to play opposites. I am a quiet guy, very friendly. Nothing to do with my characters”, confesses the man who was distressed after a casting because Alberto Migré observed his incipient baldness and pointed out that he had a very good voice and acted very well, but in the novels there were no bald gallants.
But it is on stage where Lorenzo feels in his element. For this reason, in collaboration with Forteza, it has presented other works by Pavlovsky himself such as “Red Red Balloons”, and “Slow Motion” and “The Walls”, by Griselda Gambaro.
These days, before getting into the skin of the dark and ambivalent father of “Power”, he acts in a play that he himself wrote: the sainete “Del barrio la mondiola”about a municipal employee who dreams of being a tango singer.
“That is a party. People go out singing”, he describes about the experience every Saturday at 5:00 p.m. at the Caras y Caretas Cultural Center.