Portal de Periódicos da CAPES

Singing in the Brain or Gatti to the Second Power

1977; University of Wisconsin Press; Volume: 6; Issue: 18/19 Linguagem: Inglês

10.2307/3683979

1527-2095

Armand Gatti, Roger Bensky, Meg Bortin,

Historical and Modern Theater Studies

Bensky: I'd like us to turn first to Franco. Franco is a play about repression, but the play itself has had to deal with repression, so I would first like us to explore the history of repression against the play. Gatti: The repression showed up not at the first level, that is at the outset. There was a movement of solidarity which existed among the immigrants in the Toulouse region, especially among the younger generation when there was the first Asturian strike. The major Asturian strike, I can't think of it off-hand. At that time, I was presenting Chroniques d'une Planete provisoire (Chronicles of a Provisional Planet) in Toulouse around '64.. .1 was looking through the repertoire of Spaniards with whom I was working for something that would be appropriate for them. At that time, they had a kind of terrible inferiority complex with regard to the cultural. I would go eat padlla with them at their homes, we would go out drinking together in the evenings and we'd talk things over, etc...that loosened things up a bit. I was no longer an author, I was somebody else who entered in the flow of what they wanted to do. So, that's how I began writing journeys.* The first journey doesn't exist anymore; it was called Madrid-Frankfurt. I did one, and it worked, so I did another one, and that one was Toulouse-Madrid right off the bat. Then I remembered a meeting which had been held in the Soviet Union, so I did Kiev-Krasnoiarsk. Next there was... B: Barcelona-Frankfurt.