Theater critic ‘Las niñas zombi’ Creation Celso Giménez Scenography and costumes Marcos Morau Lighting Alván Prado Video and odds and ends Albert Coma Sound space Adolfo García Performers Natalia Fernández, Teresa Garzón, Belén Martí Lluch, Celso Giménez (Narrator) and Nacho Sánchez (Voice phone ) Place Centro Cultural Conde Duque, Madrid 3 We know Celso Giménez for being part of one of the most important and innovative theater projects of these years, La Tristura. ‘Zombie girls’ is, for this reason, her first solo adventure, a story where family memory around the civil war is the starting point of an inquiry into the survival and reliability of memories, about moral heritage , their legends and their lost papers in the book of collective intrahistory. Here three young women, three cousins, around 30 years old, meet in a house in the woods and little by little trace the lines of a humble and confusingly epic and ethical generational portrait: they talk about love and solitude, about their bodies and their relationships with their parents, they play music from the seventies, they dance, but above all they ask questions, they investigate to what extent the shock wave of that conflict continues to affect them. ‘Zombie girls’ speaks of the feeling of mourning being far from subsiding, that the angel of history continues with its tangled wings unable to take flight, but it speaks, above all, of the problem of the identity of a stunned generation for an irresolvable present and past. A past that is concentrated in the figure of the common grandfather, a man who had to change his name to be able to make the journey of Francoism. Celso Giménez, who introduces and closes the work, uses the three female characters to create a space where all the acts take place behind a transparent plastic wall that creates an effect of intimacy, ‘flaneurism’ and distance as well. between the spectator and the represented. A logic very of our time. Marcos Morau’s staging is seductive at no time and does not stop emphasizing these two clearly differentiated parts of the work, even in their plot qualities: the chatter and the search. MORE INFORMATION news No Condeduque unfolds in a display of miscegenation and tradition news If ‘Christ is on Tinder’, theater as a boomerang news Yes Rodrigo García: offline at La Caja Negra gallery news No ‘Falsestuff’: in the Babel of the falsification Without detaching himself from the legacies of La Tristura, Celso Giménez not only goes here to meet his memory but also to meet his own voice and what he has achieved, despite his debts and his searches, despite certain rigidities, not It ceases to be powerful and promising, especially when it plunges into the depths of these souls and abandons a certain tone of lightness and youthful costumbrismo.
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