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The Fablilla of the well-kept secret. Alejandro Casona

Name: The Fablilla of the well-kept secret . Alejandro Casona
Start: 2017-11-03T19:30
End: 2017-11-03T20:30
Location: {

The Museum's exhibition halls will be the stage for La Fablilla del secreto bien guardado, by Alejandro Casona, with version and direction by Liuba Cid. The dramatized reading will share the stage with contemporary art in a creative game in which painting and its visual force will wrap, as a scenographic backdrop, the action of the characters and their witty dialogues.

General admission: 8€.

Discounts for Museum Members apply to General Admission prices (more information here here), Youth Card holders, university students, Large Families, groups of 10 or more people and employees of the University of Navarra. You can find detailed information here.

This show does not have a Fila Joven rate.

There is no better kept secret than the one nobody wants to believe in

Alejandro Casona

THE WORK

Alejandro Casona (1903-1965), master of Spanish drama and author of the Generation of '27, was inspired by the works of Cervantes, Boccaccio, Lope de Rueda's Pasos and popular tales of marked oral tradition.

This theatrical farce, belonging to the Retablo Jovial, published in 1949, is one of the short plays that compose it and that date from 1931, when Casona embarked on the "Misiones Pedagógicas" of the Second Republic and was appointed by Manuel Bartolomé Cossío as director of the traveling theater, or "Teatro del Pueblo", an educational project to bring the great classics of Spanish theater to the common people.

The fundamental axes of the Fablilla are the "mockery" and the "deception", it is part of an excellent short theater of comic tone and jocular matters. The scenic architecture, the invention and typification of characters, the staging of situations and the comedy of its dialogues have been freely traced by the author to give life to the characters, turning it into a delicious scenic tableau full of insight, written in the 20th century in the manner of Cervantes' entremeses and the best theater endowed with action, tradition and popular wit.

THE ARGUMENT

Juanelo, a young farmer, finds a treasure while working in the fields. From his initial joy he turns to deep concern, as he thinks of the serious inconveniences it could bring him if Leonela, his talkative wife, who is incapable of hiding the slightest secret, knows about it. The humble farmer arrives home thinking of hiding the treasure, but suddenly there is a knock at the door. It is Bruno, his father, who comes hunting with a shotgun and a bag containing a plump hare and a net containing a beautiful trout.

The father guesses his son's concern and Juanelo finally tells him what happened. Between reflections, disputes and advice, Juanelo suddenly comes up with a solution: he asks his father to put the hare in the net and the trout in the hunting bag. When Leonela arrives at the ranch, Juanelo puts his plan into action to prevent the secret from being revealed to the whole neighborhood. He tells his wife that he has caught a hare in the woods that morning, hunted a trout and found a treasure, all in the same morning.

At first with disbelief, but later crazy with joy and happiness, seeing herself rich and leaving behind the poverty that has accompanied them all their lives, the woman swears and promises not to tell anyone. Soon Asunta, the neighbor, arrives and Leonela tells her the secret, but the absurdity of the story and the two "miraculous" events: catching a hare and catching a trout, make the neighbor take her for crazy.

Juanelo achieves his goal through trickery, because as the protagonist of the fable himself says: "There is no better kept secret than the one nobody wants to believe".

REPORT

LEONELA

Ángeles Martín

JUANELO

Aitor Merino

BRUNO

Roberto Correcher

ASUNTA

Maiken Beitia

		Ángeles Martín is an actress, producer and entrepreneur. She graduated from the Real Escuela de Arte Dramático de Madrid. In her beginnings she combined her work as a presenter with what is her true passion: acting in theater and television. He debuted in 1985 with the play La Revoltosa. A year later he took part in his first television series, Segunda enseñanza, directed by Pedro Masó with scripts by Ana Diosdado. During the following years he combined his theatrical experiences with occasional appearances in television series, debuting in the cinema in 1988 with the film Soldadito español, by Antonio Giménez Rico. Then in Vicente Aranda's Libertarias, set in the Spanish Civil War with Ana Belén and Victoria Abril. Since the late 1990s he has maintained a steady career on stage starring in the following plays: Café cantante, by Antonio Gala, with Nati Mistral; La opinión de Amy, with Amparo Baró; Mañanas de abril y mayo, directed by Miguel Narros; Casa de muñecas, by Ibsen directed by María Ruíz; El manuscrito encontrado en Zaragoza by Francisco Nieva, produced by the CDN; El misántropo by Molière for the Almagro Festival; Tres sombreros de copa directed by Gustavo Pérez Puig; among other works.

		Aitor Merino has developed his career mainly as a film, theater and television actor, working in more than twenty films under the orders of directors Montxo Armendáriz, Pilar Miró, Vicente Aranda, Manuel Matji and Icíar Bollaín, among others. His first short film as a director, El Pan Nuestro (Our Bread), won awards at numerous national and international festivals and was nominated for the Goya Awards. Asier ETA biok (Asier And I) was his first feature film as a director. He is currently in the process of creating his next film, Fantasía, which he combines with his work as an actor.

		Roberto Correcher is an outstanding theater, film and television actor. His solid acting training comes from the acting schools of Miguel Narros, J. C Corazza, Cristina Rota or Mariano Barroso, among others. In his professional career he has worked in theater with directors such as Miguel Narros in La Dama Boba, with Antonia San Juan and Miguel Hormigo in Making Off, with José Tamayo in Luces de Bohemia and Cementerio de Automóviles, under the direction of Juan Carlos Pérez de la Fuente (CDN), among others. He has worked as an actor in numerous series, including: Aída directed by Mar Olid, Aquí no hay quien viva on Antena 3 directed by Laura Caballero, El comisario directed by Jesús Font and Los misterios de Laura directed by Alejandro Bazzano.

		Maiken Beitia is a versatile actress from Navarre who combines film, theater and television, both in Basque and Spanish. In theater she has worked under the orders of, among others, Ramón Barea(Euskadi, Euskadi), Salvador Távora(Pasionaria, No Pasarán), Carme Portaceli(La Casa de Bernarda Alba) or Fernando Bernués(No me hagas daño and Nacidos culpables). He has participated in numerous television series, including Karabudjan, Cuéntame cómo pasó, Sin Identidad and Goenkale. In cinema he has shot with Montxo Armendáriz(Silencio Roto and Obaba), Ernesto del Río(Valeria Descalza), Juan Ortuoste(Entre todas las mujeres), being his last work Acantilado by Helena Taberna. He has his own theater company, EL BUCLE PRODUCCIONES, with which he has produced, among other projects, Nosotras by Alberto Iglesias and La discreta enamorada by Lope de Vega, both directed by Pedro Miguel Martínez.