I went to the theatre. My friend asked if I wanted to go, and I said yes. On the way I asked what it was we were going to see. My friend didn’t know but said that it was set in a women’s prison. I considered that it might be a little violent, a tad uncomfortable. Racking my brain, the only theatrical production I could think of to base any assumption on was Chicago.
The production was nothing like Chicago.
You see, I’d missed one crucial thought that really should have passed through my brain, but didn’t. I’m in Chile. This was a Chilean production set in Chile. It was a La Serena production set in La Serena. For the poster they didn’t need to create some fake revolutionist graffiti, it currently decorates every wall in town. They stepped outside.
As I’m far from fluent in Spanish, I thought that I might have difficulty following the play. I didn’t. I understood. Not all the words perhaps, but I understood. Sometimes I fearfully felt that I knew what was being said without being certain. And I hoped I was wrong, whilst knowing I was right. As if I could excuse myself from the truth with a lack of comprehension. As if anyone can comprehend such abuse. No, even when you can relate personally, it still manages to remain indecipherable.
But, I realised, if I could watch Shakespeare, and get it, although I never understand everything that’s said because the language is not my English, I could get the gist of this familiar Chilean Spanish. I did not know this story, but the Chilean story is something I’ve been wincing at again and again over the last few months. I read Chilean authors in translation and I listen to my colleagues and friends. The pain and shame in their faces when they talk about their country strangles my breath.
There is nothing comfortable about the current Chilean misery.
But telling these stories matters. Sitting on the rickety construction that served as seating, that bounced rather when someone moved, surrounded by a local audience pained by a history that many of them had lived through, I laughed and I sang.
And I watched the solemn faces in the audience and wondered what had brought these people here, what made them want to watch such a horrible tale, even a tale woven with moments of sweetness. When I told a friend afterwards, he was amazed that I had managed to find a theatrical production here in the city. It is, I’m told, a rare occurrence. La Serena, he said, lacks culture. He misses the theatre.
The conversation reminded me how valuable the theatre is, how in a country with poor public education telling stories through theatre could teach truths in a more accessible fashion if only there were more productions.
We walked home, after the show, making wishes on the stars, talking about corrupt pension schemes and Dickens-esque orphanages and I found myself thinking about the Museum of Occupations and Freedom Fights in Lithuania, previously known as the Genocide Victims Museum, where I’d wandered alone down in the underground prison of the old KGB headquarters in Vilnius. Until I couldn’t. Because although the corridor went on, my legs wouldn’t walk any further. I couldn’t step into any more rooms. It felt like their walls screamed at me.
And it’s like someone holds my lungs in their grubby hands and inside I feel the actress’s jerking movements, the shaking of her body and I tense. This is no ‘all that jazz’. I may be foreign and European, privileged in every sense, but as she’s acting, I’m remembering. She’s telling a story that I need to hear. We all need to hear.
Siervas o Prisoneras del Buen Pastor by Héctor Álvarez directed by Juan Diego Bonilla at Casona La Gaviota performed by the Escuela Teatropuerto, La Serena.