“Bacantes”: delirio, enigma y rituales dionisiacos

EDUARDO SUÁREZ |

Ciudad de México.- La densa niebla se enreda entre los zapatos del público que poco a poco entra al Foro Sor Juana Inés de la Cruz del Centro Cultural Universitario al sur de la Ciudad de México. El latir de los tambores, el canto de las aves y el sonido de voces místicas convierten las butacas en troncos con moho y el centro del escenario en Mayab, donde espíritus citadinos contemplan Bacantes, para terminar con el juicio de Dios, versión libre de la tragedia escrita por Eurípides en 409 a.C. y que la compañía teatral La Rendija trajo a escena.

Veintiocho tablas de pino, una barca pesquera, un par de cazos, cuchillos de carnicero, embases de cerveza, varas secas y pétalos de rosas iluminadas por luces en forma de cruz componen el espacio escénico que Oscar Urrutia Lazo diseñó para representar las tierras mayas de Yucatán donde las féminas adorarán al dios griego Baco, mejor conocido como Dioniso “el inventor del vino”, o Bromio “el que brama como bestia salvaje”.

El texto original es una tragedia enigmática, que como dice la Poética de Aristóteles, debe reflejar al hombre “tal como es”. Así lo hace Eurípides quien representa los ritos que realizaban las Grandes Dionisíacas: narrar que durante cuatro días se cantaban ditirambos —himnos de diverso contenido— y se representaban comedias, tragedias y piezas satíricas.

Bajo la dirección artística de Raquel Araujo —que junto con Urrutia, pertenece al Sistema Nacional de Creadores de Arte del FONCA—, la trama se desarrolla en un poblado ficticio, más cercano a los litorales yucatecos que a la antigua Grecia, pues el lenguaje de los mayas contemporáneos se mezcla con el hablar de los mestizos (intervención sonora de Manuel Estrella).

El hijo del divino Zeus y la mortal Sémele, Dioniso (según cuenta el poeta Hesíodo), regresa a su pueblo para castigar a quienes olvidaron rendirle pleitesía. Las Bacantes o ménades mayas embriagadas y delirantes comienzan las ceremonias dionisíacas. Pero son condenadas por Penteo, dueño y señor de estas tierras, quien las perseguirá para castigar e intentar dar fin a sus prácticas rituales.

Sin embargo, Dioniso convertirá a Penteo en un hombre colmado de dolores, víctima de la irreverencia de sus paisanos, objeto de su ira y venganza… en un Yucatán lleno de contradicciones y saltos culturales dentro de una posmodernidad que nos aqueja a todos.

“¡Qué gozo en las montañas, cuando en medio del cortejo lanzado a la carrera se arroja al suelo [Dioniso], con su sacro hábito de piel de corzo, buscando la sangre del cabrito inmolado, delicia de la carne cruda, mientras va impetuoso por montes frigios, lidios!”, reza el texto original de Eurípides.

Penteo (Roberto Franco), Dioniso (Tomás Gómez), Ágave (Raquel Araujo), Tiresias (Katenka Ángeles o Nara Pech) y el Imaginador (Mariano Olivera) te llevarán a un laberinto más cercano a un performance que a una obra de teatro, lleno de visiones, de ensueños, donde le ritual, el miedo a Dios, la magia, las orgías, el fuego, la embriaguez, la muerte, la locura, llenarán el collage de tu cabeza de ansias por conocer la mitología griega.

La Rendija

La historia de La Rendija comenzó en 1988 en la Facultad de Filosofía y Letras de la UNAM. A veinticinco años de trayectoria y de análisis teatral se estableció desde el 2001 en Mérida, Yucatán, donde se caracteriza por ser un enlace para creadores e investigadores que han participando en cinco ediciones del Encuentro Internacional de Performance y tres emisiones del Festival de Teatro de La Rendija, Iberoamérica en Escena.

Bacantes

Bacantes, para terminar con el juicio de Dios, bajo la dirección de Raquel Araujo, se presenta hasta el 30 de junio en el Foro Sor Juana Inés de la Cruz del Centro Cultural Universitario, los jueves y viernes a las 20:00 horas, los sábados a las 19:00 horas y los domingos a las 18:00 horas. Precio por localidad: $150 pesos, aplican descuentos habituales.

| RMM | ES | @eduardo_surez |

Fotografía por José Jorge Carreón / Cortesía Teatro UNAM

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