Batracio, una obra “a toda larva”

Batricio, escrita y dirigida por Mauricio Eugenio Galaz. Foto Edgar Blancas

Batracio, escrita y dirigida por Mauricio Eugenio Galaz. Foto Edgar Blancas

(Mex) Batracio, la obra de teatro físico que explora el mundo de los anfibios, se estrena en medio de un clima sin precedentes para la Ciudad de México: el Gobierno del DF y la Unidad Tormenta se preparan para lo peor: lluvias torrenciales, inundaciones, caos vial, deslizamiento de taludes, grietas, hundimientos… El agua se nos viene encima.

Con charcos por todos lados, no es difícil imaginar el mundo de los batracios que esta puesta en escena recrea con ingenio en el Foro Shakespeare. Es raro, pero lo que menos hay en los elementos escenográficos de Batracio, es agua.

Este elemento, valiosísimo para la vida de los anfibios, es creado por los actores con el movimiento de su cuerpo a través de una estructura tubular que ocupa gran parte del escenario, dispuesta  a manera de acuario, por donde desfilan diferentes especies de larvas, sapos, ranas, y el móvil de la historia, los ajolotes.

Un total de trece personajes claramente definidos son interpretados por Ricardo de los Cobos, Enrique Alguibay Cespi y Mauricio Eugenio Galaz, quien además es autor y director de la obra.

La historia, en esencia, es sencilla pero ingeniosa. En una nación de seres anfibios, un joven rana, acostumbrado a vivir siempre por encima de los charcos, descubre que hay unas criaturas que no pueden salir de su estanque: los ajolotes. Empeñado en descubrir por qué estas criaturas no alcanzan la metamorfosis, emprende una aventura en la que desentrañará los más oscuros secretos de las “Naciones Estancadas”.

La obra original de Mauricio Galaz contiene 30 personajes y dura tres horas. Gracias a un exhaustivo tratamiento, según ha confesado él mismo, el argumento ha logrado sintetizarse a una hora y casi un tercio de los personajes. Aún así, el guión no cuaja. El público murmura, se pregunta entre sí, no logra entender con claridad algunos fragmentos de la obra.

Quizás esto se debe a las intenciones de Galaz de hacer crítica social sobre la vida de los mexicanos. Narcomenudeo, adicciones, complots, traiciones, son algunos de los hábitos que la obra explota. El resultado es un ingenioso juego de palabras como “me siento de la larva…”, pero de pronto, el hilo de la historia se pierde.

En algún momento Galaz cae en la tentación y recurre al Réquiem de Mozart, para sensibilizar al público – al estilo de Michael Jackson con Health the world y  La Cebra Danza Gay con Bailemos a Mozart por los ángeles que se han ido – acerca de las múltiples muertes que el ser humano provoca en el ecosistema gracias a la contaminación. Lo mismo de siempre.

Sobresale, eso sí, el brutal esfuerzo físico de los tres actores, resultado de un visible entrenamiento corporal coordinado por Enrique Alguibay de cuya autoría es también el movimiento escénico y las coreografías. Además, los antecedentes sólidos de Alguibay están cimentados en la gimnasia olímpica, mientras que para Mauricio Galaz, Batracio representa la culminación de un proceso iniciado desde 2004, cuando participó en Vencer al Sensei, obra de teatro físico que presentó con rotundo éxito México.

En aras de crear un ambiente futurista como complemento del atinado vestuario de Javier Moreno Vázquez – original de Lolo & Lola –, el uso de proyecciones digitales mal empleadas (imágenes de pésima calidad) rompe de manera estrepitosa con la atmósfera imaginaria lograda por las actuaciones.

Aun así, la aportación que Batracio hace al teatro contemporáneo seguramente quedará para la posteridad como un referente de lo que un actor puede hacer con cada rincón de su cuerpo cuando éste se somete a la disciplina, pero lo más importante, a la libertad de la creación artística.

Batracio, “una obra a toda larva”, se presenta todos los martes a las 8:30 p.m. en el Foro Shakespeare.

AM/V/RL

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