Dr. Faustus, femenil insumisión

ZOILA JUÁREZ |

Ciudad de México.- Fausto, sin hijos ni esposa, dedicado a la ciencia, comenzó su tragedia cuando preparó una pócima para matarse, pues ni Dios ni el diablo se apiadaban de su vida. El demonio le propuso galanura y gozo a cambio de su alma: inició su perdición. Fausto es como Ícaro, quien quiso volar tan cerca del Sol, que el gran astro derritió la cera que sujetaba sus alas y lo mató en la caída.

No es el orgullo lo que mueve a Fausto hacia su propia destrucción, sino la necedad de conocimiento. Quería abracar la lógica, pero Aristóteles ya era el rey; la medicina ya había sido coronada por Galeno; la ley fue el campo del emperador bizantino Justiniano. Entonces lo menos insignificante era el estudio de la divinidad: la teología. Sin embargo, dice la Biblia que todos los hombres pecan, y el castigo es la muerte. Condición inaceptable para Fausto, por lo que decide investigar la magia, la nigromancia para ser un “dios todo poderoso”.

Esta alianza perversa entre lo divino y lo terrenal se representa en Dr. Faustus, montaje dirigido por los argentinos Emilio García Wehbi y Maricel Álvarez, que fue estrenado previamente en la Academia de las Artes de Berlín y el Centro Cultural Ricardo Rojas en Buenos Aires, Argentina, antes de llegar a los foros de México.

A esta puesta en escena más cercana a un universo poético de un arte-acción,  se suma un texto del propio García Wehbi, con el propósito de generar una experiencia formal que ponga el acento en lo femenino.

Fausto pacta con el diablo, el reloj avanza y llega la hora de su muerte. Fausto ruega a Dios para que el castigo a su alma se reduzca a mil años, o cien mil años, cualquier cosa mejor que la eternidad. A las doce, los demonios se llevan a Fausto entre gritos y maldiciones. El coro alerta a los hombres de no cambiar sus almas por la sabiduría.

La obra, original de Christopher Marlowe, es un debate entre ángeles del bien y del mal, un antiguo folclore cristiano que inspiró el poema romántico de Goethe, las óperas de Charles Gounod y Arrigo Boito, y la sinfonía de Liszt. Y que hoy incentiva el performance que retoma el libreto Dr. Faustus Lights the Lights (1938) de la poetisa estadounidense Gertrude Stein, los trazos del cuadro Étant donnés (1946-1966) de Marcel Duchamp, y partes de la película Anticristo (Antichrist, 2009) de Lars von Trier.

En esta versión posmoderna de Fausto, este personaje ya viejo y derrotado acepta el desafío de una última partida de ajedrez con el demonio Mefisto, quien en un intento por conservar su poderío sobre el desanimado Fausto, le tiende una trampa. Es Margarita (del Fausto de Goethe) la carnada, la seductora. Margarita (y sus réplicas: Ida, Helena y Annabel) cae en el abismo de esta trama sin saber que de allí volverá fortalecida y vencedora. Fausto pierde la partida ante Mefisto, quien es vencido por una mujer que ya no necesita de otros para valerse por sí misma. De víctima a deidad, para restablecer su condición de mujer.

Danza, video, luces y sombras, body paint, coro y lectura en inglés en voz alta, dan ritmo universal al personaje protagónico. El diálogo estimulante de las diferentes disciplinas fluye en un discurso de género que utiliza al cuerpo femenino lleno de violencia fálica como unidad de expresión entorno a las tragedias de cada mujer frente al brutal sometimiento masculino.

En México, la puesta en escena cuenta con Katharina Haverich, actriz egresada de la Universidad Libre de Berlín, quien investiga la dimensión significante del texto: el valor sonoro de la palabra más que sus significados.

En palabras del director García Wehbi: “Nuestro Fausto inicia donde concluye el de Goethe, pues ya pudo gozar de las mieles de la vida pero él tiene que pagar y eso significar ir al infierno, cumplir parte del negocio. Es una mirada crítica a la idea de progreso, un cuestionamiento al humanismo y al iluminismo en su doble sentido, tanto tecnológico como de pensamiento”.

Dr. Faustus debutó en agosto en el Teatro El Milagro y continuará en el Teatro El Galeón del 12 al 22 de septiembre, con funciones los jueves y viernes a las 20:00 horas, los sábados a las 19:00 horas, y los domingos a las 18:00 horas.

| RMM | ZJ |

Fotografía por Eduardo Suárez

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