Hernando Garza, dramaturgia y migración

Por Katia Rodríguez

Originario de China, Nuevo León, Hernando Garza creció escuchando historias de migrantes, de aquellos que ya no regresaron; unos por alcanzar vida mejor en Estados Unidos, otros porque la muerte los alcanzó a ellos. Una realidad social que Hernando Garza no aborda en su labor periodística, pero sí en su faceta como dramaturgo, ya que la palabra, para él, es acción.

El volumen Crímenes Mojados (2011) fue presentado en la XXXIII Feria Internacional del Libro del Palacio de Minería. El texto se conforma por las obras El día que amaneció lloviendo —estrenada en 1998, Crímenes Mojados —ganadora del Premio Nacional de Dramaturgia de la Universidad de Nuevo León y Venados a la luz de la luna.

Entre las páginas de Crímenes Mojados se ven diferentes tipos de mujeres que aman hasta el delirio y tienen que lidiar con diferentes formas de pérdidas; familias que como mencionó Estela Leñero, periodista y dramaturga “se vuelven representativas de otras tantas familias que viven la separación y la pérdida”.

Más que la presentación de un libro, Estela Leñero entabló una conversación con Hernando Garza para entender mejor los cimientos de realidad y de fantasía que conforman su libro.

Fue así que el autor rememoró vivencias contenidas en el mismo. Un ejemplo de ello es la obra Venados a la luz de la luna, basada en una leyenda que escuchó sobre una niña que se perdía durante tres días en el monte y regresaba al pueblo, transformada. Fue tal el impacto de la imagen que él mismo se creó de la niña, que retomó el tema agregándole elementos de ficción.

Para Hernando Garza el reto que experimentó durante el periodo de 1997 y 1998 cuando escribió las tres obras fue el cómo abordar la migración y la pérdida, siendo temas muy recurrentes en estos últimos años en la cinematografía y literatura nacional, en especial cuando se necesita cumplir con las estructuras ya establecidas del formato teatro.

Con todo, partiendo de la combinación entre el orden establecido y la narración no lineal, Hernando logra que su escritura capte la realidad como una cámara fotográfica, utilizando los sentimientos para atrapar la esencia del ser humano.

Así, Crímenes Mojados se presenta como parte de un teatro que aborda aquellos problemas sociales que siempre han estado ahí. “Su teatro —concluye Estela Leñero— no es estrictamente documental, ni periodístico. Su lenguaje no es el de la nota roja o de la poesía empalagosa. Desde la dramaturgia, sublima con la poesía y documenta con el periodismo creando universos escénicos. De ahí su fuerza y su valor teatral”.

Feria Internacional del Libro del Palacio de Minería / KRR

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