Los sueños de Frida

He aquí un acercamiento a Las cartas de Frida —propuesta escenográfica de Jesusa Rodríguez y Clarissa Malheiros, ópera de toilette y música de Marcela Rodríguez— donde “no hay nada más surrealista que la vida cotidiana de cualquier persona”.

***

“Si me tomaba por una surrealista. Ello no es correcto.

Yo nunca he pintado sueños. Lo que he representado era mi realidad.”

Kahlo

ZOILA JUÁREZ / EDUARDO SUÁREZ |

Ciudad de México.- Viola, violonchelo, contrabajo, flauta, clarinete, trompeta, percusión, un par de simios, el diablo y Frida cantando con sus pechos descubiertos, clavados por un enorme pincel con el que eternizó su vida.

“Martes 20 de octubre de 1925. Mi Alex: ahora te voy a explicar todo lo que tengo, cómo dices en tu carta, sin faltar detalle; según el Doctor Díaz Infante, quien fue el que me curó en la cruz roja, ya nada es de mucho peligro, y voy a quedar más o menos bien…

”6 de abril de 1927. Ya tengo 17 días en este sillón y no siento ningún alivio; los dolores me siguen tan fuertes o igual que al principio… Si sigo como voy sería mejor que me eliminaran de este planeta”, canta la pintora bisexual al primer hombre que amó con la opera más honda de su alma mientras sus simios Fulang Chang y Caimito de Guayabal —interpretados por Natyeli Flores y Carlos Brown— entran a escena y le presenta su única alternativa: la silla de ruedas que gira lenta en comparsa con el dolido violín.

El infortunio en la salud de Magdalena Frida Carmen Kahlo Calderón la hizo padecer poliomielitis desde los seis años. En 1922, entró a la Escuela Nacional Preparatoria, institución que recién admitía a mujeres. Eran sólo 35 alumnas entre dos mil hombres. Kahlo, entonces estudiante de medicina, participó en el grupo Los Cachuchas, anarquistas críticos de la autoridad, protestantes por reformas educativas, formado por futuros intelectuales como Salvador Novo.

Luego vino el accidente que la sometió a 32 operaciones quirúrgicas. Su columna se fracturó en tres, sufrió múltiples rupturas en costillas, clavícula y hueso púbico. Su pierna derecha tronó en once partes, su pie derecho se dislocó, su hombro izquierdo se descoyuntó y un pasamano le atravesó la cadera hasta salir por la vagina. Frida ironizaba que así perdido su virginidad. Pese a todo, ella sonreía. “Nada vale más que la risa… Los animales, aunque sufren, no exhiben (sic) su pena en ‘teatros’ abiertos, ni ‘cerrados’ (los ‘hogares’).”

La dueña de La Casa Azul y autora de 200 obras, sobre todo autorretratos, compartió con Diego su gusto por el arte popular mexicano de raíces indígenas, inspirando así el periodo postrevolucionario. “Rivera. Revolucionario rojo rompió realmente reacción recomendando realidad”, a quien conoció por medio del cubano Juan Antonio Mella, pareja de la fotógrafa Tina Modotti, todos afiliados al Partido Comunista de México.

En 1938 André Breton trató de convencer a la mexicana, hija de fotógrafo alemán y madre oaxaqueña, que su arte era surrealista y la invitó a exponer en Nueva York. “Me caen gordos los ‘art colectors’ (sic)… Muchas veces me simpatizan más los carpinteros y los zapateros, que toda esa manada de estúpidos, dizque civilizados”, protestan sus cartas.

“París, 17 de marzo de 1939. Ella linda, Biotito, mis meros cuates: Ustedes no tienen ni la más remota idea de la clase de cucaracha que es Bretón… Por fin Marcel Duchamp (el único que tiene los pies en la tierra y los sesos en su lugar) pudo arreglar la exposición”, escribía Kahlo a Rivera y se retorcía en el piso con tal de poderse rascar con la esquinita de la tina francesa, ese pequeño goce la hacía sonreír.

“Sábado 28 de enero de 1939. Mi niño lindo mi amor: Lo primero que me di cuenta es que los Bretón no tienen ni qué tragar… De todos los que me han presentado, sólo me caen bien dos, Marcel Duchamp que es magnífico e Ives Tanguy… Hoy conoceré al dichoso Dalí, su pintura se me hace de un cursi de mala clase… Yo de cuando en cuando quiero que estemos tú y yo y escribir con letrotas muy visibles ‘Merde’… Ya sabes como soy yo, no soy ni pintora, ni un carajo, no sé nada, y la gente cree que dibujo muy bien y no saben los pedos que me cuesta”.

Al son de la bruja, Frida baila con la muerte vestida de tehuana, saliente del cuadro que plasmó El suicidio de Dorothy Hale. La parca —representada por Roldán Ramírez—juega con su silla de ruedas y en ese sueño, la socialista danza su propio son con alas de papel imaginarias. “Ya con esta me despido, a escribir yo me niego, y aquí se acaba el corrido, de Carlos Chávez y Diego.”

“Coyoacán D.F. el 25 de octubre de 1939. Estimado Sr. Manrique: Le agradezco el interés que tiene de publicar en su revista Hoy mi cuadro de ‘Las dos Fridas’. El hecho de haberme pintado dos veces, juzgo que no es sino la representación de soledad. Es decir, recurrí a mi misma buscando mi propia ayuda. Por esa razón las dos figuras se dan la mano… La arteria que baja por el brazo de la Frida vestida de tehuana, no se rompe. En la otra figura, una de las arterias sí está rota, y el deseo de contener la sangre lo representé en una forma completamente mecánica,” agradece Kahlo al editor de una de las revistas que sacaron por primera vez su obra.

El llorar de los instrumentos del ensamble Tempus Fugit, dirigido por el director concertador Christian Gohmer, resuena junto a las últimas palabras del diario de Kahlo cantadas por la soprano Catalina Pereda: “Espero alegre la salida y espero no volver jamás”.

El diablo de cartón rompe el escenario de papel y las sombras aplastan la tormenta de la sinfonía en voz de Frida Kahlo, quien alcanzara fama internacional en la década de los setentas luego de su muerte… Mientras, las lágrimas de muchos asistentes iluminan el recuerdo de quien no pintaba sus sueños sino su realidad.

Después de haber sido montada en Alemania, Las cartas de Frida —documentos hallados en 2004, 50 años después de que La Casa Azul fue clausurada por Rivera— contará con seis funciones del 25 de mayo al 2 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 horas y los domingos a las 18:00 horas. Precio por localidad: $150 pesos, con descuentos habituales.

| RMM | ES | ZJ | @eduardo_surez |

Fotografía por Eduardo Suárez

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