{"id":58504,"date":"2023-11-16T12:08:47","date_gmt":"2023-11-16T20:08:47","guid":{"rendered":"https:\/\/eltecolote.org\/content\/?p=58504"},"modified":"2023-11-16T12:31:53","modified_gmt":"2023-11-16T20:31:53","slug":"skeletons-in-the-closet-previewing-the-play-la-catrina-posada","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/skeletons-in-the-closet-previewing-the-play-la-catrina-posada\/","title":{"rendered":"Skeletons in the Closet: previewing the play La Catrina & Posada"},"content":{"rendered":"\n
\u201cMany years ago, when I discovered Posada\u2019s engravings,\u201d says Jim Nikas, \u201cI couldn\u2019t believe that an artist of such incredible talent wasn\u2019t better known outside Mexico. I mean the most popular figures and decorations for the Day of the Dead are inspired by the skeletons and skulls he drew as an illustrator in the late nineteenth and beginning of the twentieth centuries. And he drew them mainly to make fun of different public figures of the time.\u201d <\/p>\n\n\n\n
Jim Nikas, whose real name isn\u2019t Jim but Aristides and whose grandfather was Mexican, is a founding member of the Posada Art Foundation; and since he has never written a play before, he asked Carlos Bar\u00f3n, local playwright, actor and multicultural theater director for a hand. <\/p>\n\n\n\n\u201cLa Catrina & Posada: A Grave Dance,\u201d a play by Jim Nikas, co-directed by Carlos Bar\u00f3n. Photo: Willy Liz\u00e1rraga<\/figcaption><\/figure>\n\n\n\n
\u201cYou see, theater is essentially conflict. Jim is an excellent researcher and historian, and knows everything about Posada, but the drama part needed help. Anyway, he\u2019s been receptive to my suggestions and we\u2019re slowly getting there, a true work in progress. Which is why we are staging a reading, not a full-theater production, although there\u2019s live music with costumes and everything.\u201c<\/p>\n\n\n\n
Bar\u00f3n, who is playing Posada, plans to shave his beard and wax his mustache in the late nineteenth century style. One could say that in the same way that Nikas has found in promoting Posada\u2019s illustrations a sense of purpose and an avocation, Bar\u00f3n appears to have found in portraying Posada on the stage an ideal opportunity to act a dilemma that is close to his heart: the struggling artist of a certain age who contemplates his legacy with irreverent eyes. <\/p>\n\n\n\n
The question of artistic legacy, in any case, is an inexhaustible conundrum, mainly because it involves attempting to control what is beyond our reach. The assessment and interpretation of what we accomplish in our lives will always fall into the hands of others, usually after we are dead. And they would unfailingly judge us, not informed by our own passions and prejudices, but theirs. <\/p>\n\n\n\n
Take Frida Kahlo, for instance. Whatever she imagined her legacy would be, she most likely never fathomed she\u2019d be the favorite decorative icon in most taquerias and Mexican restaurant around the world. We could blame her megalomaniac obsession to package herself in ethnic clothes, a sort of minstrelsy that would\u2019ve been redundant if she\u2019d been an ordinary indigenous woman, but because of her half-German background, it had (and has) a unique, almost surreal, exotic glamor. <\/p>\n\n\n\n
There is also another key ingredient in why Frida Kahlo has become such a popular merchandise. She wasn\u2019t only obsessed with her ethnic, Mexican self but with the excruciating physical pain she endured throughout her life. Perhaps she had no choice, but Frida in pain was all she cared to paint. And she did it without any self-pity, perhaps her greatest gift to the world. <\/p>\n\n\n\n
Jos\u00e9 Guadalupe Posada is the exact opposite of Frida in artistic terms. He had no interest in painting himself in any way or fashion. In fact, he not only didn\u2019t care about the creation of a public identity, ethnic or not, indelible to his legacy, but he was happily invisible, playfully hiding behind his skeletons and skulls to express his pungent social and political commentaries. He had to. He lived, after all, during one of Mexico\u2019s cruelest and most repressive dictatorships. <\/p>\n\n\n\n
Despite their differences, though, Posada and Kahlo have something crucial in common. If one could say that pain and tragedy are Frida\u2019s ultimate subjects, Posada also deals with the same raw material but in a humorous way. And as long as Kahlo stuck to her pain and Posada to his skeletons and skulls, they were on firm ground: One became the most recognizable face in the history of art, probably only rivaled by the Monalisa; and the other one disappeared behind his calacas \u2014 because they did the talking for him. And they didn\u2019t need and still don\u2019t need any explanation since the imagery of death belongs perhaps to the most universal of traditions. <\/p>\n\n\n\nCarlos Bar\u00f3n. Photo: Willy Liz\u00e1rraga\n<\/figcaption><\/figure>\n\n\n\n
Which doesn\u2019t mean that we wouldn\u2019t benefit from knowing, for example, that La Catrina, main character in this play, embodies the presumptuous sense of entitlement that Posada saw in many upper-class, Mexican woman of his time; but not knowing doesn\u2019t prevent us from enjoying its comic, grotesque effect. <\/p>\n\n\n\n
Aside from Posada\u2019s legacy, though, La Catrina & Posada: A Grave Dance<\/em> is, for better or worse, also a play about the struggles of a professional artist who has chosen to live off making fun at public figures, a profession that requires extreme caution and tact so not to cross the invisible line that can mean the end of both career and life. That is, it is ultimately a play dealing with one of the juiciest of issues in history: the moral compromises that come with making an art of telling the truth as a joke (or as a fiction) in a world that almost always is at war with the truth. <\/p>\n\n\n\n
Fortunately for us, both Nikas and Bar\u00f3n seem keenly aware of history and are eager to make Posada\u2019s predicament relevant to our time. <\/p>\n","protected":false},"excerpt":{"rendered":"
\u201cMany years ago, when I discovered Posada\u2019s engravings,\u201d says Jim Nikas, \u201cI couldn\u2019t believe that an artist of such incredible talent wasn\u2019t better known outside Mexico. I mean the most popular figures and decorations for the Day of the Dead are inspired by the skeletons and skulls he drew as an illustrator in the late […]<\/p>\n","protected":false},"author":35,"featured_media":58508,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"newspack_popups_has_disabled_popups":false,"newspack_featured_image_position":"behind","newspack_post_subtitle":"","newspack_article_summary_title":"La Catrina & Posada: A Grave Dance","newspack_article_summary":"A play by Jim Nikas, directed by Carolina Soza, with Carlos Bar\u00f3n as Jos\u00e9 Guadalupe Posada and Tessa Mart\u00ednez as La Catrina\r\nMission Cultural Center, November 17, 2023, 6-9 pm.","newspack_hide_updated_date":false,"newspack_show_updated_date":false,"footnotes":""},"categories":[7],"tags":[24819,24821],"coauthors":[24818],"class_list":["post-58504","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-jim-nikas","tag-la-catrina","entry"],"yoast_head":"\n
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