Captives of Evil #22: Pedro González Mira and Magüi Mira, the musicians of Stalin and James Joyce in theater – Digital Journalist

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In the twenty-second installment of “Cautivos del mal”, the journalist and philologist David Felipe Arranz first interviews the professor and music critic Pedro González Mira about his latest book, Stalin’s musicians (Berenice), and then to the playwright, performer and stage director Magüi Mira, who has just premiered Magüi Mira Molly Bloomat the Teatro Quique San Francisco, and the film Venus (2022), by Jaume Balagueró.

Pedro González Mira addresses in his book the music written by the most significant Russian composers in the Russian area from the last years of Tsarism to that composed after the fall of the Soviet Union, placing special emphasis on the masters who, in one way or another , from within and without, worked during the years of Stalin’s dictatorship. A review from Glinka to Tchaikovsky; from Rimsky-Korsakov to Mussorgsky; from Rachmaninov to Stravinsky, Prokofiev, Shostakovich and his heirs. He defends the thesis that those who worked in the years of steel were the result of a polyhedral process that began with a colored and powerful nationalist movement until reaching a vanguard that was only sometimes capable of expressing itself autonomously, due to the permanent media coverage of its suffocating political dependency. Indirectly, then, he speaks of the relationship between the spirit of the Russian and its inexhaustible and magnificent inventiveness.

Pedro González Mira and David Felipe Arranz

Pedro González Mira and David Felipe Arranz

The author endeavors to clarify this scenario, trying to separate the chaff, which is a lot, from a wheat that was able to grow thanks to the enormous talent of a few composers who develop their art immersed in the immense pro-government mediocrity. And he also exposes the data necessary to find explanations for the subsequent drift that leads to the musical drought produced in the Russian Federation from the very moment of the fall of the Soviet empire.

The point of no return of this unfortunate evolution is a current state of sociopolitics in which it is difficult to stop, but which is embodied in a bloody and lethal mix between (in) culture, violence, religious irrationality and unrepentant imperialism. As it happened in his previous books for Berenice, in this one he once again makes an exhaustive review of the contents, from a perspective dominated by simplicity and a strenuous attempt to descend to the soul of music. A soul that, in this case, has to be torn from the pentagrams under the sign of self-destruction, that so grandiose, and at the same time painful, feature of the great Russian creation.

Later, Arranz interviews Magüi Mira, who incarnated Molly Bloom, a mythical character from the novel by Ulises by James Joyce, one of the great literary texts of the 20th century, and fell in love with the public and critics. Molly lives a sleepless night. Her thoughts fly without filters to her deepest desires, sometimes scandalous. Molly reveals to us her passion for life, her relationship with sex, her feminine principles. Molly, confident in herself, enjoys the life she lives and the life she imagines. Today, forty years later, the same words written by Joyce are interpreted again by Magüi Mira who, at 77, brings us closer to a new Molly. With lots of love and lots of humor. According to Magüi Mira “All women are the same woman: What is a woman, James Joyce surely wondered when he wrote the last chapter of his Ulysses. 24,000 words. No points or commas. And like a bold man he entered into Molly’s mind. Thought that he defined as overwhelming and trembling with so much contradiction. Thought that flew without filters. And when he got it published in 1922, 100 years ago today, his readers were horrified by such brutality and shamelessness. A married woman couldn’t express herself like that… They came face to face with a vast, unclassifiable Molly, a woman they couldn’t encapsulate, nor could they encapsulate the female condition. A married woman couldn’t think like that. They were horrified by the shamelessness of a woman who stumbled through the streets of her life, a life she knew was inexplicably unfair. Her moving screams, due to the urgent need for clean oxygen, shook the souls of many women and many men who then avidly read the essential novel of the 20th century: the Ulises Joyce’s.”

Magüi Mira and David Felipe Arranz

Magüi Mira and David Felipe Arranz

For Magüi Mira, “today, Molly Bloom’s words remain intact, but the world moves and is transformed. I want to turn her resignation and her renunciation into a generous acceptance of the life of a woman, mother and lover who sustains the world. I smell her secretions, the blood, the milk from her breasts, the unstoppable force of mother nature, of mother earth, Molly is a free and pure spirit, who does not submit to male control and abuse, Molly continues to say yes to the life. And that is why today her provocative capacity is more impressive. With more love. With more humour. Taking risks. From there is born the overwhelming beauty ”of her.

He also chats with Arranz about his latest film role and his experience with the director, the villain of Venus (2022), by Jaume Balagueró, produced by Álex de la Iglesia and Carolina Bang, and with Ester Expósito. The film revolves around a dancer who works in a nightclub in Madrid and who, one night, steals a travel bag full of ecstasy pills from the club owner’s box office. Surprised by the doorman, she manages to escape from her, but is stabbed in the leg at the last moment. She seeks refuge with her sister and her niece, who live on the outskirts, in a dilapidated apartment block called “Venus” whose neighbors behave strangely.

In the editorial at the beginning, Arranz recommends some novelties, such as A handful of anecdotes. Opus incertum (Anagram), by the recently deceased Hans Magnus Enzensberger; Diary of a student. paris 1914 (Diëresis), of Gaziel, and Men are not islands. The classics help us live (Cliff), by Nuccio Ordine.

We would like to give thanks to the writer of this short article for this remarkable content

Captives of Evil #22: Pedro González Mira and Magüi Mira, the musicians of Stalin and James Joyce in theater – Digital Journalist


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