Mexico // Myth // Murder // Madness
A woman called Frida with a Russian lover called Trotsky, a drug lord lover, inside a luxury house, in the middle of a desert … today.
Wants to pay tribute to Frida as a Greek tragedy between sisters and men: a kind of Aztec Antigone who sings to us from afar... But Anti/Frida also wants to stand against: Why is Frida printed on millions of T-shirts and cushions?
Good and Evil are opposed and evolve from one side to another next to an invisible presence of Love, Blood and Earth. The classic: White against Black. The Red presence. The intimate gold.
The opposite to the expected.
The opposite to the expected of Frida.
The opposite to the expected of Opera.
Antiopera as Antipodes of the same planet, rebel and furious.
Based on the play
It is not based on Frida’s life but on her insides.
It is not a walk, but a penetration.
IT IS NOT FRIDA’S MUSICAL:
IT IS ANTIFRIDA’S ANTIOPERA.
COMPOSITION AND DIRECTION
Ángel del Castillo
THE DIRECTOR SAYS
We listen the word Frida and it can be a flower, a frown with hair. It can be pain. What an ability of her to define herself so well...
We listen Antifrida and we can understand Anti- as the opposite to Frida, or as a mixture of the Greek Antigone and Frida. Not bad. But it's not so easy to clarify...
Onstage there’s a 40-year-old woman called Frida, but all is happening today. Her husband is called Diego, her lover Trotsky and her sister Cristina. What a coincidence, like the other Frida.
Unavoidably, associations are triggered, there’s obsessive and romantic love, and especially gender inequality inside the language when we speak about adultery: she is called “guarra” (bitch) as immoral and we cannot called him the same because the word “guarro” in masculine only offers us a definition of a poor hygiene...
Frida is Mexican, emotional when alone, rational in company. Adulteress.
Diego is depressed and he depends on legal drugs.
Cristina is rigid, moral, envious. Politically correct.
Leon is a drug lord, but honest, sincere, empathetic.
Good and Evil are contrasted in this antiopera based on the work "El narco negotiate with God "by the Mexican playwright Sabina Berman. Those who They seem bad maybe they are not so much, the good ones maybe take off their mask.
It is a play of transitions, madness, and clichés. A continuous mixture of the deep and sacred with the frivolous and comical. A tragedy where laughing is possible if we like black humour.
Antifrida is a universal woman who is tired of seeing herself in T-shirts and cushions.
What happens when we hear the word “guarra” (bitch) and why there’s no equivalence in masculine?
What is remaining from the original Frida and her pain?