El concepto de "lo real" en el teatro documento: «Fiesta, Fiesta, Fiesta», de Lucía Miranda

Abstract

<p><em>Fiesta, fiesta, fiesta&nbsp;</em>de la compañía The Cross Border Project, con dramaturgia y dirección de Lucía Miranda, es una creación generada con la técnica teatral&nbsp;<em>verbatim</em>. El texto dramático y la escenificación se basan en entrevistas a profesores, personal no docente, padres y alumnos de un Instituto de Secundaria. Esta obra se enmarca en un fenómeno, propio del teatro documento, que ha tenido una presencia significativa en la cartelera española 2019/2020: el uso de<em>&nbsp;lo real&nbsp;</em>en la escena. En este artículo pretendemos analizar este concepto y su uso como estrategia escénica, ya que condiciona la emotividad en la recepción para un fin superior: desvelar la problemática que se vive en la educación secundaria en España y promover la concienciación ciudadana ante ella.</p>

<p>From The Cross Border Project company,&nbsp;<em>Fiesta, Fiesta, Fiesta</em>, written and directed by Lucía Miranda, is an artwork created using verbatim theatre techniques. The dramatic text and staging are based on interviews with teachers, non-teaching staff, mothers and stu-dents of a secondary school. This work is part of a phenomenon that had a significant presence in Spanish plays during 2019-2020 season: the use of “<em>the real</em>” on stage. This article focuses on analysing Miranda’s work through this concept and its use as a theatri-cal strategy, given its influence on emotive reception, with a higher purpose: to reveal the structural discriminations and difficulties experienced in secondary education in Spain and promote citizen awareness. In our methodology we mix theories on contemporary political sociology around&nbsp;<em>the real&nbsp;</em>and documentary theatre, as well as theory about the analysis of the creative process and of productions.</p>