After the success of “Una terapia integral” in Barcelona and Madrid, the national version of the play by Spanish authors Cristina Clemente and Marc Angelet has debuted. These are the same creators behind “Laponia,” which premiered here in 2022, also directed by Nelson Valente. The cast includes Juan Leyrado, Carola Reyna, Paola Krum, and Carlos Belloso. The performances run from Thursday to Sunday at the Metropolitan Theatre on Av. Corrientes 1343. The story revolves around three students who enroll in a peculiar baking class taught by Toni (Leyrado). The central idea is that “to make good bread, you don’t need the best flour or the freshest yeast; you simply need to be at peace with yourself.”
Leyrado has had some experience in the culinary world, having participated in a project titled “Extra virgen” with Lisandro Fiks, which later became a film called “Oliva,” directed by his son Luciano. He has a connection to oil and wine, but baking was not something he initially sought out. He studied Mediterranean cuisine at the Argentine Institute of Gastronomy and enjoys making pasta and sauces with quality ingredients. He also helps his wife, MarÃa, in the kitchen whenever he can.
Carola Reyna, on the other hand, considers herself quite basic in the kitchen. While she can manage, she admits to not being an expert, especially in baking, and has never made a cake. Interestingly, her husband, Boy Olmi, loves to cook.
Paola Krum shares a similar sentiment, admitting to her basic cooking skills, which improved when she had her daughter, EloÃsa. Both mother and daughter have a sweet tooth, but they tend to buy their treats rather than make them. While Krum dabbled in making scones, she has never baked bread.
Carlos Belloso enjoys cooking and often prepares vegetarian meals for his wife. He has a particular fondness for stews and pasta and has become a fan of Italian cuisine. During the pandemic, he took on the challenge of making bread at home, which he initially resisted.
The concept of teaching plays a significant role in the play. Leyrado acknowledges that he once taught students at AgustÃn Alezzo’s studio but realized he preferred acting over teaching. He has been invited to conduct seminars but expresses skepticism about certain instructors and believes that finding a good mentor is crucial, similar to finding a good therapist.
Reyna reflects on having excellent teachers, particularly Carlos Gandolfo, who had a significant impact on her acting career. She recalls a supportive school director who encouraged her participation in school events, fostering her love for the arts. Similarly, Krum’s connection to teaching comes from her mother, a teacher herself, noting the shifts in educational dynamics over the years. She emphasizes the importance of empathy and understanding in education.
Belloso doesn’t consider himself an expert teacher, suggesting that while famous methods like those from Stanislavski or Grotowski provide tools to actors, true learning comes from practice. He holds a workshop to help actors understand the motivations behind their performances.
In discussing the boundaries of teaching, Leyrado states that mistreatment is never helpful; it only closes students off. He believes that a teacher should guide students to make their own choices rather than impose rigid methods. Reyna agrees, stating that a good teacher encourages decision-making, unlike the more authoritarian figures of the past.
Krum views motherhood as a significant teaching experience, emphasizing love and understanding. She believes that each audience member will draw their own conclusions about the play’s character and whether he’s a good or bad teacher.
Belloso sees the connections between the therapy theme of the play and the act of making bread, a staple of society, likening the character’s behavior to psychological mechanisms that can lead to mistreatment.
When asked if the Spanish origins of the comedy are evident, Leyrado appreciates the adaptation, stating that it feels relatable. Reyna points out the contemporary relevance of the themes, reflecting the need for something to believe in amid changing societal values. Krum found the adaptation to be accessible and close to Argentine culture.
Belloso explains that the adjustments they made to the script were minor, focusing on local comedic styles. He notes that audiences seek representation and answers to questions in their lives, often finding insights in comedies that resonate with their everyday experiences.
Source: https://www.perfil.com/noticias/espectaculos/hoy-somos-mas-conscientes-de-nuestros-derechos.phtml
