Maria Pia Lopez: “Fiction served me as an exercise in introspection.” The writer presents the theatrical version of her novel “I don’t have time”

“Motherhood will be desired or not.” In this premise that feminisms are installed by force, it is framed I have no timethe play based on the novel of the same name by Maria Pia Lopez. On stage, two fencers fight against time and risk one of them having a child. With sarcasm, humor and a lot of thought, work -who takes the stage on Sunday at 18:00 at the El Extranjero Theater (Valentín Gómez 3378) – invites you to think about what lies in the desire to be a mother.

with the address of Chintia Miraliathe staging is done by Leticia Torres d Caroline Guevaraand the drama stems from Lopez’s work with Miragia and Guevara to adapt the novel, which she published in 2010. This text, written in the form of a monologue as an intimate diary, condenses a woman’s many worries about the passage of time. but on stage the fiction is built with two characters and with a focus on the mother project.

“When I wrote the book, I wanted to write fiction, but when I was asked if I had already started, I said, ‘I don’t have time.’ Then one day, while I was on vacation, I started playing with that phrase. And in writing, the issue of lack of time has taken on several dimensions, such as the fear of death, old age, illness, and motherhood. ”commented the writer and sociologist regarding the germ of her first theatrical work.

Inspired by his own biography, Lopez creates challenging material because it delves into the depths of existential issues that today, in a time of cultural change, require new readings. “I wrote the novel when I was 40, the age at which I began to think, among other things, whether I wanted to be a mother or not and whether there was a real desire or, on the contrary, internalization of mandates. Fiction served me as a kind of exercise for introspection.

Twelve years have passed since the publication of the novel, and during all this time new debates have opened up. Do you notice that even in this scenario, the maternity mandate is still valid?

– These years have been a great transformation and the legalization of abortion has raised the issue of the presence or absence of desire for a mother, and I think this is very important. I believe that this law, together with the law on assisted reproduction, are very strong legal artifacts and that they show that beyond biological coincidence it is necessary to think about motherhood out of desire. And this, in terms of shaking the mandate, is very relevant, because then being a mother is no longer thought of as an obligation or subordination to biology. We live in a context that raises many questions, but because we are a sensitivity built in a certain way, in a certain social structure, with its values ​​and expectations, it is not so easy to fight against the mandate. We are in a time when a horizon of greater freedom is opening up, but in many cases, at the same time, we cannot end up feeling satisfied with the fact that we are exercising these freedoms.

How did you do the adaptation work?

– It was two years of work. Cynthia Miralia and Carolina Guevara and I knew each other from shared activities related to feminist militancy, and together we participated in various actions related to the campaign of No less. The first person I spoke to about this project was Carolina, and that was in 2020, shortly before the isolation was ordered. For this reason, the first thing we did was start working through Zoom to read the novel, and there we chose the parts that would remain. Later, the work on the construction of the drama began and only this year Leticia Torres joined, because the original idea was to make a one-man show.

Why did the idea of ​​taking your novel to the theater appeal to you?

– Because I have a great affinity for theater. I am an avid spectator and I go to see works very often. Of all the arts, this is the activity I missed the most during the pandemic. The theater causes a very strong shock in me, which I think is related to the perception of the fragility of those who act. Everything that happens on stage stays in a person’s body.

The transmission of an artistic text in the theater implies that what is written in solitude, for individual consumption, becomes public and for collective reception. In this sense, changing support is a challenge.

– Yes, almost everything in the work is text from the novel and when you write, you make what is written accessible to people who will read you, without being able to see their reactions. With literature you have much more freedom to write against the politically correct. But when I decided to go to the theater, I felt that I would be very exposed and this situation caused me some discomfort.

And now that the work is at the premiere, how do you rate the experience?

– I am very surprised to see in each function how the tonality of the audience changes. On the day of the premiere, for example, there was an awkward laugh in the audience, but in the next feature this did not happen. And for me, when I saw the work for the first time, I was embarrassed because I still didn’t have enough distance from the text to prevent that from happening. And later, when I started listening to a viewer’s comments, I came to terms with the situation a bit, because I realized that I had to accept that what I had originally written had become something else. The great thing about theater is that the way a text is embodied on stage gives a different meaning to that content. And what I think needs to happen to me now is that I need to forget that work is about something of mine, and enjoy it more.

  • I have no time can be seen in El Extranjero Theater (Valentín Gómez 3378), Sunday from 18:00

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