The man who cried Mauricio Macri. It seems to be the new nickname of the theater director Ricky Pascus, who was in charge of Argentum, the federal musical and dance performance that was presented at the G20 gala at the Teatro Colon. And that ended with the public tears of the Argentine president.
"I never imagined what would happen, and comments made on the basis of what happened left me speechless," says Ricky this week, still surprised by the congratulations and repercussions that come to his cell phone. The last were the statements of the outgoing Mexican President, Enrique Pena Nito, and of Michel Temer, the president of Brazil, "saying that they thank Argentina for the performance."
"From humility, it's hard for me to talk about the consequences … I can not believe it!", Pashkus continues the dialogue Clarin and with a surprised voice when talking about this project, which began to design at the beginning of the year, when it proposed the proposal to make the show "federal, inclusive and varied." These were the basic viewing points.
Makri called me and told me that the opinion of the various political leaders for Argentum was very good.
Riki Passkus, creator of the show "Argentum". Photo: Constant Low.
But what took over all the covers was Maqri's weeping and emotion. "It was inconceivable, like Angela Merkel's emotion and the cry of Argentina, Argentina & # 39; of artists. It makes this cultural contribution. They say that in the G20 there has never been a cultural performance that has changed in some way. It was something special that happened, "says the choreographer and teacher -to classes in the dance and theater studio Riki Pashkus-, who received congratulations from the president himself: "He called me and told me that the opinion of the various political leaders for the show was very good."
– You were waiting for the call of Makri?
– No, what will I expect! When they told me that I would talk to the president, I thought they were loading me. What he told me was that he was very grateful, that he felt that the ideas in which the play was presented were well represented and thanked me for the evaluation of the opinions given to me by the day I came to see the essay. He even told me "We have to repeat that, I take that challenge. I'm very happy Argentum did me very well"
Juliana Awada, Mauricio Macri and Angela Merkel and Narendra Modi, at the completion of the presentation at Teatro Colón. (The G20 press office through the AP)
– Makri contributed to the show?
– He came to see you when we were about half the rehearsals. And it was very clear. He never intervened in the freedom of art, but with small contributions. And now, when she called me, we made comments between the two which we can improve when we repeat it. What he told me was that the city deserved to see it. He was very polite in the dialogue. He feels much of this project and so is.
– And what do you want to improve for the new version?
– (Laughter) She asked me "Do not you think he needs a little more stone to finish?". And he is right I suggested that I turn on a rock singer in the end and took the idea. Now I see who should turn it on.
– Why do you think he started crying?
-When I saw him and dancers cry, I said "Something is happening here." Something similar happened to me at the moment of chamamé and the departure of Julio Bocca, when the audience began to clap their hands as though they were in a rock. I think he was crying for relief, as a moment of relaxation. But also, apparently, it created emotions this non-verbal spectacle – something that had to do to reach the presidents – merged with the scenic values of exquisiteness, such as Julio Bocca, Morada Godoy or Ballet Salta, more native values of our country, which are not known. This fusion of different natures representing the earth has created a very strong synergy. And the tension is broken and this relief reveals that there is light. That's my perception. I do not think that this can change the world, but culture has also been discredited, and it has been shown that art generates things that have not been achieved differently.
– The practice of "Argentina, Argentina …" was eventually tested?
– But there is no way! I tell you what happened to me … the night after the presentation, I found a group of dancers, which people applauded because they recognized them. So I went to greet and one man told me "I was the one who started the cry of Argentina. I felt you should call him. I apologize. I told him it was a goal I did, a cry of the heart, and that I did not have to apologize for it. I gave them an order that eventually they will look at the boxes and say hello, but no artist can ask them to shout "Viva Argentina!" It's very private for each one. It was a very strong surprise.
– Have you convinced Julio Boca to dance again?
-Many Because Julio left Colon angry. To that extent they took his retirement. At first he told me he was not crazy. Then he would give me an excuse that it would be difficult to get there, after which he did not want to be hypocritical and not publish it, and finally he told me about back pain, so I suggested doing something short. I went from apoko to one day told me "Well, I'm going."
– Do you talk to him after the show? Did you do well?
– It's doing very well. It was a repair. I wanted a tax for Julio, a partner and a friend for me. People think it's their cultural representative and it's as it is, regardless of whether they are retired. The day after he wrote me "Tell everyone that I felt very good, there was a beautiful energy in place. I congratulate you, it was very nice."
Ricky Pascus: "Participation in the" Argentine "made Julio Bocca very good." Photo: Constant Low.
– How did you accept the criticism?
– The artist must not defend his job. With this, I know that criticism is not only about the artistic fact, but about the institutional one. Then things went missing from this or that province, but I had to limit myself to 40 minutes. We talked about mapping and we compared it to the opening of ShowMatch. That made me laugh too because of this division between the prestigious and the popular. They also asked why Colon's stable ballet was not part of him, and that was because we needed people to dance a few rhythms, despite the fact that the original work had to be practiced from scratch so we could not be six hours a day with a stable body, leaving them unable to continue their projects. To all of this, add that at one point I thought "It will not be that one day for others tell me this is canceled". In my heart I had that doubt. Luckily it did not happen …