Nancho Novo stars in a comedy about the harassment cases of Harvey Weinstein

Nancho Novo, Eva Isanta, Fernando Ramallo and Candela Serrat star in ‘Dirty wheat’, by David Mamet, at the Reina Victoria Theater This comedy, in the version of Bernabé Rico and directed by Juan Carlos Rubio, focuses on the Harvey Weinstein scandal From humor, TalyCual produces together with Pentación, La Alegría, La Claqueta and Kubelik, Dirty Wheat, the latest comedy by David Mamet, premiered in London with John Malkovich as the protagonist and directed by the author himself, which focuses on the scandal by Harvey Weinstein through the prism of humor. Beyond the #MeToo movement to reject sexual abuse of women, Mamet himself emphasizes that Dirty Wheat is “a comedy”, a genre of which he affirms that “it is nothing more than a tragedy rotated 90 degrees. In the film mecca, the head of a film studio spends his time seducing beautiful artists, buying from the press and making films of no cultural interest. For him, only sex, power and money matter. Until a young aspiring actress is reluctant to put a price tag on her career, precipitating the mogul’s downfall to the bottom of the social ladder. David Mamet Tolstoy’s comments once wrote when we read the newspaper for the same reason we smoke: because of the pleasant feeling of daze that causes us. The tabloid business is selling crime and sex. Unfortunately its higher analog operates in a similar way, magnifying the gravity of the news rather than simply communicating it. Scandals in high places have always been the main source of income for the press. Human beings delight in the collapse of the powerful.The joy or sadness we feel at the revelation of their sins excuses and therefore validates our own dreams of greatness. But the British proverb already says it: “A man can steal a horse while another is not allowed to look over the fence.” Charged with the same crimes, some will be acquitted or lightly punished and others will be massacred just because they “don’t like them.” Lack of conscience, shame, or care can lead many to indulge in abusive and criminal behavior. The powerful or favored, who also do not usually worry about being discovered, openly expose themselves to those who are under their power (or wanting to have it). In no sector is this more true than in the cinema. The immediate and profound transformation of the powerful is, of course, the essence of the Tragedy. Aristotle in The Poetics taught us that the protagonist, at the end of the Tragedy, must go through acceptance and reestablishment of the situation. This, they say, awakens in us the spectators pity and fear. Pity for the poor fool, the only being in the whole theater who could not discern the fate that was coming upon him; and fear, recognizing in the depths of our hearts the same degree of bewilderment and naivety. A comedy is nothing more than a tragedy rotated ninety degrees. Othello could be rewritten as a sham in one morning; structurally it is a bedroom sham. A Tragedy allows us to safely experience the concept that we are all sinners; the Comedy, that we are all fools. The Tragedy ends with order restored as the protagonist acknowledges his own guilt.The Comedy traditionally ends in marriage, that is, with a “they were happy and they ate partridges” where the Deus Ex Machina assures us, while rescuing the naive hero, that we are now free to try again (and fail again). In the Tragedy the public is relieved by its moral; in Comedy it occurs through the physiological release of laughter. I have always suspected that the theater is closer to the religious observances from which it comes than we would like to admit. That is why we all arrive equally late to the theater as to the Church or the Synagogue; late and worried if they’ll still let us in. So the theatrical event brings anxiety. Perhaps this is the fruit of the primary fear caused by the revelation of our own human nature. In any case, the acceptance of that premise has provided me with sustenance for a great number of years.