Bolsheviks

In these times that we have built, that we have had to live through or that have been left to us as an inheritance, many social movements are considering what we can do to save ourselves. To save the planet, people, social relationships, beliefs, values... Everyone sees the world in their own way and wants to solve it as such.

BOLXEVIKS seeks coherence, seeks it to dissect it and find the essential point of the work's approach: what does it mean to be coherent? Coherent with whom? With what? The idea against or in favor of oneself? Learning or not to do without certain aspects in favor of a common idea. Is commitment sacrifice? Perhaps a common idea will never be coherent with an individual who, after all, is just that, an individual. And not a community. And perhaps without global thinking, we will never become social, sociable, and respectful beings.

Perhaps it's all a matter of being brave or cowardly. Or maybe not. And as a young actress that I am, and without wanting to put ahead in the staging some very big social or philosophical knowledge in my baggage, I bet on the mechanics of the actors, on the three main characters. On their relationships, fears, and attitudes towards a simple but not simple question: is fidelity to an ideology compatible with our social, professional, and spiritual life?

BOLXEVIKS is a text that I adore and admire, because I feel identified as an actress, an integral part of the Solitary Company, and as a person. And because this "revolutionary tragicomedy" is the definitive presentation letter of our company: where everything is discussed, argued, and questioned. Exhausting but truly rewarding. And with all this, I see that I can't stop asking questions. I'm sorry. Answer them and save me. But save me from what?

Júlia Barceló