We have to be aware of our own shadow

In August, The Threepenny Opera, written by Bertolt Brecht with music by Kurt Weill, will return to Buenos Aires after nearly a century since its debut. The production, which will run from August 21 at the Teatro Presidente Alvear, marks the first joint production between the Teatro Colón and the Buenos Aires Theatre Complex. Directed by Gabriel Calderón and with musical direction by Annunziata Tomaro, the play was created during the final years of the Weimar Republic and offers a sharp critique of a world in which criminals, businessmen, and authorities operate within the same system. Calderón sees contemporary relevance in the work, yet he emphasizes the importance of avoiding making the performance seem like a direct commentary on today’s issues. Instead, his approach focuses on highlighting the contradiction inherent in the piece and working with it throughout rehearsals. Calderón described the significance of this collaboration between two institutions with distinct specializations. He noted that public organizations each have their own internal dynamics, and while he does not deeply know Argentina, he observes that there are shared goals and creative intentions. The challenge lies in aligning these different approaches into a cohesive production. Despite initial difficulties in understanding one another, he believes the partnership can lead to meaningful results through mutual support and complementary strengths. He acknowledged that while the process might be slow, the potential for synergy is promising. The decision to stage The Threepenny Opera came from the initiative of the Teatro Colón and the San Martín theatre. They proposed the title, seeing an opportunity for collaboration between a venue focused more on theatre and another dedicated primarily to opera. Calderón explained that Brecht's vision for the work challenged traditional notions of grand opera. While many associate opera with large orchestras and elaborate productions, Brecht sought to make it simpler and more accessible. This led to a unique form of operatic expression, one that is small in scale but rich in theatrical depth. With over 20 songs and more than 20 actors and musicians, the production is both modest and ambitious. Calderón recalled a meeting before rehearsals where he remarked that the work was “a big play.” His colleagues responded that although it was small compared to typical Colón productions, it was still a significant undertaking. The complexity of the project became evident as they considered the number of performers and the intricate musical arrangements. Yet, despite these challenges, Calderón felt drawn to the work. He referenced a phrase attributed to Brecht, though not directly from this particular play, which resonated with him given current global circumstances. In times when defending obvious truths feels necessary, Brecht’s texts carried a dangerous simplicity. His works were not merely about stating clear messages but about how the staging and performance itself constructed meaning. Brecht’s methods often involved distancing techniques to avoid direct propaganda. His goal was not to simply declare a truth but to explore how the entire theatrical apparatus could shape perception. This philosophy continues to resonate with Calderón, who views the play as a powerful tool for engaging audiences with complex social realities. By focusing on the structure and execution rather than the content alone, the production aims to provoke thought and reflection. The challenge, as Calderón acknowledges, is to balance fidelity to the original work with the need to present it in a way that feels relevant without being didactic.