M\u00e9xico.- Un piano es lo \u00fanico que acompa\u00f1ar\u00e1 a Benny Ibarra sobre el escenario en Novecento, la historia que Giuseppe Tornatore estren\u00f3 en 1998 para cine, basada en el mon\u00f3logo teatral del dramaturgo Alessandro Baricco.<\/p>\n
“De repente entro en crisis y digo: \u2018no va a salir, esto no lo voy a lograr, \u00bfqu\u00e9 estoy haciendo? \u00bfpara qu\u00e9 dije que s\u00ed?\u2019. Pero luego digo: \u2018va, s\u00ed puedo\u2019. S\u00e9 que a veces las cosas van a salir bien y a veces no, pero con el tiempo iremos capturando mejor al personaje\u201d, expres\u00f3 Benny Ibarra.<\/p>\n
\u201cNovecento\u201d, dijo, ser\u00e1 \u00e9l mismo en su m\u00e1s \u00edntima expresi\u00f3n y est\u00e1 listo para asumir esa responsabilidad, de tomar \u201cal barco por los cuernos\u201d.<\/p>\n
El personaje principal del exTimbiriche es el de \u201cMax Tooney\u201d, un trompetista de jazz que narra la historia de Novecento, quien fue abandonado en un barco trasatl\u00e1ntico del que nunca lleg\u00f3 a salir. Ambos personajes son encarnados por Benny Ibarra.<\/p>\n
Recorriendo las rutas entre Europa y Am\u00e9rica, a principios del siglo XX, el joven aprendi\u00f3 a tocar el piano frente a millonarios, migrantes y turistas.<\/p>\n
Relat\u00f3 que, teniendo 17 a\u00f1os, el trompetista busca trabajo en uno de los grandes barcos trasatl\u00e1nticos entreguerras. Ah\u00ed dentro conoce a Novecento, un tipo al que describe como raro porque, todas las noches, el director de la banda se le acercaba para decirle que solo ejecutara las notas normales y no exagerara.<\/p>\n
“Aqu\u00ed no hay una historia de amor entre un hombre y una mujer, \u00fanicamente son dos amigos, sus an\u00e9cdotas y la gran novia de todo esto es la m\u00fasica, lo cual est\u00e1 padre porque siempre he estado enamorado de ella\u201d, resalt\u00f3.<\/p>\n
Novecento, bajo la direcci\u00f3n de Mauricio Garc\u00eda Lozano, es el primer mon\u00f3logo que desempe\u00f1a el hijo de los roncaroleros Julissa y Benny Ibarra tras haber sobresalido en obras como Jesucristo Superestrella, Vaselina, Hermanos de sangre y El hombre de La Mancha, por citar algunas.<\/p>\n
Mencion\u00f3 que lo m\u00e1s dif\u00edcil ha sido el ejercicio mental, pues se trata de un texto largo que debi\u00f3 memorizar, entender e interpretar para lograr que, ya sobre el escenario, el espectador sienta lo que les est\u00e1 transmitiendo.<\/p>\n
“Ya vi la pel\u00edcula (La leyenda de 1900), pero de inmediato la borr\u00e9 porque es muy distinta. Es ciento por ciento realista, hay muchos actores y ves el piano de cola bell\u00edsimo cuando aqu\u00ed hay que fabricarlo con la imaginaci\u00f3n. Se ve a \u2018Novecento\u2019 toc\u00e1ndole a una hermosa mujer que tiene la piel transparente, las manos sin joyas y las piernas delgadas, pero todo eso, yo lo tengo que describir, no me apoyar\u00e9 de nada m\u00e1s, por lo que tengo que lograr que el p\u00fablico lo crea\u201d.<\/p>\n
El compositor de \u00e9xitos musicales como Si puedo volverte a ver y Cielo record\u00f3 que cuando concluy\u00f3 la temporada del musical El Hombre de La Mancha se sinti\u00f3 deprimido al pensar que ya no tendr\u00eda un lugar a d\u00f3nde llorar.<\/p>\n
“Pens\u00e9 en d\u00f3nde iba a sacar mi rabia y mis miedos. Pero eso es el teatro, eso es lo bonito de hacerlo una y otra vez\u201d.<\/p>\n
Bajo la producci\u00f3n de Ana Bracho Ahumada y Paula S\u00e1nchez Navarro, Novecento levantar\u00e1 su tel\u00f3n a partir del 1 de octubre en \u201cla casa de Mariana (Garza)\u201d, dijo el actor refiri\u00e9ndose al Teatro Mil\u00e1n de esta ciudad.<\/p>\n","protected":false},"excerpt":{"rendered":"
M\u00e9xico.- Un piano es lo \u00fanico que acompa\u00f1ar\u00e1 a Benny Ibarra sobre el escenario en Novecento, la historia que Giuseppe Tornatore estren\u00f3 en 1998 para cine, basada en el mon\u00f3logo teatral del dramaturgo Alessandro Baricco. “De repente entro en crisis y digo: \u2018no va a salir, esto no lo voy a lograr, \u00bfqu\u00e9 estoy haciendo? 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