El corazón del daño

(2023)

“Silence is oneself, too much,” María Negroni quotes Guimaraes Rosa in her novel? Essay? Autofiction? Epic? Poem? that she called El corazón del daño (The Heart of Damage). This strange artifact, which reaches us in book format, becomes an obsession after reading it. María Negroni invites us to take a leap into the abyss, a powerful journey to the beginning of life, writing, activism in this country—ours—and in the world; to traverse today, yesterday, and tomorrow.
From the beginning to the end of this prodigious book, the first and central relationship (the heart of damage?) between the narrator (María Negroni?) and her mother emerges, omnipresent. Our stage version centers on this relationship, on this battle in time and in the heart.
The opportunity to listen, to embody the voice the book proposes, convinced us that the theatrical form was the right one to bring this text to the general public.
That voice and that body belonged, in my imagination, to Marilú Marini.
Marilú Marini is not an actress, she's a force of nature: any viewer who has seen her work will never forget that experience.
I was fortunate enough to share two projects (and many very happy days) with Marilú – together we performed “Todas las canciones de amor” by Santiago Loza, and we also brought to the stage a long-cherished dream of Marilú's: a show about Saint Teresa of Jesus that we called “Sagrado Bosque de Monstruos”. With texts by Santiago Loza and Inés Garland, we brought it, along with Oria Puppo to the venue María Guerrero, the main stage of the Teatro Nacional Cervantes – Argentina’s only national theatre.
El corazón del daño, a prodigious text in its sensorial support, multifaceted in its plot, with topographies as recognizable as our childhood, requires an actress like Marilú.
Having her enthusiasm is already a reason for success.
This project will also allow the Spanish public to get to know Marilú Marini: a debt that, fortunately, can be repaid.
This entire adventure would not have been possible without the complicity of Patricio Binaghi, who a few years ago, in a Buenos Aires café, lit the flame of this project, which is now happily entering its fruition phase. Alejandro Tantanian.

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Photos: Vanessa Rabade

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