Hugo Midón ya era en 1989 una figura reconocida en la escena local cuando lanzó a pantallas y escenarios Vivitos y coleando, un título acuñado en forma espontánea que perdura a través de décadas y generaciones. Una consigna existencial que se expresa en el juego de los payasos, en sus ansias de encuentros en libertad. Midón ya había renovado el teatro para chicos con la década ininterrumpida en cartel de La vuelta manzana, iniciando uno de los caminos más fecundos de la comedia musical, en la dupla creativa que formaba con el músico Carlos Gianni. El Imaginario (1980) y sobre todo Narices (1984) marcaron luego el rumbo que tuvo su desarrollo central en las tres ediciones de Vivitos y coleando a partir de 1989, precedidas por su versión como programa televisivo en ATC, la actual Televisión Pública.
Andrea Tenuta, protagonist with Roberto Catarineu and Carlos March of the founding stage of that saga, remember from Spain, where he resides, the precise moment he was born Vivitos and copeling:
“There were no cell phones. We were spending the summer holidays, in a house he had rented in Marindia, the Uruguayan spa of my childhood and adolescence. Hugo had come with his girlfriend at that time to stay a few days and with other friends we were having a great time. Before coming they had called him from ATC, to propose to do a program, for children, of course. And Hugo had asked them for time to think about a proposal. The house did not have a phone, and the communications meant 5 kilometers of taxi to Atlántida and the corresponding wait until they assigned a cabin and called the number you had asked. The deadline was fulfilled and the call for the call to specify the program came. I like to imagine Hugo during the adventures thinking about those wonders that appeared to him in his head. At the hours he returned to the house, and said: ‘They asked me what I was going to call, and I realized that I had not thought about it, so I said the first thing that came out: I lived and copeting’. The title rumbled on the walls, and even seemed to hear some triumphant chords improvised by Master Gianni when he said it. Unforgettable."
Vivitos on television
The program began to broadcast at ATC at the beginning of the 1989 season, it was going every day from Monday to Friday.“We train a discipline of writing and composing with what came out, almost improvising, to then have time to rehearse and record.Each program was on a theme of everyday life, breads, mirrors, hats, suitcases, songs that fired scenes and songs from the set of red noses. "
"On television we were not alone," recalls Gianni."There was Magician Emmanuel, who always made a trick and Andrea Tenuta said: How intelligent the magician is!" "They also starred in the program Los Dogs Puppee Rito and Unito, manipulated by Silvina Reinaudi and Roly Serrano, in their Titiriterro times.According to Gianni, they were the public's favorites: “We sang a theme with them, I piano, on the theme of the day, type‘ I really like boxes without lock, play ball and eat Ravioles de Ricota ’.And Midón came, he put back, big as he was, and he said: ‘What are they doing here?’ ... ‘Forgiveness, we are singing a song with the teacher,’ they replied.Then he threw them. ”
The great film promoter for boys who was Víctor Iturralde, presenting short animation of the Canadian school, also participated.And a group of five boys, students from the Silver River Theater School, which was directed by Midón.One of them was his son, Julián Midón, at that time of 12 years, today musician and diffuser of his father's work.“At first we had an individual scene, every day one day a week, with my old man, who was dad of all of us;and then another with the whole group.But the recording days were very extensive and exhausting for us, we forgot the lyrics.So, soon, only the individual scene was left, ”recalls Julián Midón.
Some scenes left the difficulties that were presented to Midón to assemble what he intended.“There were texts of songs that arose from the relationship between the producer in charge of ATC and Midón.Hugo asked for something: ‘For tomorrow we need flute bread, because we are going to do as we play the flute.’But small pancitos appeared.Before the protest, the producer always answered: ‘Do you know what happens, Midón?’Then he transferred him to a song, the well -known ‘I put the shoes’, in which he says: ‘The problem, the biggest problem, is to sit down, without looking for the solution,” Gianni recalls.
They were 90 programs.During the course of them there was the turbulent end of the government of Raúl Alfonsín and the rise to the power of Carlos Menem."While we recorded in ATC we saw in the monitors the looting of the shops," says Carlos Gianni.One of the themes issued in Vivitos and cooling revolved around Aladdin, his carpet and the cave of the thieves.Gianni says that somewhere did not fall well and there was an abrupt cut: "They did not renew the contract."
Throwing the theater
Thus, one of the most ambitious and creative experiences recorded on the local small screen for the boys was interrupted.Midón and the clowns, imperturbable in the power of calling their red noses, continued their career in the theater, already without the company of cinema, magic and puppets that accompanied them on television.
They were still well alive and cooling.The premiere at the Metropolitan Theater had its continuity with Vivitos and squeezing 2 and 3, which led to the Plaza complex, adding five seasons.He began with the trio formed by Tenuta, March and Catarineu, next to the Troupe of Clowns that Integrated Victoria Vieyra, Marina Svartzman, Daniela Fernández, Robertino Loras and Diego Jaraz.The departure of Andrea Tenuta - which began in 1992 the successful musical of Boleros de Arráncame Life, by Betty Gambartes and Diego Vila, along with Chiccast of the apple return.The costumes, a particularly careful element in Midón's posts, was in charge of Mónica Toschi and the choreography was Ricky Pashkus.
How did Midon formed those casts that had a huge scenic charism?He had a particularly attentive look to identify artists who could be part of the optimal constellation for his works.Roberto Catarineu (Sugar in his two editions, wood of kings) was already a known actor when he summoned him Midón."They went to see me the theater with Gianni and they offered me to make noses, Midón told me that I wanted me to do everything I knew how to do," recalls Catarineu, who came from music, pampering and dance, before venturing into the theaterof text.
Andrea Tenuta was, on the other hand, in 1980, a young actress of the first cast of the enchanted galley, the group led by Héctor Presa, who presented himself with the work streets by the show contest for boys of the Book Fair."Midón also appeared, I think that with the apple return, and we beat him!" Remember the actress.“There Hugo saw me.At the same time they called me to offer me the driving of the Margarito Tereré program.I didn't feel trained and I said no.Then they called Mónica Núñez Cortés, who acted in the imaginary, of Midón.As she accepted, Hugo called me to replace her. "
Marcha's discovery for Midón was less conventional.“Game football from almost before birth.On Wednesdays, some actors got together to play football in Ríver.Hugo Arana, Ulises Dumont and Hugo Midón were also.There he asked me: ‘Are you actor?I am in a project ... ‘I asked him why he proposed it to me:‘ Because seeing you play football I woke my curiosity your way of moving ‘”.
“Midón was the one who discovered my clown, he went to get him out, I had it, because I am who I am thanks to my old man took me to see Chaplin to the cinema.But Hugo put my nose and authorized me, ”says March.“I put my nose, I transform and encourage everything, but also respecting a lot.The Midonian clown is a very sensitive being, says the song: ‘To be a good clown, my friends, it is not a matter of putting on a nose, you have to stop looking at the navel and learn from a little to live’ ”.
The three –March, Tenuta and Catarineu - were part of the cast with which a special of The Imaginary for Television was recorded, in 1981. Berugo Carámbula were as protagonists, who came from doing it in the theater, and Ana María Cores, inPlace of Dalma Milevos, who had released her in the Odeon.
That trio of secondary actors were the seed of the launch of the adventure of red noses of Midón.At first, in noses, concentrated in the Tenuta-Catarineu duo.March went to all Sunday functions with her three children.“They were boys and I told them we were going to Mass.And I really felt like that, it was something religious. "
By assembling the project of Vivitos and coleaging incorporates Midón again to March, who defines his character, Cama, as a mediator between Ante and Rocat, those who embodied Andrea Tenuta and Roberto Catarineu.
March speaks of “My gift“ when it refers to some quality that recognizes itself, attributing in some way a certain paternity to the author of Vivitos and placeing: “For me, Hugo appeals to Camar to generate a trio, a conflict, which, whichHe graphs in the song 'And I know why', in which both Rocat and Camar, are in love with before.Rocat is there the most conservative, he cannot understand that two clowns can fall in love with the same clown and shrimp is the most open, Open Minded, and is always mediating, looking for a third more conciliatory look.Hugo hit her because later, over the years, I realized that this is one of my gifts: gather people, beyond the differences and conflicts that may be. ”
"Midón knew how to build casts that got along, we had a lot of fun," says Catarineu.“He trusted us as actors, he let us do since we grabbed the idea that was in the songs, which were the perfect synthesis.Midón and Gianni, who formed a huge duo, understood the musical dramaturgy. ”
The cycle of Vivitos and Coleando followed him as an epilogue crazy memories, in 1995, with a potpourri of the best scenes of the three versions of the work, starring Ana María Cores, Divina Gloria, Favio Posca and Carlos March.They were accompanied on the stage of the San Martín Diego Jaraz Theater, Diego Reinhold, Marina Svartzman and Victoria Vieyra.The costumes, always brilliant, was again Mónica Toschi, while Doris Petroni joined Pashkus in choreography.
"It was wonderful, both the big and the boys enjoyed it," recalls Ana María Cores.“I will never forget, in San Martín to enter the function we rose into an elevator that reaches the level of the Martín Coronado room.When I went up for that elevator, I appreciated every day for doing the function.She said: "Thank you, my God, for giving me this."The show was fantastic.Having worked with Midón and Gianni has been a milestone in my career. "
The origins of red noses
Noses was the beginning of clowns stories in Midón's dramaturgy.Two clowns, played by Andrea Tenuta and Roberto Catarineu, left the attic in which they had hidden a long time, "so that the things of the color of the butterflies are seen, so that life is seen once and again,"as they sang."The clowns are the ones who can talk about everything, a clown is a person who breathes for others," Gianni summarizes paraphrasing the lyrics of some other song, "serious men were the previous ones.And now the furniture was dusted, the covers were taken out and were on the air. “The work released in the then Lorenge Theater (today Apollo) generated an explosion of joy and unique emotion, in which adults were involved with theirkids.
"Noses was the first work of Hugo Midón," says Theatrical Director Manuel González Gil, who many years later, between 2015 and 2018, put Vivitos on stage again and running 1 and 2–.That work shocked me.I cried, I hugged Midón without knowing him.From there I was his eternal admirer. ”González Gil was not another admirer.He was another reference for the theater for boys in the 80s and shortly after he became one of the main billboard of Corrientes Street with the legendary the musketeers, originally released as a child.
González Gil's gaze on Midón's work was reaffirmed later: “Something similar happened to me and copeting.I was doing the musketeers in a room in the square and Vivitos was in another of the same theatrical complex.Those clowns went out and told you: ‘I want to tell you that after so many years, find again it is very necessary.’And they shake hands.We all knew that we came from a fierce and tremendous process, and from this need to find face to face, to look at us again ... Then they said: ‘I see you well.You are always looking.I see you well, vivito, vivito and cooling ’.Everything had another meaning, which went far beyond words, that was Hugo Midón.Everything went, always, much further. "
The letter of the central theme of noses already hid the title that came to mind to Midón in the public telephone of that Uruguayan beach: “In each clown there are a thousand clowns uploaded to the same stage (...) because we follow the clowns together, the thousand clowns, live and squeaky.We have nothing to lose, we have nothing to hide, we have nothing, and yet we have more. "
Andrea Tenuta goes a little further to track the conceptual line that led to Vivitos and cooling: “I think you live and run is the natural conclusion of a trilogy that begins with the imaginary during the dictatorship, where Hugo imagined how things could be , if the guardian of the square was not prohibiting everything. In noses, with the advent of democracy, the clowns who had remained hidden in a attic, brought out their red noses, formerly prohibited by the guardian, to sniff, timidly, how the new life was going to be. Until, despite the countless difficulties we had to relearn what the issue of democracy was like, we arrived vivitos and cooling to enjoy the incipient freedom of expression. Hugo followed a thread, a golden thread with which he was weaving a loving network. He had some glasses with which he saw the depth of the ‘wonderful objects’, a broom, a desk, a spoon. He could create an entire world with a duster. Only with a flute bread he threw ideas into the air, of those that accompany you and brighten you all your life. "
After Midón's departure
After the early death of Midón, at age 67 in 2011, the following year crazy memories was reissued, in Cervantes, with staging of his long -year -old Assistant Lala Mendía, with Omar Calicchio, Karina K and Osqui Guzmán in theprotagonist papers.
In 2015 Manuel González Gil resumed Vivitos and clashing seeking to maintain absolute loyalty to the original spirit of the work.And also to their protagonists: “When they came to look for Carlitos March and Roberto Catarineu home and told me that they wanted me to lead them in the new version, we called Andrea Tenuta to Madrid, where I lived, to see if he encouraged to crossthe puddle.She had said she did, but then she became impossible.We started looking for who could take her place and the three of us first bowed to Laura Confort (the rebel novice, almost normal).We went and convinced it. ”For Vivitos 2, as Confort was pregnant, they resumed the search, which did not delay much."We think of Laura Oliva in unison," confirms the director.
“Since the absolute admiration that I always had for Hugo from noses, I tried to surround myself with his team, all he wanted was to be respectful, that this new little lived and copeting was as faithful to Hugo that I could do.I wanted to put myself aside, or appear, just carry that with the same aesthetics with which Hugo dreamed and wrote it.That is why I gathered all the creative team of him: his dressing room Mónica Toschi, his choreographer Doris Petroni, to Jorge Ferrari, who worked scenographically many years with him.And, obviously, Carlos Gianni's music. ”
He also took as an assistant to Marina Svartzman, the actress who had had more actions throughout the entire trajectory of the work."The years go by and I am still surprising the news that you have alive and placeing, so are the classics," says Svartzman today.
For these new versions of the first two theatrical chapters of Vivitos and placeing, represented with great public success in the Picadero, González Gil only introduced two variants: to the typical scheme of the Midón-Gianni duo of the stage of the scene acted, followed by the song that madeA synthesis with significant projections added musical advances during the previous sketch, to install the song already before it really started.“And I accelerated the story a bit.The rhythm of the story of things has changed year by year, it is very different the time we can now have attention, to endure a story.Now the WhatsApp button appears to accelerate the message.But, at the same time, I stopped in beautiful situations, like one in which clowns are absorbed by listening to an opera fragment. "
"It was a very happy return," says González Gil.And something happened that due to a logic of the times did not happen when it premiered: the parents came to see the work they had seen when they were boys, and they showed it to their children.“The parents knew all the songs and they had moved them to their children: at the end of Vivitos and cooling, the whole audience was giving the songs.It was extremely exciting to see them. ”
And keep the party
The recordings of the television program that gave rise to Vivitos and placeing were considered lost until very recently.When Midón was going to ask them, they told him that they had overwhelmed, that they didn't exist anymore.Actually it was nothing more than neglect of those who attended it, absolute lack of interest in rescuing that material.
Theatrical producer Roberto Bisogno, currently in charge of the Department of Cultural Management of the Directorate of Culture of the Chamber Deputies directed by the producer Ángel Gras, managed to trace the old cassettes with the recordings, which were really still filed on public television.The digitalization of the chapters that were in more accessible technical supports began at theMonday, July 19.Then they will remain freely available for those who want to see them.Diego Reinhold, actor of several midonian positions, presents the videos with poetic references to the work.And the whole of the protagonists of all kinds of this saga will participate in a conversation for Zoom that will prelude to the issuance of the historical recordings of Vivitos and place.
“Midón was an advance, in 1989, in an episode called‘ dolls and dolls ’, and that is part of the rescued material.He says that there are no colors for boys and girls, that there are no toys for boys and girls, that the game is one, anticipating the theme of the genre that is today in the mat, ”says Bisogno, who was a producer of several works by MidónLike the Fernandes family, in the square, in 2000 and a remake of Vivitos and copeting, in the San Isidro Auditorium, in 2002, which went on touring in Spain to a 60 -functions marathon.The cast of that tour was formed by Omar Calicchio, Diego Hodara, Jorge Maselli, Gaia Rosviar and Alejandra Perushi.
Together with this virtual reappearance of Vivitos and be recounting in Buenos Aires, for now, the last episode of the saga, which had a first phase in Spain: vivito and thus place, thus, in singular, a unipersonal of the eternal Midonian clown Carlos March, which will go on stage this Sunday at the flirtatious El Alambique, in Villa Urquiza.
“When we finished in the Picadero at the end of 2018 I had a time of mourning, which I left with a feeling of leaving the comfort zone, kicking the board and challenging myself.I took a passage to Spain and on the plane I finished assembling the solensonal with the scenes he made in Vivitos and copeling, ”says Carlos March.He presented his show in Barcelona and Madrid in 2019, before the pandemic, and now, after the forced pause, he takes it up in Buenos Aires, introducing some variants such as breaking the fourth imaginary wall of the stage, to go directly to the public."But always respecting the spirit of Midón's work," he clarifies.I feel alive, more than ever. "
