"I thought poets wore long hair," says Quimet, one of the protagonists of " The floral games of Canprosa. "These are puppies of marionettes," says Nofre, a justice of peace. "And the old ones, who were cut off?", Asks the first. "And what should be cut! The elders are cut in half and the other gives the women the task of filling the medallions." They still do not give him a pinch, they already have twelve orders. "This comedy in an event by Santiago Rusiñol (1861 -1931) can be seen at the TNC until November 11th, transformed into a musical by Jordi Prat i Coll. Sets the floral games of a small Catalan city at the beginning of the 20th century. They take the lead of a "veteran poet" and appear "thin and feminine voice", bards, other fats, "with much mascara of health and voice", and even a journalist and expoet considered "a poor planet" attracted to these stars ".
In opera "the noblest thing of all, poetry, is degraded in a routine ceremony, based on interests that despise it", writes Raül Garrigasait in The fugitive who does not leave (Ediciones de 1984), an essay that investigates a writer and painter to whom he has been remembered, and always from prejudices, perhaps because he is a multifaceted and above all uncomfortable figure. Rusiñol can be claimed by his novel pastime, as L & # 39; Avenç has done The Catalan of La Mancha (1914) The "fat girl" (1917) i Josepet de Sant Celoni (1918) -, from the anthropological and costumbrist aspect of The gray city (1902), saved by Edicions in 1984 in 2007, on the pictorial side: motivating exhibitions such as the Museum of Rural Life (2017), the Málaga Museum (2014) or the reopening of the Cau Ferrat in Sitges (2014) – or through theatrical performances .
The TNC has opened the season with The floral games of Canprosa and will present in December a theatrical monologue based on The "fat girl". Also L & # 39; Avenç, an editorial that has had a leading role in the expansion of the rusiñolisme, now brings together six of the most irreverent works of the author in a volume. They are Freedom! (1901) The floral games of Canprosa (1902) The Hèroe (1903) The mystic (1903) The good police (1905) i The fraternal "snack" (1907). "All six works share, despite the dramatic gender differences – there are two dramas, three comedies and a farce – scenarios that are rather vague to be representative of any city or city in Catalonia," explains Margaret Casacuberta, one of the main scholars of the author, who signs the prologue for the edition. "They also share the attention of mediocre characters, of what we would call" common people ", characters that reflect the vices and virtues – times of a gregarious society, closed, gray, intolerant to difference, stillness, that thinks and speaks with stereotypes and acts of automatism, prejudice and arrested parties ".
Politics degrades poetry
When it was released The floral games of Canprosa The hustle and bustle was so remarkable that Rusiñol had to write an introductory note at the time of publication of the piece, in which he stated that there was "sin without principle" that some had "wanted to see" and, on the other hand, Il his unconditional love for poetry: "I love him so much, I consider it […] Necessary in a city like ours, eager to fill it with chimneys, has no time, no desire, no will, to take it off as it is to take off, the poetry that falls into the bottom of the soul that, instead of being sacred, imitates to take it to fairs and casinos ".
Rusiñol believed that patriotism did not go beyond the value of winning works, while denouncing what was happening. "He criticized the politicization and folklore of a ritual that should be based on aesthetic issues," recalls Garrigasait, who The fugitive who does not leave Dedicate a few pages to analyze the complex political position of the author: "Modernisme has been described as a movement that has tried to make Catalonia a modern culture.Rusiñol has always looked at the hegemonic ideas of modernity, such as progress and 39, equality, with irony, that's why the state is another idols of the modernity that the author wants to bring down. There is no work in which the vision of the state of Rusiñol is positive. "The book analyzes The Hèroe, The floral games of Canprosa is The auctioneer of Mr. Esteve, which long before arriving at the theater was a novel, published in 1907. "The company is made by Mr. Esteve repeated, and the authentic Mr. Esteve has one natural spell this allows you to always do it well ", writes Garrigasait.If you thought, it would be ruined in an hour." It is not a person born to question the order: his son, Ramonet, threatens to subvert him because instead of following family activities, he intends to devote himself to art.
"Rusiñol was a descendant of textile entrepreneurs in Manlleu, and after losing his father and his mother at age 20, his grandfather Jaume wanted him to lead the company," says Garrigasait. He married Lluïsa Denís, very much in love with her, and two months after the birth of her daughter, Maria's grandfather died and started preparing the flight ". The fugitive who does not leave It breaks with the image of the bohemian who leaves the family planted to become an artist. "The economic aspect was always present," he says. When he left, he gave the women the power to have the goods and did not miss anything, either to her or to the girl. Installed in Paris between 1889 and 1895 [hi va arribar als 28 anys]Rusiñol lived in a beautiful apartment in Montmartre, but among all the artists he frequented was the one who had a clearer idea of money. "
I met Erik Satie
It was in the French capital that Rusiñol painted a young Erik Satie in 1891, when the composer was 25 years old. The painting, which is currently in the Joan Maragall Archive, was the detachment of the first of the four essays that make up the Garrigasait book. "In this text I follow some of the similarities between the art of Satie, who invented the 20th century musical aesthetics, and that of Rusiñol," he explains. There are, among others, immobility and antisocialism ".
The author completes a new edition of the volume of contemplative poetic prose prayers (1893), who will publish Edicions of 1984 in December. "I'm so interested in the Rusiñol that he left and who was looking for art for the art as the one who came back, what was demoralized and solved life with his wife and daughter," he admits. From the age of 40, the artist's great artistic effort has been to connect with the public. "He did so with accessible, but courageous and engaging works, also charged with a provocation that author has accompanied until the end of his career, when he published Maximum and bad thoughts (1927). The book ended up like this: "And finally, the one who writes a book of thoughts has had a bad idea to write them, because all these thoughts can be written to the contrary."
An essay and a collection of irreverent works
The fugitive who does not leave
Garrigasait defines Rusiñol as "a reserve of art and literature that is waiting" to revive it. He explores the bohemian years of Paris, approaches the theoretical appearances of the state in the novels and dramas of the modernist author and gives an alternative image to his last decades of life.
After recovering three of Rusiñol's most representative novels – among which stands out The "fat girl" – The Avenç aims to bring together in a prologada volume of Margarida Casacuberta six of the most authoritative works of the author written between 1901 and 1907: Freedom!, The floral games of Canprosa, The Hèroe, The mystic, The good police is The fraternal "snack".