Todos los días que mentí

Marta Aranin näytelmä Kaikki ne päivät, joina valehtelin on sujuva ja nopearytminen. Sen tunnelma on yhtä aikaa intiimi ja yhteiskunnallinen. tekstiä lukiessa voi aistia naurun ja tietynlaisen teatterillisen revittelyn mahdollisuuden. Uskon, että tämä teksti voisi olla todellinen herkkupala ohjaajille ja näyttelijöille. Luulen sen kirvoittavan meissä kaikissa ajatuksia ja muistoja kunkin omasta henkilöhistoriastamme, mutta samaan aikaan dialogi tuntuu sillä tavalla tarkalta ja jouhevalta, että sitä olisi varmasti hauska päästä näyttelemään tai ohjaamaan. Näytelmä yhdistelee seksuaalisuutta, osittain sen tabuluonteisuutta, häpeää ja naurettavuutta, mutta myös vapautta ja huumoria. En muista suomalaisella näyttämöllä teosta, jossa oltaisiin katsottu seksuaalisuutta juuri tästä kulmasta. Uskon, että tälle tekstille voisi olla paikkansa myös meillä. Näen, että teksti voisi toimia missä päin Suomea tahansa.

Saara Turunen

Synopsis

Todos los días que mentí (Kaikki ne päivät, joina valehtelin)

Nainen laskee eläneensä valheessa viisitoista vuotta. Hän ruksii kalenteristaan kaikki ne päivät, joina on valehdellut. Nainen on teeskennellyt intiimeissä asioissa ja koittanut peitellä valheitaan. Nyt Nainen on päättänyt kohdata totuuden ja olla kerrankin rehellinen paitsi itseään myös muita kohtaan.

Kaikki ne päivät, joina valehtelin on tilinteko niistä valheista, joita kerromme itsellemme, niistä, joita muut kertovat meille. Valheita, jotka saava elämämme näyttämään ja tuntumaan paremmalta, mutta jotka voivat samaan aikaan olla koomisia, absurdeja ja tuhoisia.

Ja sitten ne vielä kysyvät: mikä on pahin valheesi, jonka koskaan olet kertonut?

Vuosi	2018
Alkukieli	Katalaani
Käännökset	Englanti, espanja, italia, portugali, puola
Tuotannot	Kantaesitys: Sala Flyhard, Barcelona, Espanja 2018
Oikeudet	Näytelmäkulma
Genre	Draama, Draamakomedia, Komedia
Roolien määrä	1 (nainen)

Ote näytelmästä

Ote näytelmästä All the Days I Lied, kääntäjä William Gregory

I’d like to have told him what I feel:

Well, no: I can’t either.

Actually, I’ve never been able to.

I’ve been having sex for fifteen years and I don’t know what an orgasm is.

All I can do is infer it.

Imagine it.

I get you ’cause I’m going through the same thing and I really liked that you explained it to me.

You’re really brave, ’cause I’ve never told anyone.

And thanks to you I didn’t feel so alone...

I’d like to have told you that I could fall in love with you, that the two of us could probably be really happy together and make a good couple.

But I also know our sex might never satisfy me.

I’ll show you my whole armoury at first.

Maybe you might even like it and you’ll come before the three hours are up.

But as time passes, I’ll end up getting tired of putting in so much effort.

And then I’ll give you a thousand and one excuses for not making love.

And I’ll tell you maybe I want it to be gentler, more romantic.

But that’ll be so it lasts less time.

And I’ll tell you I’m tired,

stressed,

ill,

on my period,

or I’ve got a headache.

And I’ll feel ugly,

un-sexy,

un-womanly.

I’ll pretend to be asleep when you come in from a night out,

or pretend to be asleep in the morning,

or I’ll just leave the house earlier for no reason.

There’ll be lots of nights that are just right for being together, but for one reason or another, we won’t do it.

And the days will pass and we won’t do it.

The weeks will pass and we won’t do it.

The months will pass and we won’t do it.

And if we do do it, I’ll groan like my life depended on it.

Like my whole self were going to a different place.

Like my whole being was a different person.

I’ll move around the way I think you’re meant to when two people come together.

The way I think what I feel with you should be.

The way I think I should be to be with you.

And I’ll do it because I don’t want to feel stupid.

Abnormal.

Dysfunctional.

Because I want to feel good and make you feel good too.

So we don’t fight.

So I don’t have to explain to you what I like because I don’t even know.

So I don’t have to show you were my clitoris is.

So I don’t have to answer stupid questions.

So I’m not ashamed and feel like a normal woman.

Because I want to be my own lie.

Because I want to feel ecstasy.

And I could have said I only feel a bit of pleasure, even if I try with all my strength.

I just feel a little tingle down there,

which seems like it’s going to explode but never does.

And I’m always unsure whether I can feel anything or not,

whether what I do feel is what I should feel or if it’s not,

or whether I’m just fucking paranoid....

And I’ve tried doing it on my own, but I can’t let myself go...

I never get any further, I never get all the way there.

Even if I take three hours.

Three, or four, or five!

And I focus on your body, just like you’ve focussed on mine.

And I don’t judge you at all.

We could have helped each other.

We could have discovered it together.

With no pressure.

With no history.

With no pretence.

Discover what each of us likes.

But I did the same thing I blame other people for.

Understanding nothing and asking too many questions.

So I look at my eyes in the mirror.

We look at each other, me and me.

There she is...

In the mirror there’s the face of a ‘frigid’ woman.

They’re like this...

Weird, right?

They’re not weirdos,

or nuns,

or monsters.

They’re like this.

I’d never thought they were so similar to me.

Or so young.

So pretty.

So normal.

So me.

Arvostelut

"ALL THE DAYS I LIED (Els dies mentits) does not refer to the hiding of the truth during relationships, but to the mask under which those who do not meet the supposed standards in sex hide. (...) It speaks to us of the hypersexuality of today's society and in the social pressure on teenage girls, who in some cases are blocked precisely by the self-demand to have many experiences and enjoy them."

Belén Guinart, ARA PLAY / NOW PLAY

"ALL THE DAYS I LIED (Els dies mentits) talks about us. Of women, who lie to make men feel like men, to make them feel happy. For so that they feel like the masters of the world. It talks about us. About men. That we lie because we think we do everything right. That we don't ask questions because we don't need to. That we are satisfied with any answer that leaves us satisfied and we have enough".

Nicolás Larruy, ESPECTÁCULOS BCN

"The show is dynamic and interesting and has a very powerful and touching ending that is, truly, the great moment of the staging."

Iván F. Mula, Teatro Barcelona

"The sexualization of the education of girls has conditioned a lot of generations and the theater does well to highlight it. The case of the protagonist of EVERY DAY I LIED (Els dies mentits) is one of many, and the interesting aspect is not to feel identified, but to become aware that perhaps we are accomplices and that to represent it is also to make it visible".

Xavi Pijoan, Teatro Barcelona

"The result is an intimate drama full of humor. Pure energy, you'll see."

Aída Pallarès, Elnacional.cat

"ALL THE DAYS I LIED (Els dies mentits) hastens to lighten the serious reflections it makes on the dictatorship of opinion and the dominant attitude, on the centrality of sex in society and the pain generated by faking. An interpretation without barriers that by itself already connects with the public and with the exposed denouncement, in a remarkable journey from shared humor to intimate drama".

Juan Carlos Olivares, TIMEOUT Barcelona

"It is a great success of the author-director, not to approach the show from a melodramatic point of view, but from the melodramatic point of view, but on the contrary, in a relaxed and confidential way, with a lot of humor because laughing is the best way to deal with the most serious things."

Eloi Falguera, Núvol

"On stage, a simply brilliant actress who interpellates directly to the audience and confesses without censorship all her doubts, pains and problems. In a powerful performance, full of truth and energy, she sets the pace of a show that, with its indispensable dose of comedy, presents a more bitter and complex truth".

Gema Moraleda, Somnis de teatre

"The staging is lively, resorts to humor very brilliantly and also shifts the situation towards contained drama."

Teresa Ferré, Nación Digital

"With a great sense of humor, the creators of this show have managed to place female sexuality within the themes of a new generation of female playwrights and directors who have a lot to say and find ways to say it."

Iolanda G. Madariaga, Recomana.cat

Marta Aran

Marta Aran on näyttelijä, teatteriohjaaja ja näytelmäkirjailija. Hän opiskeli näyttelijäksi barcelonalaisessa Institut del Teatressa ja kouluttautui näytelmäkirjailijaksi Sala Beckettissa.

Näytelmäkirjailijana Aran debytoi teoksella La noia de la làmpada (Lamp Lady, 2017, kääntäjä Elena Igartuburu). Puzles (2018), kirjailijan ohjaamana esityksenä sijoittui katalonialaisen Temporada Alta -festivaalin kilpailuohjelmistossa hyvin ja valittiin Etelä-Amerikan kiertueelle. Vuonna 2020 ilmestyi Els dies mentits / Todos los días que mentí (All the Days I Lied, kääntäjä William Gregory) ja Aran sai parhaalle kirjailijalle jaetun MAX-palkinnon. Aranin ohjaus näytelmästään La Segona Eva (2021) valittiin ehdokkaaksi Teatre Barcelona -palkinnon saajaksi parhaana pienimuotoisena esityksenä.

Aran myös on sovittanut näytelmiä teatterille, esimerkiksi katalonialaisen suffragettikirjailijan Rosa Maria Arquimbaun teoksia ja William Shakespearen Loppiaisaaton, josta hän on MAX 2023 -ehdokkaana parhaasta teatterisovituksesta. Hän on myös tuottanut käsikirjoituksia ja mm. sovituksen näytelmästään Puzles televisiolle.

Marta Aran sai parhaalle kirjailijalle jaetun MAX-palkinnon vuonna 2020 kirjastaan Els dies mentits / Todos los días que mentí . Katso video Marta Aranin palkintopuheesta (Youtube). Lue lisää palkinnosta täältä.

Todos los días que mentí, Sala Flyhardin kantaesityksen traileri (Youtube)