Nerea Pérez de las Heras and Olga Iglesias star in this parody of talk show with address of Andrea Jimenez. The three, in addition, jointly sign the dramaturgy, which has been the result of a research process with different phases and the experience of all of them. A) Yes, How did we get here is a title that oscillates between autofiction, the political pamphlet, social analysis, and the classical mythological hero’s journey. It contains universal challenges and emotions, only that, here, the hero is a dyke from Plasencia obsessed with his mother, who has turned forty (or more) mired in precariousness.
“I had been writing and analyzing some parts of my life for some time. Thinking of writing a book, perhaps. But he never quite found the tone and the how. Nerea, who is a friend of mine and she already had her work on the poster Feminism for dummiesHe suggested that I do theater. Andrea was delighted to join, and it has turned out to be a great idea, because something of the body was at stake in the story”, explained Olga Iglesias to Mongolian Magazine about the origin of the project.
Olga, who until now had worked as a pollster, waitress, typist, production assistant, book reader for publishers, disco public relations, social media management, ghost writer, Telefelicita’s congratulatory and, from time to time, screenwriter, makes her debut as an actress in this production. “As a screenwriter she thought that the interpreters were narcissistic and unbalanced people. But I think that thinking that was envy and fear, because to act you have to be in contact with your emotions and your body, and I didn’t handle those things well. Thanks to this experience, a world of possibilities has opened up for me, both in creation and in personal life”, she explains.
Nerea Pérez de las Heras, a journalist and writer who has spent years making political humor in public, exercises, in How did we get here, as a presenter, as a counselor, as a social justice official and as a friend. She embodies all the internal and external forces that have intervened in Olga’s life: the power structures that surpass her, the normality of which she is not a part, the idea of success placed on her horizon by other people, the canon under which she has lived and those who have raised her.
Thus, from laughter, the work criticizes the system of power that, subtly, governs us and intervenes in our lives and personal decisions. Because the personal is political. “The power structures had Olga tied up and she could not say things clearly,” Nerea explained to the program Doppler effect Radio 3. “The play is, above all, the story of two friends. But it appeals to confront what oppresses you from the community, ”she explains. “Leave individualism, embrace and connect with other people and fight together against hierarchical logic: economic competitiveness, normative femininity, normalized mistreatment at work…”. Everything, from Olga’s personal story, but “recognizing and identifying with it. People who come to see the play realize that if Olga has changed, she can change too. That feeling operates in space. Art tells you that social transformation is possible. That your story is possible”.
Olga and Nerea, two friends. One wants to recount her life, revel in her confusion and her failure; another wants to elevate it to the quality of myth, of shared narrative, of politics. Along the way they are pleased that everyone stops to listen to them. One fucking time.