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With Diez millones, Carlos Celdrán moves his long exploration of reality and realism to new territories. The play is staged by Argos Teatro, the company he has directed since its foundation two decades ago.
Always obsessed by what is real as an expression of truth, in a permanent negotiation with a poetic realism as a language, now bombarded by whatever code serves to relativize it on its edges and alienate it at its center, director Celdrán has written his last great cycle within those coordinates.
If you want to be authentic, what better authenticity than yourself? As someone has pointed out, that is the only thing that each individual knows well and, it could be added, only sometimes. Accustomed to poking about the social and human masks by character, artistic and intellectual conscience, Carlos Celdrán assembles his own text, something unprecedented in his career with Argos Teatro, on the stilts of the contemporary theatrical creation that he himself has been using in his theater, but that in Diez millones shine in a freer, riskier and more essential dimension.
Diez millones is an island inside a body.