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Ana Nicole Rodriguez Ana Reviews Casi Una Diosa at Thalia Spanish Theater  What is dreaming? What is reality? is dreaming realism in a higher sense? is a dream more honest than life itself? These questions are explored in the biographical Casi Una Diosa presented at Thalia Spanish Theater in Queens, New York. The opening scene is of Salvador Dali sprawled on a deep-red couch, and of his wife, Gala lying on a hammock, both of which are dreaming passionately. Projected onto a white screen are different nightmarish images that disturb both dreamers. When the images finally vanish and Gala awakens to the first rays of sunlight, she gives a monologue contemplating the awakened world. As the story progresses, it becomes evident that both Gala and Salvador have a morbid fear or perhaps fascination with death. Gala, for instance, uses tarot cards to show if her inevitable death or the death of her husband is approaching. But is it not true that contemplation of death gives meaning to life? This may be a reason why both lovers in their later years are religious; religion becomes an instrument of connection to something more meaningful, which cannot be found on earth. Both are seemingly in search of a greater truth and meaning in life, but both are also confused and self-conflicted. Gala is what some may describe as a nymphomaniac who indulges in excessive sexual pleasure, even with complete strangers. But arguably, while in search of sexual and emotional unification, she may really just simply desire spiritual unification. Gala, however, allows this spiritual yearning to torment her, and she ultimately becomes so consumed by it that she lets it destroy her. She can't just be satisfied with the truth in the idea of Christ, but instead she believes in experiential faith. She must see it and experience it, in order to believe it. For instance, she hears about a man known as "Super Star Jesus" and, believing him to be the real Jesus Christ, she worships him and for a while he is indifferent about her obsession with him, but then he yells at her, admitting that he is just an actor and not the true Jesus Christ. Since she can never truly experience religion on a "direct" level, she lets this realization break her down. Salvador is in a similar situation, in which he struggles with the idea of power. Throughout the story, he is constantly proclaiming that he is an ingenious king, in an effort to elevate his status and feel more powerful. He is also haunted by a reccurring dream about a king who cuts off the head of a beautiful young girl. For him, eroticism is based on power, and this may be why he describes sexual intimacy as the act of possessing a partner. in the end, he learns that he has never been in any position of authority (e.g. his father verbally abuses him and neglects him, and his wife/muse has domineering control over him). So, while he may think he's a king he is no better than a Shepard. Painting may be the only true form of power for him, as he has limitless artistic freedom and can assert himself freely through his paintings. The story of Gala and Salvador Dali, the eccentric Spanish painter, writer and surrealist is fascinating. The most interesting theme is that the human being strives for an ideal that is contrary to his nature. it is apparent that both individuals are living contradictions. He deems himself a genius and yet is viewed by the rest of the world as a "madman." She strives for purity and yet is the embodiment of an impure person. While this play is for a mature audience, i recommend people see it. The Spanish playwright Jaime Salom has rendered an enthralling piece of art that invites us into the world of Gala and Salvador Dali. |
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