Three Plays: The Young Lady from Tacna, Kathie and the Hippopotamus, La Chunga by Mario Vargas Llosa

existence and those desires and aspirations which exacerbate it which can never themselves be satisfied, is not merely the origin of man’s unhappiness, dissatisfaction and rebelliousness. It is also the raison d’être of fiction, a deceptive device through which we can compensate artificially for the inadequacies of life, broaden the asphyxiatingly narrow confines of our condition, and gain access to worlds that are richer, sometimes shabbier, often more intense, but always different
from the one fate has provided us with. Thanks to the conceits of fiction, we can augment our experience of life – one man may become many different men, a coward may become a hero, a sluggard a man of action, and a virgin a prostitute. Thanks to fiction we discover not only what we are, but also what we are not and what we’d like to be. The lies of fiction enrich our lives by imbuing them with something they’ll never actually have, but once their spell is broken, we are left helpless and defenceless, brutally aware of the unbridgeable gap between reality and fantasy. For the man who doesn’t despair, who despite everything is prepared to throw himself in at the deep end, fiction is there waiting for him, its arms laden with illusions, which have matured out of the leavening of our own sense of emptiness: ‘Come in, come in, come and play a game of lies.’ But sooner or later we discover, like Kathie and Santiago in their ‘little Parisian attic’, that we’re really playing a melancholy little game of deception, in which we assume those roles we long to play in real life or, alternatively, a terrifying game of truth, which in real life we’d do anything to avoid.
    Theatre isn’t life, but make-believe, that is to say another life, a life of fiction, a life of lies. No genre demonstrates as splendidly as theatre the equivocal nature of art. The characters we see on stage, as opposed to the ones we find in novels or paintings, are flesh and blood and act out their roles right in front of us. We watch them suffer, enjoy themselves, laugh, get angry. If the show succeeds, we become totally convinced of their authenticity by the way they speak, move, gesture and emote. Are we in fact aware of any difference between them and real life? Not at all, except that we know they are a pretence, a fiction, that they are theatre. Curiously enough, in spite of its blatantly deceptive and fraudulent nature, there have always been (and always will be) those who insist that theatre – and fiction in general – should express and propagate religious, ideological, historical and moral truths. But I don’t agree. The role of the theatre – of fiction in general – is to create illusions, to deceive.
    Fiction is not a reproduction of life: it complements it by
cutting down on what we have enough of in real life, and adding what is lacking, by bringing order and logic to what we experience as chaotic and absurd, or alternatively injecting an element of mystery, craziness and risk into the balanced, the routine, and the secure. There is evidence of this systematic modification of life throughout the history of humanity: it has been recorded rather like the negative of a photograph – in the long catalogue of adventures, passions, gestures, infamies, manners, excesses, subtleties, which man had to invent because he was incapable of living them himself.
    Dreaming, creating works of fiction (the same as reading, going to plays, suspending disbelief) is an oblique way of protesting against the mediocrity of life and it is also an effective, if cursory way of ridiculing it. Fiction, when we find ourselves under its spell, bewitched by its artifice, makes us feel complete, by transforming us momentarily into those great villains, those angelic saints, or those transparent idiots, which we are constantly being incited to become by our desires and aspirations, our cowardice, our inquisitiveness or simply our spirit of contradiction, and when it returns