The projection of the Schmürzatter
Boris Vian or Vernon Sullivan, any of them, when he builds his theatre play "The Forgers of Empires", premiered at the Villeurbanne National People's Theatre (France) in 1959, assumes the need to proclaim the absurdity, both of war and metaphor, and of human existence itself. The plot slowly grows with unbearable noise, until the death of all the characters of the work, doomed to nihilism and the incomprehension of the world that surrounds and annihilates them. The absurd is incorporated as the main subject of the contents of the drama, destabilizing the logical behaviour of the characters and, by extension, of humanity.
The Schmürz, anonymous figures of reality, intervene at the time of declaring, amid laughter, the unhappy end of the family protagonist of the work. So everything, at this precise moment, can never end well. From the premonition to sarcasm. From unbearable tension, to desolation covered with death.
Boris Vian or Bison Duravi (any of them), among many other things, establishes in this play the annulment of the freedom of the individual through the metaphor of oppression. The noises shake the vital spaces, as well as the reduction ad infinitum of the scenic spaces formalizes the methodical and gradual asphyxia of the men. Metaphor, at last, that illustrates certain obscurantisms perpetrated against human integrity.
And Antoni Miró situates the Schmürz of his plastic creation in the field of exhibition that the traffic of destruction determines. The works belonging, for example, to the series El Dolar, Chile and América Negra, just to mention some of the artist's works, attest to this. Characters encased in power, as black as lustful, flood their proposals. The boots of rigor and brutality crush any hint of decency, insult the eyes and perpetrate genocide. A stifling world, twisted and gloomy, floods the scene. The powerful squander strength. The humble citizens implore justice from their eyes bursting with impotence.
The artist, however, redeems man. He wins for the foundation of hope, always with the nature that dignity gives. And the culture, that of referring painting the existence, exerts as a balm for the wounds of the hard exercise of living every day.