Mararía la de Femés. Gran Canaria

Revisiting this classic of Canary Islands literature invites audiences to question part of their own paradigms. María's empowerment comes from her own vision from the time and society in which she lived, as well as the way that Arozarena and Yeray Rodríguez portray her as an "Island Woman." The audience therefore experiences an allegory of an exploited island, suffocated and victim of its own beauty. Unlike in the novel, Mararía has her own voice in this theatrical proposal, the female version of the story told so many times. This time she is the protagonist, recounting the events through her own eyes rather than through those of other people. The problem of migration is also discussed, a conflict that unfortunately remains relevant today on the islands. Rodríguez also gives voice to the Moorish and Arabic people of the original work, giving them a name of their own, personifying the idea that “if we don't have a name we don't matter.” While racialised characters are generalised in the novel with simple and stereotyped characters, in this contemporary version, the author gives the migrants their own name, personality and more.