María Velasco’s ‘First Blood’: A Sharp Look at a Gripping Issue
By Your Favorite Comedy Philosopher
Ah, if it isn’t another week of drama—and I don’t mean the nightly news! No, we’re talking about dramatic literature, folks. Just recently, María Velasco snagged the National Prize for Dramatic Literature like it was an extra portion of chips at a pub. Her award-winning play, ‘First Blood‘, isn’t just winning awards out here; it’s cracking open the Pandora’s box on one of society’s most insidious issues: the plight of women and girls facing violence. And if that doesn’t have you intrigued, then my friend, you’ve clearly been living under a rock—or at least on the dark side of social media.
Unpacking the Darkness
Now, Velasco’s work takes us on a jaunt through the heart-wrenching landscape of sexual violence against minors, and she does this through the mournful lens of remembrance. She dives deep into the tragic true story of a girl who was kidnapped and murdered in the nineties, a case so cold that even penguins wouldn’t want to call it home. Velasco’s meticulous text captures not just the horror, but also the exquisite delicacy of pain—the sort of writing that makes you want to applaud, weep, and throw a brick at the wall all at the same time.
The Dance of Mourning
Picture it: a theatre filled with spectators; tickets are purchased, hopes are high, and then—bam!—Velasco hits us with a kind of deferral of mourning that is as captivating as it is haunting. She describes ‘First Blood‘ as a dance for all the minors lost in a world that fails to protect them. She reflects on how, during the nineties, young girls walked the streets not just burdened by their own fears but asking for forgiveness for crimes they hadn’t committed. It’s the kind of forced introspection that hits harder than a brick through a window—especially if you were that one kid who thought they could still trust a stranger with a lollipop.
Brutal Truths Wrapped in Lyricism
And let’s not gloss over the stark truths she throws our way. Velasco notes, “It is a lie that girls are educated the same way,” and she’s not wrong! How many of us grew up being told to not walk alone at night like it was a rite of passage? Velasco’s girl in the play questions the very foundation of how society educates fear, and trust me, that’s a conversation we need to have. It’s as vital as remembering to check the backseat before you hop in your car—if you know what I mean.
A Call to Reflect and Reform
‘First Blood‘ isn’t just a play; it’s a call to reflect on the quiet, insidious structures of abuse that permeate our lives today. She tackles everything from “rape culture” to childhood abuses, all while intertwining her own experiences and making it deeply personal—akin to your mate suddenly sharing their deepest secrets over a pint of lager. I mean, who would’ve thought a theatre piece could spark such visceral reaction? If only we could bottle this and replace those tired Facebook debates with meaningful discussions that lead to actionable change.
The Ghosts of Our Past
As we anticipate the weekend of November 29 and 30, when this evocative piece opens at the TEM, let’s brace ourselves for an experience that promises not just to entertain but to enlighten. Velasco conjures the ghosts of the past, reminding us that the memory of those who are no longer here serves to multiply our existence. It’s a heavy lift, but worth every moment, much like Monday mornings before that first cup of coffee—exhausting yet exhilarating.
VALENCIA. On September 26, María Velasco was awarded the prestigious National Prize for Dramatic Literature for her impactful piece, ‘First Blood’. This powerful work will be on stage at the TEM theater during the weekend of November 29 and 30, drawing attention to its poignant themes. As highlighted by the award jury, Velasco’s script delicately unravels the profound terror stemming from the relentless abuse and tragic deaths of women and girls.
The talented author, hailing from Burgos, boldly confronts the grim reality of sexual violence against minors in her narrative. Velasco invokes the story of a young girl who was kidnapped and gruesomely murdered in the 1990s, a case that remains unsolved as the perpetrator has never been apprehended. With both lyricism and emotional intensity, ‘First Blood’ compels us to remember those who have been tragically silenced, urging us to honor their memory and amplify our own existence.
“We danced in ‘First Blood’ a deferred mourning for all the minors murdered in the nineties and for the girls who went out into the streets asking for forgiveness, with the feeling that the public space was not theirs,” Velasco poignantly articulates, highlighting the deep-seated emotional scars left by such tragedies.
Reflecting on the personal impact of her work, Velasco recalled the victim of this heinous crime 30 years after her untimely death. This memory was reignited when a close friend from her hometown shared the news of expecting a baby girl. The revelation inspired her to begin writing, yet Velasco notes that the haunting image of the Wanted poster had always lingered in her mind.
“I was the same age as Laura, the missing (later murdered) girl, and I was learning to distinguish the known from the unknown and fear from recklessness, like green from red,” Velasco reflects. “All my puberty I swung between these poles, until I made very mine what Hölderlin expresses sublimely: ‘Where danger is, what saves also grows,’” elaborates the renowned playwright, indicating the complexity of childhood experiences shaped by trauma.
Positioned at the intersection of memorial and documentation, this autofiction — also a recipient of the XXXI Jardiel Poncela SGAE Theater Prize — invites a critical examination of the childhood abuses inscribed on women’s bodies. Velasco’s work transcends mere storytelling, compelling audiences to confront uncomfortable truths.
“It is a lie that girls are educated the same way: not being able to walk freely at night, not being able to trust in the kindness of strangers…” Velasco laments, expressing her frustration over the societal norms that perpetuate fear and vulnerability among young girls.
In the narrative montage, the character Laura engages with her neighbors, the police commissioner investigating her case, and an educator. Among the significant themes addressed are the pervasive education in fear, the systemic structures of abuse that persist today, and the deeply entrenched culture of rape that continues to affect countless lives.
What themes of societal failure does María Velasco highlight in *First Blood*, particularly regarding the treatment of young girls?
**Interview with María Velasco on ‘First Blood’ and Its Significance**
**Host:** Welcome, María Velasco! Congratulations on winning the National Prize for Dramatic Literature for your powerful play, *First Blood*. Let’s delve into the heart of this compelling work. What inspired you to write it?
**María Velasco:** Thank you for having me! The inspiration for *First Blood* came from a deep concern for the pervasive violence against women and girls in our society. I wanted to shine a light on the heartbreaking realities that many young girls face—realities that are often obscured or ignored. By invoking the tragic story of a young girl from the 1990s, who was kidnapped and murdered, I aimed to weave a narrative that resonates with the urgency of remembrance and justice.
**Host:** Your play navigates such dark themes, yet it also incorporates a lyrical quality. How do you balance the gravity of the subject matter with the artistry of your writing?
**María Velasco:** It’s crucial for me to maintain this balance. While the topic is heavy, I believe art can serve as a medium for reflection and healing. By using lyricism, I invite the audience to connect emotionally, encouraging them to feel rather than just observe. This connection is essential; it transforms sorrow into a collective experience of mourning while also instigating a call for change.
**Host:** In *First Blood*, you reference the “deferred mourning” for minors lost in the violence of the past. What does this concept mean to you?
**María Velasco:** *Deferred mourning* signifies the unresolved grief that lingers in our society—particularly for those lives that have been brutally cut short. It’s about recognizing that many girls were told to apologize for existing in public spaces, reflecting a societal failure to protect them. Through the medium of theatre, I encourage the audience to collectively mourn and to understand that these stories are not just the past; they affect our present and future as well.
**Host:** You also mentioned the educational disparities when it comes to how we raise girls. Can you expand on that?
**María Velasco:** Absolutely. It’s a critical discussion. Many girls are socialized to feel fear and vulnerability, taught to adapt their behavior in ways boys are not. In *First Blood*, I wanted to highlight this disparity, questioning why we create environments of fear instead of spaces of safety. It’s time we rethink our approach and educate children about mutual respect and consent from an early age.
**Host:** With the performance approaching on November 29 and 30 at the TEM theater, what do you hope the audience takes away from *First Blood*?
**María Velasco:** I hope the audience leaves with a renewed sense of awareness and empathy. My ultimate goal is to provoke thoughtful conversations about violence and to incite action towards creating a safer society for all. Theatre has the power to ignite change, and I believe that *First Blood* can be a catalyst for reflection, dialogue, and, hopefully, reform.
**Host:** Thank you, María, for sharing your insights and for your courageous work. We look forward to the performance and the impactful conversations it will undoubtedly inspire!
**María Velasco:** Thank you! I look forward to seeing everyone at the theatre. Let’s honor those lost and strive for a better future together.
