The Amichis company celebrates 20 years with the premiere of “The box does not fit”, A new show that renews its link with childhoods from art. The work reimagines Pandora’s myth from the fears of childhood and has a staging that combines circus disciplines as long as it presents a rotating scenographic device that allows the public to spy on what happens in the show like the one behind the scene. There the characters go through their deeper fears and emotions.
Amichis It is made up of Martín Palladino, Pablo Palavecino, Pilar Rodríguez Rey, Cecilia Miserere And a year ago he joined Gimena Riestra. The functions are in Nün Theater Bar on Saturdays at 15.30 and expands schedules on winter vacation. We talked with RESTRA.
Journalist: What is the secret of staying for so many years, despite crisis and storms?
Gimena Riestra: I joined the company last year and in this journey that I have been sharing with the group, part of the secret of staying in time is the passion for the theater, and of accompanying childhoods creating materials of great quality, respect and awareness not only towards the children’s audience, but also thinking about the family that accompanies, those who take them to the theater and pay an entrance. This is why the concept of shows is “for the whole family”, since the works contain different layers of interest according to the spectator’s age.
Q.: How does this new show arise from the myth of Pandora and the fears of childhood, what are those fears?
GR: It had been thought of the beginning of the company and for one reason or another, it was saved in a drawer for several years until after the pandemic, along with Nicolás Sorrivas they ended up shape. And from writing they were discovering that the evils that came out of this box could generate metaphor with the fears that are manifested in childhood and somehow relate them to those of this family of circus artists, that is to say the leading characters of the work, promises, pandor and epimete, which about to finish a function appears on the scene this mysterious box. And unleashes all possible calamities and vicissitudes during this function, such as fear of failure, ridiculous, uncertainty, scenic panic, among others.
Q.: How are these fears addressed and how can children be helped from the playful?
GR: Here we can appeal to myth specifically, and remember that at the bottom of this “Pandora” box was hope, something that we should never lose and instill the little ones, and above all to face our fears, occupying us, without paralizing us, and crossing them, as the protagonists of our history do, within each of us is the necessary force to be able to overcome it.
Q.: How is this rotating scenographic device that spies on and off?
GR: This scenographic device presents on one of its fronts the curtain of a circus tent and in the other, when the scenery revolves, the dressing rooms appear where we see these three characters exposing their insecurities and fears to the leather. The interesting thing that poses to the actors that we are working on the work (Pablo Palavecino and Martin Palladino next to me), with this double scene, is to create on the one hand the character that is in front of the public in a function in which everything goes wrong, and try to hide at all times, and move on trying to solve, and when they are in shrimp these characters are disarmed and we see them as the actors that are totally humanized.
Q.: How did you always live with the megaws that come from the Hits of TV or the mega musicals such as the Little Mermaid?
GR: Actually the company does not think about the creation of the shows depending on the winter holiday period, precisely the permanence in the time of the group, it is because their works last beyond this period, it is clear that this holiday moment is the one with the greatest competition, but we trust in our tour, in the seriousness of the proposal, and in the public that has been accompanying us 20 years ago.
Q.: How do you see theater and culture today?
GR: Affected by the policies that are being carried out, and it becomes increasingly difficult to create independently, it is worth mentioning in this section, and asking from the company, that all the theater makers are still fighting for institutions such as the National Theater Institute, which are entities that allow us to continue creating and produce in this context.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
