The play, made up of a totally local artistic and stage-technical cast, will perform functions in this hall in Alto Valle set up for 180 spectators and will then tour cities in the province such as Luis Beltrán, Las Grutas, Río Colorado, Viedma and Bariloche, in a joint effort of the Cervantes National Theater (TNC), the Secretary of Culture of Río Negro and the Casa de la Cultura Civil Association.
TNC Produce in the country is an initiative that tends to the production of works designed, directed and acted by casts from different cities of the country that Cervantes develops within the framework of a program that aims to “federalize Argentine theatrical management and production”, According to the director of the TNC, Gladis Contreras, present in General Roca, told Télam.
This program joins other types of initiatives in search of the creation of corridors, circuits and poles of theatrical creation such as the Federal Network of Theaters of the TNC, which brings economic support, equipment, infrastructure aid and technical and artistic training to theaters. different cities and towns.
“We want the Cervantes as a national theater to be present in all corners of the country and we believe in the cultural and economic spillover capacity on the life of the different cities and communities of this type of development,” said Contreras, who accompanies and assists with a dedicated team of collaborators the process of the works in different parts of the country.
Throughout 2022, the Cervantes produced outside its headquarters in the city of Buenos Aires, the children’s play “Gregorio, carrot”, written and directed by Ludmila Bauk and which offered 34 performances at the Teatro Municipal La Comedia de Rosario, attracting more than nine thousand spectators.
Also, “Y que todo arda” in the city of San Juan, which offered five performances seen by 2,900 spectators at the Teatro del Bicentenario; “Invisible Cities, Own Universes” written and directed by Luján Arroyo, Daniel Corres and Pamela Navarro, premiered and still running in the city of San Miguel de Tucumán; and “The doodles of the return” in the Girardi Urban Cultural Complex of San Fernando del Valle de Catamarca, which was known 15 days ago and continues with functions.
The works arose from a national call in 2021 and were selected by a jury external to the TNC.
With a powerful narrative, a distancing game that proposes the manifestation of the didascalias (scenic indications) to discard them in the theatrical action and a strong work on the bodies, the tensions and the climates “Golondrina Soledad” is located in a farm of the Route 22 in the Alto Valle in an apple cultivation and harvesting farm.
Soledad arrives there from Santiago del Estero, who comes to replace her father in the apple harvest in a “swallow” job that takes place in certain months of the year.
Soldad arrives at Fabián and Paola’s ranch, the foreman and his wife in charge of organizing the work on the farm, and his presence unleashes latent tensions in the couple, while placing the three characters in the quagmire of having to make decisions about their lives if they try to avoid the glimpsed destiny of repetition and violence.
The strong stage presence of Raitieri (Paola), who develops contained pain but never gives up the movement that drives her forward in the daily battle of existence and under hostile contexts; the fragile emotional consistency of Soledad, numb with desolation, that makes up Muzzin, and the hard, practical character, surrounded by convictions and conditions of insoluble rigidity that Jorquera must play in the character of Fabián, give “Golondrina Soledad” a dramatic power that It is installed from the beginning and does not give respite until a precise end, a kind of abrupt cut that has the virtue of installing the dynamics of the scenic conflict in the thoughts of the spectators.
To the solid performances and the clear direction are added a precise and enveloping lighting that adds to the atmosphere of naturalness and estrangement that Caminiti proposes and a set design that mixes elements and installs fabrics that intelligently enable an offstage that is never alien to the dramatic development. .
In addition, the work of sustaining the tension of the story that is generated from the live music in a successful sonorization of vast capillaries performed by the musician Marcelo Chorus from a console is also central.
Cayón’s text – malleable to different scenic developments – has the virtue of giving shelter and putting into play old and present existential conflicts under the shelter of the illusion of the stage to be able to continue thinking about who we are and what we do under the celestial sphere of the sky and trapped in more than one hell.
The “Golondrina Soledad” team, which offers performances on Saturdays at 8 pm at the General Roca House of Culture, is completed by María Fernanda Bohigues in set and costume design; Dio Fernández in lighting, Verónica Martínez Durán in lighting design and the local production of Soledad González.
Source: Ambito
David William is a talented author who has made a name for himself in the world of writing. He is a professional author who writes on a wide range of topics, from general interest to opinion news. David is currently working as a writer at 24 hours worlds where he brings his unique perspective and in-depth research to his articles, making them both informative and engaging.
