Winter holidays: magic and theatre in one show

“I feel that adults have regressed, they have entered into a world of hypercommunication and paradoxically this over-information only isolates them. Children, on the other hand, continue to be surprised,” says Hector Presaemblematic creator of theatre for children, founder of the theatre “The gallery”, who drives “Mash up”, which debuts on July 13 with performances every holiday day at the Pablo Picasso Hall in La Plaza, at 5 pm.

The two magicians Dolly Kent and April Magic next to the magician Merpin and the live DJ Fucking Bastard They will guide you on a path where everything is unexpected, although unforeseen events can also happen to magicians. We spoke with Prey.

Journalist: Why did you want to put together a show based on magic?

Hector Presa: The magicians had a magic show format and they asked me to create a common thread and tell a short theatrical story. They are magicians, ventriloquists, presitidigitators who are artists accompanied by Pinche and play on stage. The DJ is part of the story, he is a knot between the stories.

Q: How did the idea of ​​combining theatre with magic come about?

HP: The production wanted the magic show that had worked very well last year and so they wanted to add something more to it. Talking to the magicians we discovered that theatre and magic are not very common so this is a very good opportunity to see how to intertwine them.

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Héctor Presa, iconic children’s theater director, directs “Mash up.”

Q: How is La Galera, the emblematic theatre for early childhood, going?

HP: It is in very good health, it has been running for 45 years and we continue to receive and go to schools to present works. We have a captive audience, three generations who have seen La Galera and it is a pleasure to renew the programme and the public. People come to see what is on because they know the space and we try to respond by renewing the shows. We prioritise shows with good stories, structures and good actors.

Q: What are children like today compared to when you started doing children’s theatre?

HP: They have changed a lot, but not that much. They are more informed, their knowledge has developed more, they have access to more information, but where they have not changed is in their capacity for wonder, surprise, the enchantment that comes from watching a play. What happens between the person on stage and the spectator creates a bond that, despite 45 years having passed, is still valid and allows us to continue dialoguing and working with many of the same tools as always. The kids continue to be convinced by the good arguments, the intrigue, the humor, the surprise and the attempt to reach emotion, one of the most beautiful feelings that we can aspire to from the stage.

Q: And how are we as adults today in relation to the pre-social media and post-pandemic era?

HP: The case of adults is more complicated, we are more complicated. There is a common image that we see not only in theater: seeing children having fun and adults looking at their phones. Even in shows and we see it in teachers, very often, we have even modified our message in the room that was always the same, to turn off cell phones, and now we add the request not to use phones during performances. Something that seems obvious but is not. In the post-pandemic, I have recorded a shorter attention span, like a fashion of moving from one thing to another quickly without going into depth. We try from the theater to make sure that this does not happen in our works, we try to provide a show that makes you think, enjoy and get excited.

Source: Ambito

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