Although public theatre has been dabbling in co-productions for years, in a context of budget cuts it is not surprising to see the abundance of private and external productions at the CTBA, the Cervantes or the Colón.
In the context of privatization of the public in general and culture in particular, the official theatres They are filled with private programming, without the curatorship that these emblems of the Buenos Aires and Argentine scenes once had. And the outlook seems even more bleak if one considers that the cuts not only in the Nation but also in the City would generate almost complete outsourcing for next year.
Although public theatre has been making inroads into co-productions for years, relying on sponsors to fill its programme, in a context of budget cuts, the abundance of private and external production is not surprising. At the Sarmiento theatre of the CTBA, which is run by Alberto Ligaluppi, Presents itself “People, places and things”, with the production company Club Media providing a large part of the investment in the eye-catching scenery and rights to the foreign work.
Premieres in the Regio “Manual for building a dream”, from the prestigious Spanish company La Zaranda, which every time it comes to the country, to the delight of the spectators, does so with production from the theater of Spain and at a local level the producer Sebastian Blutrach. While “When Frank met Carlitos”, At the Alvear, it also has general production by Curioso Entertainment and Disney, which broadcast its streaming version. “Alive and Kicking” is production of Creative Galaxies, Zensei plus the CTBA, has already secured the public hall (for now) for the coming years in the continuity of its productions.
At the CTBA’s Cine Teatro El Plata the works “Argentine film song: returning to the neighborhood” and “Instructions for a possible world”, based on the poetics of Cortazar, They are also private productions.
The rest of the CTBA works are part of the programming and factory of the most prestigious theater in Buenos Aires, with works such as “The Tempest” by the Contemporary Ballet, at the Martín Coronado, “Posthumous class”, with Claudio Gallardou, in the Cunill and “Amadeo”, of Daniel Casablancainspired by Mozart’s The Magic Flute and a good proposal for holidays. Meanwhile, in La Ribera they re-established the excellent “Benedict of La Boca” with Roberto Peloni.
The National Cervantes Theatre, directed by the playwright Gonzalo Demaria, It has three rooms, the María Guerrero, the Orestes Caviglia and the Luisa Vehil, and is currently presenting a play, “A handsome man from the 900”, written by Samuel Eichalbaum in version of Roberto Cossa, directed by Jorge Graciosi. And a rerun of the show will arrive on July 18th. Emiliano Dionisi, “Community”, by the National Folklore Ballet. A blow to the budget that punishes the public with a lack of offerings when in better times there were several works on the bill at the same time.
At the Colón, directed by Jorge Telerman, In addition to its extensive programming, private shows continue to be interspersed that contribute to the general budget, for example the show of Geronimo Rauch Monday the 22nd or Disney’s past Star Wars shows.
In another direction, the CCK that directs Valeria Ambrosio, presents different plays that have worked off the stage and pays companies to perform them and offer them to the public with free admission. A good initiative where legions of plays have already passed from the circuit to the alternative, such as “Love is shit”, “I give peace to the barbarian”, “The Falcon” either “My name is Hokusai too,” which spectators have free entry.
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.
