Off-screen, works from two, five or ten years ago are revived, in the absence of cultural support that ends up providing a vehicle for new projects. Then scripts are revived with scenery and props stored in the back of a grandmother’s house, a garage or an attic,
That independent theatre is resistance and activism is more evident than ever in this difficult year, when artists continue to bet on communion with the public at all costs, in the warehouse or small room that houses them. Actors, directors, scriptwriters, and producers of the off-air are not unaware of the growing difficulties when it comes to premiering works, from money to invest to time to rehearse when most of them work in various other things that allow them to do theatre. However, they admit that creative impulse does not let them stop doing it.
The phenomenon of the replacement of works from two, five years ago is noted either ten years, in the absence of cultural support that ends up providing a vehicle for new projects. Then scripts are revived, with scenery and props stored in the back of a grandmother’s house, a garage or an attic, as a way of continuing to offer the innumerable menu of excellent works that continue to put the prolific Buenos Aires at the top. “Culture is broken, it is becoming difficult to expand culture with theatre and tours,” He told Ambito Miguel Angel Rodriguez about “Still”, which is presented in Nun. “Doing independent theatre now is a catastrophe, it is not easy to sustain, they want to wipe us out in one fell swoop, today the situation affects us a lot emotionally,” He told Ambito Mariela Asensio in relation to its premiere “The psychic body” abroad. “Independent theatre has always been about effort, determination and vertigo, the enormous theatrical activity is tied to the passion and talent of the artists”, pointed out to Ambito Sebastian Irigo about “Love returns”, that was seen in El Callejón.
On Fridays it is presented “My favorite things”, in the Dressing Room of the Muses, which was re-released after ten years and rewritten by its director and author, Macarena Garcia Lenzi, and performed by Valeria Giorcelli, who adds several current facts that give new meaning to the work. Giorcelli She plays a lonely and sad woman who waits for her childhood friends to have tea after not seeing each other for several years. What seems to be an initial game puts the audience in check about illusion, madness and tragedy. The character of Valeria refers to that “I had to cancel my health insurance, as things are now we can’t pay it anymore,” his father’s poor pension, the difficulty of making ends meet and on several occasions he says “Of course, before it was a party, there couldn’t be money for everyone, that’s how we have to be, resisting and with just enough, without enough for almost anything.”
Another of the works that is completely reinterpreted today is “Paraguay”, which offers its last two performances since its premiere in 2018 at the Morán Cultural Center and a tour that took it to the Astros. The work of Lucia Maciel and Paula Grinszpan, While it problematizes the historical issue of illegal immigration and the pauperization of work, it acquires another dimension in the current socioeconomic context. Starring the great Mariano Saborido As a Paraguayan woman who has worked in the United States for 30 years, the work raises disturbing and hilarious questions about the idealization of the “American dream” and the harsh reality of illegal immigrants, exile, and feeling forever like an outcast.
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“Red red balloons”, a classic of Tato Pavlosvsky, continues its functions on Sundays at the Cultural Center of Cooperation, with performances by Raul Rizzo and address of Christian Forteza. Without a doubt this story about the desperation of El Cardenal and Las Popis to stay on stage in the face of the possible closure of its little theatre resonates with a cruel present. This version is a rewriting with scenes from fundamental works of Pavlovsky, in a clear tribute to independent theatre.
Comes back “I give peace to the barbarian,” of Pablo Gorlero about songs of Maria Elena Walsh in a work for adults. ““Theater is rebellion, we are doing the play again because we feel that in this time the message of the play is more necessary than ever.” explains Gorlero. “Maria Elena was obsessed with justice, a craftswoman of irony, an exquisite lyricist, as sharp as she was erudite, she was confessional and intimate, but also very critical of reality. Her loyalty to herself and her ideas, her feminism, as well as her fight for honest causes were her crusade that confronted the reigning order, which she always invited to question. With wordplay, introducing nonsense, she knew how to sing the Argentine reality with unusual spontaneity. That is what must be done now more than ever,” considered Gorlero.
Last year it was seen “The normal thing”, of Malena Ratner and Fran Ruiz Barlet which seeks to make disability visible. With the performance of Raquel Ameri and cast, returns on Mondays at 8pm on El Método Kairós, starting in September. The play takes on a new meaning in the current context, in the words of Ameri: “With what happened with INADI, unfortunately with the loss of rights, the need to demonstrate and campaign to make all these issues visible is heightened through art.” The play features two girls in wheelchairs and tells a story that does not stop at the limits of the body. It revolves around two accomplice friends, parents who learn, a path with barriers and an expulsive society.
It premiered in 2015 and is returning for two performances: “The intention of the doves”, of Fernando Ferrer, with acting and on the idea of Federico Buso which can be seen this Monday and next at Espacio Callejón. It deals with the falla, loneliness, and the trauma of going from child to adult. Buso, Actor, director and programmer of Espacio Callejón, admits that some casts ask him to redo works already done, because they are loved by the team or they present a smoothed path, which is not the same as starting a work from scratch.
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.
