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| 1998 |
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CALLING ALL FRIENDS… |
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SO WE’RE THINKING OF YOU! |
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1999 |
8th
Season
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Manual de Instrucciones para el
Ultimo Porteño
(Instruction Manual
For The Last Porteño) |
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Argentina
May
29 & 30 |
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Coop. de Teatro "La Paternal" |
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by Bernardo Cappa |
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directed by
Luis Roffman |
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About the Play:
After an interminable rain, Buenos
Aires disappears beneath the waters. There are only two survivors,
Celina and Eloy, determined to preserve a doubtful memory of bolero-like
tangos, electronically rebuilt bars and cloned custard. Locked in some
hermetic place which protects them from the water, our characters
minutely and tirelessly repeat a ritual that they believe will be the
embryo of a future Buenos Aires. Yet something starts to crack that
apparent equilibrium, the barking of dogs which slowly draws Eloy’s
attention, leading him to question the apparent reality he’s accepted
for so long. This, in turn, leads us to reflect on what it means to be a
“porteño” and some of its component characteristics, as well as
particularities of the performance. |
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Yepeto |
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Teatro
Nacional de Costa Rica |
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by Roberto Cossa |
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directed by
Alfredo Catania |
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Nico Se Divierte
(Nico Amuses Himself) |
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Spain
May
13 & 14 |
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Teatro
del Sol |
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by Inés de
la Cuadra |
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directed
by Magna García Arenal |
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About the Play:
Nico is a boy like any other. He’s
naïve and curious, and would like to be brave like his friend Bruno.
People always tell him he’s empty-headed or has his head in the clouds,
or even worse, in putziplatz! My heavens! What’s that? It doesn’t matter
where he is, Nico finds out everything, and knows where his bed and his
books are, and how to brush his teeth, but especially how to play with
his imagination. That’s why he dreams of adventures with his friend
Bruno, with the Complaining King, with White Feather, with the curious
Comet…and with other lovable characters in his fantasy world! |
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Trafalgar |
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Spain
May 15 & 16 |
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Teatro
Guirigai & Algarabía Teatro |
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by Agustín
Iglesias |
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directed
by Agustín Iglesias |
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From the Author/ Director:
Writing this version took
some work, but I can assure you that dreaming about a work for years
helps considerable, and we must remember that Shakespeare already told
us about several battles. Cervantes about the walls of Numantia, Brecht
gave us some ideas on contemporary epic theatre. Peter Brook examples
of theatrical poetry, and what can we say about Luca Roncoroni, Darío
Fo, etc. in any event, we have masters – our daring and bold actors,
who, more than anything , want to devour scenery and spectators
(theatrically, of course…). You will understand that the author and
director of this production did not lack for encouragement, energy and
friends in plunging into this new theatrical voyage. I invite to you
join me in combat! |
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María Estuardo
(Mary Stuard) |
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Guatemala
Mayo 27 &
28 |
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Grupo Rayuela |
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by Dacia Maraini |
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directed by
Julio Miranda |
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About the Play:
Mary Stuart covers a 19–year period,
during which the Queen of Scotland was the prisoner of Elizabeth of
England. Two actresses on stage, each interpreting a Queen and the other
Queen’s Lady-in-Waiting who exist only by the grace of their Queens. The
Queens and their servants are forced to deny their bodies and have all
been exposed to physical and psychological loneliness, despite their
profound social differences. The play ends when Mary is beheaded,
thinking that she will thus be freed. Elizabeth not only kills her
cousin, she also kills her own feelings of what it means to be a woman. |
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Historias de Amor
(Love Stories) |
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México
May 6
& 7 |
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Teatro de la Rendija |
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by Raquel Araujo |
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directed
by
Raquel Araujo |
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About the Play:
LOVE STORIES is a play about the
struggle among three women to define – from their individual
perspectives – how love becomes an egg or a piece of meat. Bodies and
desires fragmented by everyday desires which are often so impersonal and
empty. LOVE STORIES is like a collection of short tales about other
women and about ourselves. Stories of women to be told to other women,
and to certain men so that they won’t fear being compared to or replaced
by a piece of meat. |
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Trocito Cielo
(A Little Bit of Heaven) |
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Paraguay
May
21 |
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Ballet Nacional |
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by Ramón Oller |
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directed
by
Ramón Oller |
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About the Play:
“A LITTLE BIT OF HEAVEN” consists of
slices of life, separate images brought together by a common reality. A
human being’s feelings, and the physical, emotional and intellectual
resistance in confronting the wear and tear caused by the passage of
time. “Time goes by furtively, dissembling, we don’t see its footsteps.
But suddenly we turn around and we find images that move behind us,
fixed photographs with no time frame.” To grow is to begin to draw apart
from others, to recognize that distance and accept it, to disappear with
time leaving only remembrances in our memory. |
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La Madona con
el Corazón de Piedra
(The Madonna With the Heart of Stone) |
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Puerto Rico
May 1
& 2 |
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Producciones Aleph |
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by Abniel
Marat |
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directed
by Carmelo Santana Mojica |
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About the Play:
Marat reveals to us the world of
intrigues and power struggles in the San Juan of 1558. Bishop Alonso
Manso obtains a permit to found the First Convent of the Barefoot
Carmelites for his niece, Sister María of the Sorrows. Uncle and niece,
both corrupt and ambitious, represent the political structure of a
Medieval Catholic Church. Fray Lorenzo Javier is the Bishop’s personal
secretary. The Slaves represent popular values; one remains tied to her
ancestral beliefs while the younger one is filled with a pure, simple
and profound Catholic Faith. The appearance of a gold-lettered
parchment, a gift from the Black Virgin of Monserrat to the slave and
mystic known as Pilar, unleashes passions buried and hidden for years.
The Spanish Inquisition investigates the event, opening the floodgates
of Tragedy, whose waters will sweep away everything: only one character
will survive. |
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About the play:
This theatrical experience is a voyage
through one of the most recognized stories of fantastical literature,
PINOCCHIO, by the Italian storyteller, Carlos Collodi, in a staging
designed for young actors who bring to life several characters, dances
and songs, putting into practice their skills and their playful and
creative impulses. Four actors introduce to the audience the tender
story of Papa Gepetto and his wooden doll, who one day comes to life to
learn about lying and human ambition, as well as respect and love, in a
game of good and evil which allows the children in the audience to draw
their own conclusions and express them along with the actors.
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