Radio26.Cu – Matanzas, Cuba

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After the Villanueva …

Tamara Caridad Mesa González 14 abril, 2019

Portrait of a boy named Pablo, from Teatro de las Estaciones, The Consecration of Spring, from Danza Espiral and CCPC, the República Luz, from El Portazo, deserved Villanueva Awards for Theater Criticism in his most recent installment.

But, it is worth returning to the good examples of the Matanzas scene to reaffirm the value of the art of tables at national and international level.

The Matanzas version of The Rite of Spring is an intelligent appropriation that starts from Stravinski and Nijinski’s original mix-up to put it to live with the mixture of roots that shaped Cuban culture.

Lilian Padrón conceived for the company that directs, Danza Espiral, a novel vision about the proposal, a rereading of the work of Alejo Carpentier, a bold and daring proposal for the risky return to one of the most valued pieces of the musical and dance repertoire with resounding success.

As a different show within the most recent stage production of Las Estaciones is cataloged Portrait of a boy named Pablo. With fun and instructive texts for children, the work addresses some of the complexities faced by contemporary Cuban families.

“When we started the assembly process the cast was a bit bigger. Then I assumed two characters: the father and, along with Isabel Medina, Pablo. After two actors separated from the collective I was left alone with the father.

“At first it was a bit complex for me because I did not even imagine it; I did not have the certainty of where to channel the interpretation because the work was quite histrionic, until I managed to find a starting point.

“From then on, it became very special for me because one of the most difficult characters is a bit fonder,” said actor Iván García.With this recognition Teatro de Las Estaciones will reach its 25 years of creation on August 12, showing renewed vigor.

CCPC, the Republic Light in its second season stands out for the irreverence of the script, the speech without half measures or concessions. The saga, which will add four parts, of which the penultimate in the Biscuit of Matanzas is already presented, has shown that art can also be crude, direct and critical without abandoning the corresponding dose of commitment to current society.

CCPC is a work of shock. Since the first part of this theatrical cabaret premiered, the spectators have been witnesses and aware of the intrepidity of a piece that always seeks to break schemes, flirts with the limits of aesthetics, ethics, socially permissible for, in the end, being constituted in a song to the Homeland from a speech quite instigating.

“Working in CCPC, from the first delivery, was always a big challenge because it is a show in which you have to sing, dance and act. In addition, it is a piece that lasts two hours in direct relation with the viewer, so it always has a very high risk margin because you never know how the audience you are attending will react to at the table, “the playwright said actress María Laura Germán Aguiar.

After the second part of CCPC deserved one of the Villanueva Awards for theater criticism, El Portazo, neither short nor lazy, mounted the third part which, like the previous ones, is based on the daily life of Cubans to address the issues social activities on the island, the facts that mark the life of the country, the concerns of the citizens.”The third season is a continuity of the previous two. CCPC always works with current events, with the national contemporaneity, that’s why sometimes they change texts so abruptly while they have changed situations at the national level, “said Iván.

Transgressive and controversial has been each of the seasons of CCPC. The cabaret show is notable for demanding a little more of the actors in each presentation, Germán Aguiar confessed.

“We have been complicating things because we are doing the work in Working Progress. From the first, knowing that we would have three more seasons, exerted a different pressure on the director, the actors and the playwright because we knew that when we finished 25 performances we had to start studying other texts, choreographies, scores.

“The wonderful thing about the challenge is that it is a show that is kept fresh, especially because it works with the most immediate news of the Cuban and a group like El Portazo, where different ages of actors converge, but all focused on working on the history of our country.”

Scenic and graphic design, soundtrack, choreography, costumes and lights are combined with performances that overflow authenticity, exotic and provocative dance (maybe a little eccentric in terms of obscene words and gestures that border on vulgarity) and reflective divertimento that sustains, from a renewed proposal, the aesthetic budgets of El Portazo.

 

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