Arte por Excelencias - - Cuba -

Last ye­ar, Cu­ban the­a­ter arou­sed a lot of de­ba­tes and even he­a­ted clas­hes. Like a po­llu­tant cloud, a trend spre­ad on sec­tors of so­ci­ety: the­a­ter was a be­a­rer of a no­xi­ous thought for the so­ci­al li­fe of the na­ti­on.

Po­li­ti­cal the­a­ter is still ma­de throug­hout the world. It has chan­ged its fa­ce, lan­gua­ge and stra­te­gi­es. It do­es not re­sem­ble, of cour­se, the one ad­vo­ca­ted by Weiss mo­re than 50 ye­ars ago. But what de­fi­ni­tely mat­ters is the prin­ci­ples, the subs­tra­tum, the so­ci­al en­trails on the sta­ge.

Such sce­na­ri­os of dis­cus­si­on con­vin­ced me that we we­re not mis­taken when we desig­ned Te­a­tro-so­ci­e­dad-re­sis­ten­cia (The­a­ter­so­ci­ety-re­sis­tan­ce) as the core the­me of the XVII Festival de Te­a­tro de La Habana (17th Ha­va­na The­a­ter Festival); and that we we­re not mis­taken eit­her when we pro­po­sed its re­le­van­ce and vi­si­bi­lity when we an­noun­ced the call early in 2016.

We pur­su­ed a go­od qua­lity in­ter­na­ti­o­nal ex­hi­bit that could bring the Cu­ban au­di­en­ce to le­arn di­ver­se ex­pe­ri­en­ces, but in the sa­me axis; a the­a­ter that is still a po­li­ti­cal prac­ti­ce of the most pro­found de­mands of our so­ci­ety.

The Cu­ban ex­hi­bit was ne­ces­sa­rily wi­der. It collects the many points throug­hout the country that turn their con­cerns in­to a res­pon­si­ble po­li­ti­cal the­a­ter.

The­a­ter, sin­ce an­ci­ent ti­mes, is a spa­ce whe­re ac­tors and au­di­en­ce me­et to exa­mi­ne li­ves and cir­cums­tan­ces of any mo­ment of his­tory, and shed lights and sha­des of what is hu­man over the stalls.

That is what I ho­pe: that this Festival de Te­a­tro de La Habana se­arc­hes, fo­cus and shows, with its long his­tory on its shoul­ders, ali­en to the dic­ta­tes of mer­can­ti­lism, and whe­re we can ce­le­bra­te in many ways the con­ti­nu­an­ce of the­a­ter as a ne­ces­sary art for the in­di­vi­du­al, the com­mu­nity, and the world.

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