HALF A CENTURY OF TEATRO ESCAMBRAY

Arte por Excelencias - - Cuba -

I got in con­tact with Teatro Escambray when I was fif­te­en ye­ars old. We tra­ve­led from San­ta Clara for that me­e­ting: a lar­ge group of girls and boys al­re­ady mo­re se­ri­ously in­teres­ted in the­a­ter. To the pur­po­se of the an­ni­ver­sary was ad­ded the in­terest, es­pe­ci­ally by Cor­ri­e­ri, the foun­ding le­a­der and ge­ne­ral director of the group, to ex­press our opi­ni­ons on that play not yet pre­mi­e­red: Mo­li­nos de vi­en­to, by Ra­fa­el Gonzá­lez and pro­du­ced by Elio Mar­tin.

That hap­pe­ned in De­cem­ber and it allowed me to see La Ma­ca­gua un­der the mo­on, and be­co­me dazz­led fo­re­ver with the­a­ter. Ne­ed­less to say, tho­se me­e­tings betwe­en Oc­to­ber and De­cem­ber 1983 we­re de­ci­si­ve for de­fi­ning my vo­ca­ti­on and my li­fe. It was just as sim­ple as that.

From the­re, the re­la­ti­ons­hip be­gan. I ha­ve re­tur­ned to La Ma­ca­gua again and again for ye­ars. The­re I did my the­sis on what I ca­lled «The ad­ven­tu­re of Escambray.»

Teatro Escambray had ca­pi­ta­li­zed on the best ex­pe­ri­en­ce at the end of the six­ti­es, when Cu­ban the­a­ter was just trying to find new ways of so­ci­al in­ser­ti­on. The aest­he­tics of the group is cha­rac­te­ri­zed by an ac­cen­tu­a­ted so­ci­al pers­pec­ti­ve, which pla­ces what is Cu­ban first be­fo­re the con­tra­dic­ti­ons of the his­to­ri­cal pro­cess of the Re­vo­lu­ti­on.

With the pas­sing of ti­me, the group chan­ged and new the­ma­tic ap­pro­ac­hes we­re as­su­med in ac­cor­dan­ce with the trans­for­ma­ti­ons of re­a­lity, but always with the in­terest for the hu­man being in his par­ti­cu­lar Cu­ban cir­cums­tan­ces go­ver­ning the des­ti­ni­es of the group.

Teatro Escambray has fought in the last few ye­ars for a cons­tant re­birth from the na­tu­ral and cons­tant in­ter­nal re­com­po­si­ti­ons. In this open fight against de­ath, it re­ve­als its main ne­ed: the emer­gen­ce of ar­tis­tic di­rec­tors and per­for­mers who know how to trans­la­te, ac­cor­ding to the pre­sent, the bro­ad le­gacy, the enor­mous ac­cu­mu­la­ted ex­pe­ri­en­ce, as well as the ques­ti­ons of to­day. It is, in short, to over­co­me the weight of his­tory.

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