Arte por Excelencias - - CUBA -

A do­cu­men­tary has co­me to re­co­ver part of the his­tory of the vernacular the­a­ter, and luckily brings to the pre­sent many of the con­flicts that it con­ti­nu­es to de­al with. Pedro May­tin now puts in front of his ca­me­ra nu­me­rous per­so­na­li­ti­es who of­fer their vi­ews about what is al­re­ady mo­re than the­a­ter. Be­cau­se the vernacular is not li­mi­ted to what we ha­ve se­en on sta­ge: its ty­pi­cal cha­rac­ters and mo­dels ha­ve be­en fu­sed with our re­a­lity and it is not too dif­fi­cult to re­cog­ni­ze in the stre­ets ges­tu­res, voi­ces, at­ti­tu­des that re­fer us to the be­ha­vi­or of tho­se cha­rac­ters. Per­so­nal in­terests, dou­ble stan­dards, the jo­cu­lar and ero­tic sen­se of a ph­ra­se, the eco­nomy, the desi­re to climb up the so­ci­al sca­le; all this is still part of the li­fe of the Cu­bans, and that gua­ran­te­es, for the ghosts of the bouf­fe, a mo­re cur­rent exis­ten­ce than the foun­ders ima­gi­ned. La tra­di­ci­ón verná­cu­la en el te­a­tro cu­ba­no (The vernacular tra­di­ti­on in Cu­ban The­a­ter,) with script and nar­ra­ti­on by Car­los Pa­drón, pro­du­ced by Agen­cia Ca­ri­ca­tos, re­co­vers prints, pho­tos, voi­ces, ima­ges of that battle that, among us, is still the way we see our­sel­ves in the sce­ne, and al­so out­si­de it.

This do­cu­men­tary sends us ques­ti­ons about the fu­tu­re. He do­es it with hu­mi­lity and res­pect. We should thank him for that re­turn through ti­me, and for his wi­lling­ness to avoid the “de­ser­ted mu­se­um” lo­ok. Be­cau­se the vernacular the­a­ter spe­aks to us fa­ce to fa­ce. And it is in this way, al­so with this do­cu­men­tary, that it de­mands our ac­cla­ma­ti­on.

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