The Cervantes National Theater held, as usual, its review of the year, this time with a historical situation, unprecedented in its 101 years of existence: the transition from the pandemic to the post-pandemic, with progress and setbacks. And this, according to the report, has translated into a slow process of normalization of the activity, which has involved the synergy and collaboration of all sectors of the theatre-factory.
In this context, under the progressive reduction of prevention protocols and the return to face to face, the Orestes Caviglia and Luisa Vehil rooms of the historic building have been reopened, in Córdoba and Libertad and the pperformances by established dance organizations and the Cycle of Contemporary Musicas well as several theater productions.
In addition, the Cervantes multiplied the production of shows in other spaces of the country, with cooperation agreements with the National Library, the Borges Cultural Center, the Cultural Center of Sciences and the National Palace of Arts (Palais de Glace), among others. .
work in the province
Also, as part of “TNC Produce in the Country 2022” Five shows have been released in the provinces from Catamarca, Río Negro, San Juan, Santa Fe, Tucumán and a summer tour in Mar del Plata was completed with the show comedy is dangerousspecially made in homage to 100 years of Cervantes.
Underlining the federal character of Cervantes, as the only national theater in Argentina, i.e. much more than a hall in the center of the city of Buenos Aires, the Federal Network of Theaters was created with the Ministry of Culture of the nation, to increase the joint dynamics between the CNT and the provincial, municipal, community, union and university chambers of the whole country.
In terms of billboards, it was possible to preview the shows that, due to the pandemic, could not be staged in 2020 and 2021, which covered almost the entirety of the 2022-2023 programming design, adding nearly 40,000 spectators throughout the year.
The previews
Among the operas that went on stage were When we dead wake upby Henrik Ibsen adapted by Lautaro Vilo and Rubén Szuchmacher, who also directed, and translated by Christian Kupchik, which was seen by 6,699 spectators in the Sala María Guerrero
Also Translation (Test 8) — Project tests with text and direction by Matías Feldman who summoned 16,544 spectators to the Sala María Guerrero.
Meditative Medeaa, with text by Pascal Quignard, translation by Silvio Mattoni and directed by Emilio García Wehbi welcomed 1,815 spectators at Sala Luisa Vehil
Family No Type and the evil cloud Theater for all families which had a text and direction by Mariana Chaud and Gustavo Tarrío was seen by 13,136 spectators at the María Guerrero.
Devil’s Work Invocation XI – Bausch, by Diana Szeinblum added 9,975 spectators, also María Guerrero while Chongo sad, Written and directed by Antonio Villa, it was seen by 2,792 spectators in the Sala Oreste Caviglia
Finally, the last work to reach Cervantes’ bill, in the Luis Vehil Hall, was Eduviges’ hands at birthwith text by Wajdi Mouawad, translation by Julián Ezquerra and direction by Cristian Drut which, in over 20 performances, attracted 1,265 spectators.
The 2023 season will begin in February and these will be some of the works which, added to various replicas, will be seen throughout the year: Births, The colt well, The condolences, The heroic act, The three ages, The hotel is a body, Salvajada, The house on fire, Aurora works, Potencia Gutiérrezamong many others.
There are among the authors and directors who will stage pieces at the Cervantes Mauricio Kartun, Ricardo Bartis, Leonor Manso and Maruja Bustamanteamong others.
WD extension
Source: Clarin
