Interview by Brisa MP for Cultural Scanner ....
BODIES IN THE BICENTENNIAL
Wed, 09/15/2010 - 01:45 - Brisa MP
BODIES IN THE BICENTENNIAL
Interview with Patricia Artes, director of the recently released book "Celebration." Public Theatre Company.
By: BRISA MP
How could we speak of a body or bodies politic in your work "Celebration"?
could speak of a political body in the work CELEBRATION, as we understand it as a social body which is a group that operates as unique. However, this political body social, collective, is composed of various bodies that turn up each one individually but operated on a network that is expressed in a single body. These bodies belong this unique body, perceive themselves in the historical violence of capitalist development in our country. Violence that is concretely manifested in repression, death, hunger, poverty, etc. Violence that breaks the individual body and therefore the social body. In this regard we can name the final scene, where a "living statue" with a sign saying "I muevopor $ 100, you must modify your body as a woman puts coins one after another. "The statue must take different positions while the actor says the final speech. This scene contains in the body political discourse of the work, their actions happen from their relationship with money and this in critical reflection tension generated in this work, "street performer" with respect to our concept of homeland and history.
The book suggests a body exiled from their homeland, "Deque way the concept of" homeland "is installed in the play?
Reflection on the concept of homeland is installed from the question "What is Homeland?. From this idea that country would let go of belonging to an alleged leak of territoriality, of what we understand as a state, of what we call by the Government, would be a recognition of equal membership. CONCLUSION In this sense hypothesized belonging to a place states, that is, Homeland be established as a place without boundaries, which is defined by social and political inhabit the bodies in a context. In these terms, the work invites the challenge to settle on a single country, "the homeland of all the Chileans" as place that "combines" depoliticized perspective that denies the ethnic and class differences, becoming in a "one" without contradiction.
About historiography ... the beginning of the work reflection appears to quote Walter Benjamin "The history of the oppressors is ongoing, while those of the oppressed is made of discontinuity ", then in one scene a woman speaks of her disappearance generic History written political processes of Chile, as a kind of vindication. Tell us about it and how we could relate these two scenes.
critical reflection that is installed in the work concerning historical onstruction lac is about asking who writes history? What counts in this story? ... The problem is that history is written by the victors that project a step towards a future course denying any event that escapes from the line, denying political processes of the labor movement. These processes are falling as a network of actions on this great story line, producing just HISTORY. In this sense omitted from the official story is a constant practice. This denial of the oppressed in the official story has its own failure, in this case the work is stated, the denial of women in the historical construction of the popular movement. We found some studies that materializes a historical perspective of women, but apparently their greater participation is to be the backdrop for men. More than one claim, this gesture highlights a historical debt. As indeed is reflected in other social sectors in our country which are not addressed by the work.
Celebration is a work, without doubt, critical part of the Bicentennial of Chile. How important do you think is the work inthis context?
The importance of the work exists in this context bicentenarista CELEBRATION lies mainly in setting up a critical reflection on our historical evolution demonstrate our dissatisfaction with these 200 years of injustice, inequality, massacres and abuses that have and have had to endure that and we just have built this country. In this context the importance lie in touch, clarify, inform and reaffirm our Republic criticism from a theatrical perspective.
What do you think of the concept "Chilean cultural identity" and how it operates laobra in this regard?
The problem of identity is complex and on our Chile. Complex if we think that our cultural traits consistently appear as hybrids, where the cultural intertextuality is a feature already own. In this sense I think it is more appropriate to speak of cultural identities. Celebration time is here to reaffirm an identity (in other identities). An identity that is manifested in the discursive and representational resources. An identity that appeals to a class, your imagination, and therefore the representation of that subjectivity.
What do you expect the public Celebrating the work?
hope, first, that the audience likes the play, have fun and to reflect, from our views about the development of our history and the hidden or blatant intervention of her textual representations, media and cultural. We understand that public reactions to deal with the work depends on their political place, their own perception of the history of Chile (which could come encontradicción or not) and why not speak, instead of class. We do not expect to convert the reactionary, but rather to awaken the revolutionary thoughts and feelings those who want a truly democratic and just society, for them to become civic action.
What tools and references Theatre aesthetic pick in the process of creating the work?
I think a political artwork is by the superposition of experience that reflects a political and artistic process, in this sense the direction of assembly and formal discourse arises from a kind of collage of imagery manifesting ideological direction and the representational. Regarding the methodology of work ... For this type of theatrical experience is indispensable ideological commitment of all members of the company as well as the inclusion of their views about the topics that are to be developed. To do this we established a workflow that integrates the views and scenic imagery of the entire team working on the development of the history of Chile under the Republican regime. It is from this way of working that is the staging. Celebration is a work that emerges from the research stage and not from the dramatic construction. In As for my referring of course I can think of Brecht, Piscator and Boal and others.
Why do political theater today?
I think the main importance of political theater lies in the momentum, the real desire of wanting to dismantle the current state of things to consider not only unfair but especially anti human. I think we need to demonstrate a difference mainly discursive and formal artistic proposals that fall from the official, rather from the dominant ideas. Symbolic practices formally respond to ideas and those ideas is driving like it or not. That is why I believe it is essential that the political theater wonder about his own formality, not only for its content. It is important to make a difference, really the only way we will be an important factor subjective disband after modify our objective conditions of exploitation.
What do you think of the production of performing arts, especially theater that is being done in Chile today?
talk of theater production. In recent years there has been a boom in demand and supply of theatrical activity. This boom has meant an increase in production and spectators. Now, Who are these viewers? For the most part are people who have purchasing power, and in this case consume an item of value subjective. The rest of the population has no access to this "good" since it has the money to do so and therefore subjective need to "consume." Cultural policies Concertación and new government point in this direction, trying to install the performing arts, not technically reproducible in a target market for the economically affordable accommodated. These stagings then begin to develop speech and formality within the aesthetic parameters that need and promotes the market. This is a homogenizing tendency of certain theatricality that is installed as dominant but theoretically escape, it is so often the proposals that fall under this condition both in content and in form are denied by the official and dominant theatricality. That is the reality of the theatrical production, which is essential to change reality.
What are the objectives of the Public Theater, as they finance their productions and projects have a future?
Our goal is to stage creations that reveal certain aspects of our reality that invite us to reflect critically on the development of our social relations imposed by the economic model which we develop and politics bourgeois, that through this model represents the interests of national power groups and trans. We express our opinion and views through our theatrical imagination. We believe that in these times is essential to the commitment of all citizens in building a just and truly democratic country from their own fields.
art and in this case the theater is a tool to reveal the reality in which we develop, to disseminate ideas, to invite critical thinking and to push shares social change.
These actions of social change must come from the sectors that have been historically oppressed, from the working class. Approach to our work in these sectors is then essential. We finance through competitions and not get (as in this case) independently. Our project for the future is simple, to continue working together in the direction we have set despite all odds.
CELEBRATION
Author: Public Theater and CristiánAravena.
Address: Patricia Artes.
Cast: Cecilia Acuña, Javiera Zeme, Marcelo Arcos, Cristián Lagreze, Martín Muñoz, Alejandro Miranda, Kevin Paya, David Gonzalez, Marcela Gueny, Cristian Aravena.
The work was presented August 14 to September 5, 2010, in room The Showcase.
PUBLIC THEATER
Our first job was laobra " Misfortune workers, a tijeraclavada in the heart", porPatricia Artés directed by Luis Emilio Recabarren original adaptation of Paul Paredes.Esta work was performed with season the room "TROLLEY" depúblico and critical success, also participated in this work at festivals, "FETEF 2007" University of Frontier , Temuco IX Region, and in the V Meeting of theater porteñoindependiente "held in Valparaiso, V Region, January 2008. Roaming East favored with FONDART montajefue 2009 by I and II Region of the country.
The company's second job was the work "Mericrismas Peni" addresses the problems experienced by puebloMapuche as a historical problem of segregation respect to the whole Chilean society has to be installed as a wound in the project deintegración.
This assembly was favored for its creation by the National Endowment for the Culture and the Arts (FONDART 2008), was pre released in Temuco lacuidad within the University Theatre Festival Frontier (2008), a successful season despuéstuvimos 20 functions in the room "Trolley" in noviembredel 2008 where she was seen by over 600 people. We also participate inthe twelfth version SICOSUR festival in the city of Antofagasta, January 2009. We also had one in the room pequeñatemporada Siddhartha in March 2009, Corporación Cultural Balmaceda 1215, April 2009, and the Cultural Park Ex - jail Valparaiso, April 2009. This work has had major social experience shows in the city of Santiago, approaching public tienedirecta connection with the conflict that addresses the work, these functions Araucarias fueronrealizadas in the population of Florida, the zero population 18, at Barnes (Programa Chile my neighborhood) and University of Chile DeSantiago. During 2010, we participated with the book in three festivals " Fair of the Performing Arts (Talca), "Festival AMBACHAM / Warehouse Victor Jara) and the Community Theatre Festival ENTEPOLA established international.
PUBLIC THEATER Our company is escénicoreflexionar ideological support on issues from the conflicts and experiences of society omitted lossectores.
From our experience this type of practice stage, puedeconvertirse an important theatrical event, also including new sectors deaudiencia usually away from the official theatrical.
recently released our third show "Celebration" in the Board " The Showcase ." The work comes apartir the bicentenary of Republic of Chile . Inthe history of Chile is commonly shows, military heroes of ypresidencias Republic are a thread to tell. "Celebration" and setoma thread breaks that one as much or more protagonist: the history of workers, residents, women, students and peasants that gave rise to the "People's Movement."
The company estacompuesta art by young professionals, taking place in the ámbitode both academic teaching and school population, as well as permanent estarrelacionados artistic creation.
Public Theater: Patricia Artes, Cristián Lagreze, Alejandro Miranda, Marcelo Arcos, MartínMuñoz, Cristian Aravena Javiera Zeme, Cecilia Acuña, David Gonzalez, MarcelaGueny.
