Day by Day

Dancing in the Monkey´s mind

Bailando En La Mente Del Mono

Workshops require previous inscription and selection, open until September 25th. For further information please write to: talleresfiba@festivales.gob.ar

The aim of the workshop is the exploration and construction of original dance phrases, using different physical states (excitement, boredom, compulsion, caprice, etc) as departing points, translating the variety of our thoughts into movement.

Lisi Estaras and Nicolas Vladyslav – Gante / Belgium

Time: from 10am to 1pm

Dramatics and direction

Dramaturgia Y Dirección

Workshops require previous inscription and selection, open until September 25th. For further information please write to: talleresfiba@festivales.gob.ar

A workshop that combines dramatics and direction. The assistants will write a play and they will stage it using forms and techniques of the company’s creative work.

Guillermo Calderón and Trinidad González – Santiago de Chile / Chile

Time: from 10am to 1pm

Buenos Aires / Argentina: Obra lumínica

Obra Lumínica

Obra lumínica is an arbitrary as well as a fussy proposal. This is the gathering of the work of a group of artists who perform with lights; however, they are most of the time, paradoxically, invisible. This performance also allows the coexistence, in the same theatre, of small-format plays, where light has a leading role.

Hamlet (1969)

Hamlet (1969)
Great Britain, 117 minutes

Direction: Tony Richardson
Script: Tony Richardson
Production: Hans Gottschalk, Neil Hartley, Leslie Linder and Martin Ransohoff
Cinematography: Gerry Fisher
Staging: Charles Rees
Production design: Jocelyn Herbert
Cast : Nicol Williamson, Judy Parfitt, Anthony Hopkins, Marianne Faithfull, Mark Dignam, Michael Pennington, Gordon Jackson, Ben Aris, Anjelica Huston


Because of the Roundhouse Theatre’s production, Williamson was considered the best Hamlet since Gielgud. Scholars agree that Gielgud and Burton were the last two colossal actors to play this role in the 20th Century. In the film version the phlegmatic Anthony Hopkins coexists with the bloody Marianne Faithfull.

Intikam Melegi - Kadin Hamlet (1977)

Intikam Melegi - Kadin Hamlet (1977)
Turkey, 86 minutes

Direction: Metin Erksan
Script: Metin Erksan
Cinematography: Cahit Engin
Cast: Fatma Girik, Reha Yurdakul, Sevda Ferdag, Ali Cagaloglu, Ihsan Gedik, Coskun Gôgen, Ekrem Gökkaya, Yüksel Gözen, Önder Güç, Senem Kayra and Ahmet Kostarika


Once again, a female Hamlet though this time, it is a Hamlet who plays with the avant-garde until turning tragedy into a hilarious pop cocktail, musical included. Not much remembered outside his own country (where he is considered a cult director), Erksan was one of the first turkish film-makers in accusing the influence of modern european films.

Buenos Aires / Argentina: Dúo para ella sola

Dúo Para Ella Sola

Starting right from the title, the play shows us something complex. What can a duo for a sole woman mean? Not strictly an oxymoron, the interpretation of the title, at first, seems impossible without an explanation about the technical equipment that allows a sole performer to play a duo. This linguistic contradiction shall be solved through the use of a technical device, and why not, even a scientific element.

Buenos Aires / Argentina: The victory to La Madrecita

The Victory To La Madrecita

The play is about La Madrecita; a girl from the northern part of the country ,who is said to have special miraculous powers, and her untiring sister. While one lives having visions all the time, fighting against the eventual visits of the devil, and receiving pilgrims; the other one dedicates herself to administrate the charity money that people give them. But one day, upon having been expelled from their place, they move to a very agitated Buenos Aires right in the midst of its last dictatorship.

Buenos Aires / Argentina: Nada del amor me produce envidia

Nada Del Amor Me Produce Envidia

The mythical slap Libertad Lamarque would have given to Eva Duarte de Perón, is the basis for the argument of this story about a seamstress that once was visited by these two women who wanted to buy her the same dress. This dilemma will be the starting point to put on display the cultural universe of those years which are accuratelly represented through the repertoire of this Argentine actress and singer who exiled herself in Mexico for being against the peronist regime.

Enrico IV / Henry IV

A literary work by Luigi Pirandello (Italian).

Text reading will be carried out in its original language and attendance will receive a translated copy upon entry.

Helsinki / Finlandia: Velada con Stravinsky

Velada Con Stravinsky / Stravinsky Evening

With a very personal stamp, Saarinen, achieves to pay tribute to Russian composer Igor Stravinsky by recreating two of his most important plays: “Petrushka” and “The Consecration of Spring.”
Warning! HUNT has strong light-stroboscopic effects that may be harmful for some people, such as those suffering from epilepsy.

La nostalgia

A literary work by Alexandros Papadiamantis (Greek).

Text reading will be carried out in its original language and attendance will receive a translated copy upon entry.

Santiago / Chile: Neva

Neva

The plot basis applied by Calderón to start a harsh critical debate about his country and the theatre is very simple. One afternoon in the winter season of 1905, at the royal city of Saint Petersburg, an actress named Olga Knipper, widow of the great Antón Chejov, is waiting for her company to arrive so as to start the rehearsals ofThe cherry garden. While she is crying alone, outside, Bloody Sunday is taking place.

Buenos Aires / Argentina: Cascarita, no luce ni cierra

Cascarita, No Luce Ni Cierra

Apparently it is a play about art, since its narrator is devoted to writing. However, this serves Iglesias as a starting point to deploy a cultural and ideological universe that will appeal to the empathy of the audience at first. Later he will unveil the hidden personality of this character that is far beyond being an ordinary man and does no longer cause sympathy, but he does cause horror.

Cochabamba / La Paz / Bolivia: Transparente

Transparente

Transparente plays with that same idea of transparency as a way to make very evident certain personal and national truths; to show them and put them on stage by means of a cabaret-like staging performance that proposes an experience where, on a single stage, the show, the entertainment, and frivolity, coexists with the dense, the obscure and the evil. Through a conceptual writing, the characters will try to become sometimes visible, sometimes transparent, and always trying to understand what is inside the others and also in themselves.

Palermo / Italia: Mishelle di Sant’Oliva

Mishelle Di Sant’Oliva

Mishelle di Sant’Oliva is the story of an always absent body; that of a mother who was a leading dancer at the Olympia of Paris, and of the two men facing the cruelty of having to be there only waiting. The father, Gaetano, and the son Salvatore, live in a very dirty and poor place. Meanwhile, the father dreams with an apparently happy past, as a way to deny the homosexuality of his son, who in the evening turns into a transvestite and prostitutes himself.

Buenos Aires / Argentina: Ilusión

Ilusión

A spider and a mirror will be the only set decoration that will welcome this 1700’s dressed couple. From that moment on, the music will be marking the distance and the closeness of the bodies, while other disciplines like magic demonstrations, appears on stage to collaborate in the creation of an oniric atmosphere that is, basically, the raw material used by Mazur.

Hamlet (2007)

Hamlet (2007)
Great Britain, 131 minutes

Direction: Alexander Fodor
Production: Paul Allan-Slade
Cinematography: Diego Indraccolo
Setting: Diego Indraccolo and Jovy Thomas
Music: Joe Lyske
Cast: William Bellchambers, Max Davis, Alexander Fodor, James Frail, Alan Hanson, Keaton Makki, Thomas Matthews, Patrick Monckebergy and Simon Nader

www.hamletmovie.co.uk

Respecting Shakespeare’s original text, the most updated english version proposes sudden changes in the reading of characters, placing them in a no man’s land, constantly crossed by the cultural industries’ imaginery.

Ulises Conti