Day by Day

Choreographic techniques of Tero Saarinen

Técnica Coreográfica De Tero Saarinen

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

The technique and repertoire workshops’ main aim is to acknowledge the weight of the body and maximize a dancers’ capacity to use balance and off balance. Saarinen’s technique concentrates on awakening the senses of the feet, general alertness and focusing. The goal is to make full use of already learned techniques and find, liberate and further nourish the potential capacity of each dancer.

Sini Länsivuori – Helsinki / Finland

Time: from 9:30am to 12am

Movement and voice

Movimiento Y Voz

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

A series of exercises that, through body work and music, aim at unravelling the needs of each student through achieving balance between body and voice.

Paula Zúñiga y Jorge Bécker - Santiago de Chile / Chile

Time: from 10am to 1pm

Physical Creation

Creación Física

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

An exploration through the different layers that make up the body, a parallel contemplation about the passing of time and our relationship with space in order to rediscover the relationships we establish when we perceive movement.

Juan Onofri Barbato – Buenos Aires / Argentina

Time: from 12am to 4pm

This workshop lasts 2 days: October 6th and 8th.

Hamlet, ciganski princ (2007)

Hamlet, ciganki princ (2007)
Serbia, 105 minutes

Direction: Aleksandar Rajkovic
Script: Aleksandar Rajkovic, Dusica Zegarac and Ana Marija Jarmoljuk
Cinematography: Milad Tauk
Music: Dragan Kresi?
Cast: Igor Ðordevic, Petar Božovic, Miodrag Fišekovic, Suzana Petrovic, Mirjana Šišic, Srdan Bošnjakovic, Zoran Kostic, Miroslav Simic and Predrag Novak

www.filmhamlet.com

The drama takes place in a local rubbish dump. The protagonists are gypsies precariously established in Belgrado’s sorroundings. The conflic arises not because of the throne but the control over the remains of urban life. A cast integrated, mostly, by non-professional actors gives life to a tragedy that radically changes sign

Quella sporca storia nell west (1968)

Quella sporca storia nell west (1968)
Italy, 91 minutes

Direction: Enzo G. Castellari
Script : Tito Carpi, Francesco Scardamaglia, Enzo Castellari and Bruno Corbucci
Production: Ugo Guerra and Elio Scardamaglia
Cinematography: Angelo Filippini
Staging : Tatiana Casini Morigi
Art direction: Enzo Bulgarelli
Music: Alessandro Alessandroni, Francesco de Masi and Audrey Nohra
Cast : Andrea Giordana, Gilbert Roland, Horst Frank, Ennio Girolami, Ignazio Spalla, Françoise Prévost, Stefania Careddu, Manuel Serrano and Franco Latini


The voracity of a low produccion western carried out outside the United States (the spaghetti western) had no limits when cannibalizing classic styles and arguments. Shakespeare was no exception and his celebrated tragedy served as a model to this adventure, also known as Johnny Hamlet.

Buenos Aires / Argentina: Falsa escuadra

Falsa Escuadra

The Company Movimiento Armario creates a strong visual and musical performance in which the artists plays with the movements of the body and its inter-relation with various objects to generate a personal world, where surrealist poetry and humour prevail. In that sense the circus technique, through its predominantly physical language, is integrated with the theatre interpretation in a dynamic and fun performance with characters that express themselves through gestures and actions.

Buenos Aires / Argentina: Testigos

Testigos

A raid is the basis of the story used to show both, the shameless way in which the police and justice act in certain areas, while, on the other side it is the display of a subjective dimension of time. The true effect of the raid marks an exception in time which makes a crumbling effect in the painful everyday routine; even allowing “to replay” scenes and to mix events. Because of this, modifications in the plot are possible.

Buenos Aires / Argentina: Rocío (o el paisaje)

Rocío (O El Paisaje)

Rocío (o el paisaje) suggests the subject of splitting in two: one character, two bodies, one story, and several viewpoints, is the primary material upon which Panno builds this play that uses the insights that, through speech, the character shares, while thinking at the same time, how that same story would be seen by a cow who watches it riding by rapidly on the road.

Güzel Gören Güzel Dü?ünür / You see well, you think well

A literary work by Bediuzzaman Said Nursi (Turkish).

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

Jasidiana / Jasidiana

Popular Hasidic tales (Hebrew).

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: Chiquito

Chiquito

In Chiquito, a former military man, a nurse, and a young man, Cascarita, rebuild, through fragments, part of the story. Gradually, the audience will see that the young man is one of the five hundred babies who were kidnapped by the last dictatorship. He is at the present undergoing the process of asking questions in order to reconstruct his true identity.

Buenos Aires / Argentina: Domingo

Domingo

Through this biopic, the director not only puts on stage a person that is not an actress, but chooses her own grandmother, who is 80 years old and does this for the first time in her life. The purpose is to evoke any Sunday of this woman´s life, who is just one of many common women. Her sounds, her memories and her nostalgia, have the leading roles in this performance that finds poetry in everyday life.

Gante / Bélgica: Patchagonia

Patchagonia

Charles Darwin's stories about Patagonia, or those of Billy the Kid, are the basis for this argentine choreographer, living in Belgium, to create this performance. It has a strong beckettian influence, where this particular space thrown to the outskirts of the world, appears to be an ideal place to slow down, to wait for something. This is an absolutely stylized version of our geography and our folklore rhythms, interpreted by Les Ballets C. de la B.

Maputo / Mozambique: Mujer Asfalto / Mulher Asfalto

Mujer Asfalto / Mulher Asfalto

Alain Kamal Martial’s text of Mulher Asfalto , put on stage by the Mutumbela Gogo group, gives them the possibility to give voice to those who are oppressed. In this case, Lucrecia Paco performs a prostitute sharing her insights on her job while having a musical dialogue with her partner, Cheny Wa Gune.

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.

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.

Hamlet (1948)

Hamlet (1948)
Great Britain, 155 minutes

Direction: Laurence Olivier
Adaptation: Laurence Olivier
Production: Laurence Olivier
Cinematography: Desmond Dickinson
Staging: Helga Cranston
Art direction: Carmen Dillon
Music: William Walton
Cast: Laurence Olivier, Jean Simmons, Eileen Herlie, Basil Sydney, Norman Wooland, Felix Aylmer, Terence Morgan, Anthony Quayle, Esmond Knight and John Laurie

Not just because of the time in which this production was carried out , Olivier’s work constitutes without a doubt, the version of classic films. As such, the dramatics of this work aims at clarifying the psychology and motivation of the characters. The celebrated decision of substituting the soliloquies for monologues in off was, in that context, inevitable.

Montevideo / Uruguay: Mi muñequita (la farsa)

Mi Muñequita (La Farsa)

My little doll ( the farce) presents a distorted image of the bourgeois concept of family by showing the atrocities underlying the morale proclaimed from the surface. Through this farce, expressly presented by the title itself, Calderón puts on stage a series of creatures that do not resemble neither a realist nor a naturalist theatre.

Diego Vainer