Day by Day

College casts. Advantages and disadvantages

It is a space thought for reflecting and encouraging those entities involved in the creation of stable university casts.
The participants will be : Mario Espinosa, Director of the Theatre University Centre from the National Autonomous University of Mexico (UNAM), along with representatives of IUNA and academic institutions from Mendoza, Tandil, Tucumán, Córdoba and Río Negro.

For further information: fiba@festivalesbsas.gov.ar

From the llama to the concept

De La Llama Al Concepto

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

Presentation, contextualization and description of new perspectives of contemporary languages in the theatrical creation in Bolivia.

Eduardo Calla and Diego Aramburo – Cochabamba – La Paz / Bolivia

Time: from 10am to 2pm

This workshop lasts 2 days: October 10th and 11th.

The creative actor

El Actor Creativo

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

The objective of this workshop is to provide contemporaries with techniques and mechanisms of their own making to strenghten their dramatic capacity and potential. A space for practical reflection on the actor’s rol, his potentials and limits.

Time: from 11am to 2pm

This workshop lasts 2 days: October 10th and 11th.

College casts. Advantages and disadvantages

It is a space thought for reflecting and encouraging those entities involved in the creation of stable university casts.
The participants will be : Mario Espinosa, Director of the Theatre University Centre from the National Autonomous University of Mexico (UNAM), along with representatives of IUNA and academic institutions from Mendoza, Tandil, Tucumán, Córdoba and Río Negro.

For further information: fiba@festivalesbsas.gov.ar

Hamlet (1990)

Hamlet (1990)
United States, 165 minutes

Cameras direction: Kirk Browning
Scene setting: Kevin Kline
Production: Kimberly Myers and Iris Merlis
Edition: Girish Bhargava
Production design: John Arnore and Robin Wagner
Music: Bob James
Cast: Kevin Kline, Dana Ivey, Brian Murray, Diane Venora, Peter Francis James, Josef Sommer, Michael Cumpsty, Don Reilly, Robert Murch and Philip Goodwin


Originally produced for New York’s Shakespeare Festival, Kevin Kline’s setting was meticulously reproduced for TV cameras. The result consitutes an invaluable register of the different conceptions of theater, theatricality and acting in the contemporary american scene.

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.

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.

Anoite vai coma un río / The night flows like a river

A literary work by Álvaro Cunqueiro (Galician).

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

Buenos Aires / Argentina: Luisa se estrella contra su casa

Luisa Se Estrella Contra Su Casa

Luisa is a woman who denies her loneliness after her husband died in an accident. She stays at home all the time; a house that resembles a doll house, and there she has long conversations with the shadow of her dead husband , being visited at the same time by Odex-Man, a sort of super-hero coming out of a cleansing product advertising.

Zahradní slavnost / A party at the courtyard

A literary work by Václav Havel (Czech).

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

Seoul / Corea: Hotel Splendid

Hotel Splendid

Though the Cho-In Theatre Company has never used words before in its works, this play uses the words of the American poet and playwrighter who, with passion and poetry, tells the story of 200,000 women–most of them Korean–who were taken prisoners as sexual slaves by the Japanese army during World War II. This play is a tribute to all these women who, still today, want to be recognized and need to tell the world all the atrocities they have lived.

Ajaccio (Córcega) / Francia: Juan la Suerte / Jean la Chance

Juan La Suerte/ Jean La Chance

The script, which was incomplete and unknown until the late 90´s, was written by Bertolt Brecht in his first period, while living at Baviera, right after writting Baal and just before Drums in the night. He was inspired by the story of Hans in Glück written by the Grimm brothers. His aim was to show the critical insights he had about commerce. Orsoni makes his own version, essentially using music to tell the story and thus, being able to work the scene with a certain distance.

ASUNCIÓN/ PARAGUAY: La secreta obscenidad de cada día

La Secreta Obscenidad De Cada Día

A park bench is the only element on stage where two men, who are dressed in suggestive outfits, are waiting for students to come out of school. Two overcoats hide an obscenity which is sexual, but that it may turn ideological for these two men whose names are, significantly, Charles(Marx) and Sigmund (Freud).

Barcelona / España: Crónica sentimental de España

Crónica Sentimental De España

Songs don´t lie. Based on this slogan, Albertí creates this performance which is neither theatrical nor musical, but a mixture of both. It is so symbiotic that it turns it weird; but the audience will be moved by Spain’s story told through its melodies and songs, being this a way to acknowledge our own identity.

Buenos Aires / Argentina: Stéfano

Stéfano

Argentina used to be a land of hopes and dreams. Stéfano by Armando Discépolo makes reference to that specific time in history, describing the hopes of an european immigrant who dreamed, in vain, about writing an opera. Hope and frustration are the beginning and the end of a play that unfolds a personal tragedy launching it as a social metaphor.

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.

San Miguel de Tucumán / Argentina: Il fait mauvais… llueve

Il Fait Mauvais… Llueve

Il fait mauvais… llueve is marked by a playful spirit, to such an extent that not only the title is in French, but almost all the performance is spoken in that language, sometimes accompanied by simultaneous translations. From the very beginning, the audience knows that there is no story to look for. Because, what this company does is to build, by working with both languages, a third language that is pure materiality, thus leaving the semantic part drastically in a second place.

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.

Federico Marrale