In 2008, Dixon founded the research group Teatro Cuatro Mundos, dedicated to the investigation of post-colonial playwrights, and canonical contemporary and classical playwrights unknown in the Spanish-speaking world. In both cases there is also an emphasis on playwrights for women. The first line of research is to develop the work at the Pacific Coast Workshop for Young Artists in Buenaventura (Colombia's New Orleans), an extended outreach program created by the Theatre Department of the Universidad del Valle in 2004, in conjunction with the Ministry of Culture and the Buenaventura Branch of Univalle. The TCM group has staged two successful productions under the direction of Manuel Viveros, Colombian adaptations of Beef, no Chicken by Derek Walcott, and The Piano Lesson by August Wilson. This last production has been invited to the XII Festival Iberoamericano de Teatro in Bogotá in 2010.
The second line of research is developed in the Professional Cycle of the Theatre Department, and began with a successful production of Alexander Ostrovsky's XIX century musical comedy, Poverty is no Crime.
Productions with the Young Artists' Workshop
The Piano Lesson by August Wilson. Directed by Manuel Viveros
Beef, no Chicken by Derek Walcott. Directed by Manuel Viveros
Friday, August 1, 2008
Tuesday, April 1, 2008
Dancing at Lughnasa by Brian Friel
Dirección: Everett Dixon
Michael and Chrissie (Cristian Vásquez and Francia Solano) in Dancing at Lughnasa by Brian Friel, Padres e Hijos. (Fotos: Catherine Ávila)
Bailando en Lughnasa es una obra muy parecida a otra obra renombrada “chejoviana”, El Zoológico de Cristal de Tennessee Williams, pero se distingue de ésta (y de Chéjov) por su notable falta de crueldad. Sin sentimentalizar, esta obra logra dignificar a la gente sencilla por la poesía de su vida cotidiana. El proceder de Friel aquí es el del arzobispo-cronista Lombard en Haciendo Historia: ajusta la narrativa caótica de la vida de los personajes – del narrador Michael, de la tía Maggie, del padre Jack – a la propia visión idealista que tienen, luego se divierte tejiendo esta visiones contrastantes en una estructura de transiciones inesperadas. Por lo tanto, se arma un conflicto inhabitual en el teatro: el abismo que se abre entre nuestro vuelo imaginativo y la irrevocabilidad del pasaje del tiempo. Como su compatriota Shaw, toca una problemática moderna – en este caso la angustia existencial – y como Shaw da una solución de sentido común: hay que alegrarse. Comamos, bebamos, alegrémonos, que mañana moriremos. Esta obra tiene la alegría dolorosa de un alabao, herencia africana como las ceremonias que describe el padre Jack en el segundo acto, y la insistente presencia de la música en la obra no es una casualidad. Y visto que la obra habla del tiempo, pues, toma su tiempo, como las veladas nocturnas de nuestro propio festival pagano de otoño, la Noche de los Muertos.
REPARTO
Michael, joven, narrador - Johann Philipp MorenoKate, cuarenta, intitutriz - Ximena OrozcoMaggie, treintaiocho, ama de casa - Lauren CeballosAgnes, treintaicinco, tejedora - Satiana LondóñezRose, treintaidos, tejedora - Gianina AranaChris, veintiseis, madre de Michael - Francia SolanoGerry, treintitrés, padre de Michael - Cristian VázquezJack, cincuenta y tres, sacerdote misionero - Andrés Camilo López
Michael, quién narra la historia, también dice los textos del niño, es decir, Michael mismo cuando tenía siete años.Acto Primero: un día caliente de principios de agosto, 1936. Acto Segundo: tres semanas más tarde.La acción transcurre en el hogar de la familia de los Mundy, a cuatro kilómetros de la aldea de Ballybeg, en la condad de Donegal, Irlandia.
Arkady, Arisa Vlasyevna y Vassily Ivanich (Julián Caicedo, Sindy Ángel y Diego Robledo) en Padres e Hijos.
Visite la página web del montaje de la misma obraen el Teatro Estudio Fomenko, Moscú, Rusia.«Танцы на прaздник урожaя»
Para ver fotos de la obra, haga clic en la foto de la página web.
FICHA TÉCNICA
DirecciónProductora
Everett DixonSatiana Londóñez
Traducción del inglés por Everett Dixon, Claudia Vélez y el grupo de Montaje IV.
Michael and Chrissie (Cristian Vásquez and Francia Solano) in Dancing at Lughnasa by Brian Friel, Padres e Hijos. (Fotos: Catherine Ávila)
Bailando en Lughnasa es una obra muy parecida a otra obra renombrada “chejoviana”, El Zoológico de Cristal de Tennessee Williams, pero se distingue de ésta (y de Chéjov) por su notable falta de crueldad. Sin sentimentalizar, esta obra logra dignificar a la gente sencilla por la poesía de su vida cotidiana. El proceder de Friel aquí es el del arzobispo-cronista Lombard en Haciendo Historia: ajusta la narrativa caótica de la vida de los personajes – del narrador Michael, de la tía Maggie, del padre Jack – a la propia visión idealista que tienen, luego se divierte tejiendo esta visiones contrastantes en una estructura de transiciones inesperadas. Por lo tanto, se arma un conflicto inhabitual en el teatro: el abismo que se abre entre nuestro vuelo imaginativo y la irrevocabilidad del pasaje del tiempo. Como su compatriota Shaw, toca una problemática moderna – en este caso la angustia existencial – y como Shaw da una solución de sentido común: hay que alegrarse. Comamos, bebamos, alegrémonos, que mañana moriremos. Esta obra tiene la alegría dolorosa de un alabao, herencia africana como las ceremonias que describe el padre Jack en el segundo acto, y la insistente presencia de la música en la obra no es una casualidad. Y visto que la obra habla del tiempo, pues, toma su tiempo, como las veladas nocturnas de nuestro propio festival pagano de otoño, la Noche de los Muertos.
REPARTO
Michael, joven, narrador - Johann Philipp MorenoKate, cuarenta, intitutriz - Ximena OrozcoMaggie, treintaiocho, ama de casa - Lauren CeballosAgnes, treintaicinco, tejedora - Satiana LondóñezRose, treintaidos, tejedora - Gianina AranaChris, veintiseis, madre de Michael - Francia SolanoGerry, treintitrés, padre de Michael - Cristian VázquezJack, cincuenta y tres, sacerdote misionero - Andrés Camilo López
Michael, quién narra la historia, también dice los textos del niño, es decir, Michael mismo cuando tenía siete años.Acto Primero: un día caliente de principios de agosto, 1936. Acto Segundo: tres semanas más tarde.La acción transcurre en el hogar de la familia de los Mundy, a cuatro kilómetros de la aldea de Ballybeg, en la condad de Donegal, Irlandia.
Arkady, Arisa Vlasyevna y Vassily Ivanich (Julián Caicedo, Sindy Ángel y Diego Robledo) en Padres e Hijos.
Visite la página web del montaje de la misma obraen el Teatro Estudio Fomenko, Moscú, Rusia.«Танцы на прaздник урожaя»
Para ver fotos de la obra, haga clic en la foto de la página web.
FICHA TÉCNICA
DirecciónProductora
Everett DixonSatiana Londóñez
Friday, December 21, 2007
Dancing at Lughnasa by Brian Friel
Direction: Everett Dixon
Translation by Claudia Vélez, Everett Dixon, and the Performance Workshop group.
A production of the Theatre Department of the University del Valle in Cali, Colombia.
Cristian Vásquez and Francia Solano (Gerry, Chrissie) in Dancing at Lughnasa by Brian Friel. (Photo: Catherine Ávila)
Dancing at Lughnasa is very similar to another famous “chekhovian” play, The Glass Menagerie by Tennessee Williams, but it parts with this play (and Chekhov) for its remarkable lack of cruelty. Without sentimentality, this play manages to dignify simple people through the poetry of their daily life. Friel’s strategy is the same as that used by his character Lombard, arch-bishop and chronicler from Making History: he adjusts the chaotic narrative of the life of his characters – of narrator Michael, Aunt Maggie, Father Jack – to the idealist vision they have of their own lives, then he plays at interweaving this vision with contrasting scenes from reality, making for a structure of constantly unexpected surprises. And the result is an unusual conflict in the theatre: the chasm which opens between our imaginative flights and the irrevocability of the passage of time. As does his compatriot, Bernard Shaw, Friel touches on a modern problem – existential anguish – and as Shaw he gives a common-sense solution: be happy. Eat, drink, and be merry, for tomorrow we die. This play has the painful happiness of an Afrocolombian alabao, the celebratory songs to the dead that are sung in the Colombian Pacific – an African legacy like others described by Father Jack in the second act – and the insistent presence of music in the play is no coincidence. And since the play talks of time, it takes it time, and asks us to do the same, as in the same wakes where alabaos are sung.
Lauren Ceballos, Francia Solano, Satiana Ordóñez and Gianina Arana (Maggie, Chrissie, Aggie and Rose) in Dancing at Lughnasa by Brian Friel. (Photo: Catherine Ávila)
Brian Friel (Omagh, 1929)
The most important contemporary Irish playwright, Friel has cultivated a deceptively simple dramatic structure: His plays, which deal with the passage of time and the fragmentary and idealistic mirages of memory, are testimonies of the failures of characters who nevertheless manage to tranform their reality through the poetization of their past. Friel is master at details that distract our attention, the pauses we make to contemplate a child's kite or smell the herbs in the garden, episodes and details that finally have more weight in the fortunes of these characters than their most painful misfortunes, Adapter of Ivan Turgenev, (Fathers and Sons, 1990), this Irish dramatist has an extraordinary affinity to the great notoriously warm-hearted Russian stylist. Other plays: Translations, 1986; Making History, 1989; Wonderful Tennesse, 1993.
Camilo López and Satiana Ordóñez (Father Jack and Aggie) in Dancing at Lughnasa by Brian Friel (Photo: Catherine Ávila)
Characters
Michael, young man, narrator: Johann Philipp Moreno
Kate, forty, schoolteacher: Ximena Orozco
Maggie, thirty-eight, housekeeper: Lauren Emilia Ceballos
Agnes, thirty-five, knitter: Satiana Ordóñez
Rose, thirty-two, knitter: Gianina Arana
Chris, twenty-six, Michael's mother: Francia Elena Solano
Gerry, thirty-three, Michael's father: Cristian David Vázquez
Jack, fifty-two, missionary priest: Andrés Camilo López
Michael, who narrates the story, also speaks the lines of the boy, i. e. himself when he was seven. Act One: A warm day in early August 1936. Act Two: Three weeks later. The home of the Mundy family, two miles outside the village of Ballybeg, County Donegal, Ireland.
Crew
Direction: Everett Dixon
Traduction: Claudia Vélez
Production: Satiana Ordóñez, Gianina Arana
Musical Consultant: Ramiro Soto
Music: Catherine Ávila
Choreography: Satiana Ordóñez, Gianina Arana
Lighting: Cristian Vásquez, Edwin Ramos
Stage Technician: Sergio Cardona
Secretary, Theatre Department: Myriam Valencia
Chair, Theatre Department: Mauricio Doménici
Programa Director: Gabriel Uribe
Visit the website of the same play at the Fomenko Studio Theatre (Moscow): «Танцы на прaздник урожaя» To see photos of the performance, click on the website photo.
Translation by Claudia Vélez, Everett Dixon, and the Performance Workshop group.
A production of the Theatre Department of the University del Valle in Cali, Colombia.
Cristian Vásquez and Francia Solano (Gerry, Chrissie) in Dancing at Lughnasa by Brian Friel. (Photo: Catherine Ávila)
Dancing at Lughnasa is very similar to another famous “chekhovian” play, The Glass Menagerie by Tennessee Williams, but it parts with this play (and Chekhov) for its remarkable lack of cruelty. Without sentimentality, this play manages to dignify simple people through the poetry of their daily life. Friel’s strategy is the same as that used by his character Lombard, arch-bishop and chronicler from Making History: he adjusts the chaotic narrative of the life of his characters – of narrator Michael, Aunt Maggie, Father Jack – to the idealist vision they have of their own lives, then he plays at interweaving this vision with contrasting scenes from reality, making for a structure of constantly unexpected surprises. And the result is an unusual conflict in the theatre: the chasm which opens between our imaginative flights and the irrevocability of the passage of time. As does his compatriot, Bernard Shaw, Friel touches on a modern problem – existential anguish – and as Shaw he gives a common-sense solution: be happy. Eat, drink, and be merry, for tomorrow we die. This play has the painful happiness of an Afrocolombian alabao, the celebratory songs to the dead that are sung in the Colombian Pacific – an African legacy like others described by Father Jack in the second act – and the insistent presence of music in the play is no coincidence. And since the play talks of time, it takes it time, and asks us to do the same, as in the same wakes where alabaos are sung.
Lauren Ceballos, Francia Solano, Satiana Ordóñez and Gianina Arana (Maggie, Chrissie, Aggie and Rose) in Dancing at Lughnasa by Brian Friel. (Photo: Catherine Ávila)
Brian Friel (Omagh, 1929)
The most important contemporary Irish playwright, Friel has cultivated a deceptively simple dramatic structure: His plays, which deal with the passage of time and the fragmentary and idealistic mirages of memory, are testimonies of the failures of characters who nevertheless manage to tranform their reality through the poetization of their past. Friel is master at details that distract our attention, the pauses we make to contemplate a child's kite or smell the herbs in the garden, episodes and details that finally have more weight in the fortunes of these characters than their most painful misfortunes, Adapter of Ivan Turgenev, (Fathers and Sons, 1990), this Irish dramatist has an extraordinary affinity to the great notoriously warm-hearted Russian stylist. Other plays: Translations, 1986; Making History, 1989; Wonderful Tennesse, 1993.
Camilo López and Satiana Ordóñez (Father Jack and Aggie) in Dancing at Lughnasa by Brian Friel (Photo: Catherine Ávila)
Characters
Michael, young man, narrator: Johann Philipp Moreno
Kate, forty, schoolteacher: Ximena Orozco
Maggie, thirty-eight, housekeeper: Lauren Emilia Ceballos
Agnes, thirty-five, knitter: Satiana Ordóñez
Rose, thirty-two, knitter: Gianina Arana
Chris, twenty-six, Michael's mother: Francia Elena Solano
Gerry, thirty-three, Michael's father: Cristian David Vázquez
Jack, fifty-two, missionary priest: Andrés Camilo López
Michael, who narrates the story, also speaks the lines of the boy, i. e. himself when he was seven. Act One: A warm day in early August 1936. Act Two: Three weeks later. The home of the Mundy family, two miles outside the village of Ballybeg, County Donegal, Ireland.
Crew
Direction: Everett Dixon
Traduction: Claudia Vélez
Production: Satiana Ordóñez, Gianina Arana
Musical Consultant: Ramiro Soto
Music: Catherine Ávila
Choreography: Satiana Ordóñez, Gianina Arana
Lighting: Cristian Vásquez, Edwin Ramos
Stage Technician: Sergio Cardona
Secretary, Theatre Department: Myriam Valencia
Chair, Theatre Department: Mauricio Doménici
Programa Director: Gabriel Uribe
Visit the website of the same play at the Fomenko Studio Theatre (Moscow): «Танцы на прaздник урожaя» To see photos of the performance, click on the website photo.
Sunday, April 1, 2007
Anhelo del Salmón Theatre, Bogotá
In 2007, Dixon was chosen as Artistic Director of the Bogotá theatre Anhelo del Salmón, with where he staged Waiting for Godot by Samuel Beckett. This production has had successful runs in Cali, Medellin and Bogotá, and has been invited to the XII Festival Iberoamericano de Teatro in Bogotá in 2010.
Productions
Waiting for Godot by Samuel Beckett. Premiere: Guarne, Antioquia, August 2008.
The Misanthrope by Moliere. Premiere: Casa del Teatro, Bogotá, May 2010
Workshops
Analysis of Five Canonical Plays, October 2009
Rhythm and the Theatre of the Absurd, July 2009
Workshops for the XII FITB, 2010
"Theatre Games Workshop", Theatre Training Workshops for Teenagers, in conjunction with the District Secretariat for Culture, Recreation and Sports, January to March 2010
"Theatre Games Workshop", Theatre Training Workshops for School Teachers, in conjunction with the Ministry of Education, March 2010
Productions
Waiting for Godot by Samuel Beckett. Premiere: Guarne, Antioquia, August 2008.
The Misanthrope by Moliere. Premiere: Casa del Teatro, Bogotá, May 2010
Workshops
Analysis of Five Canonical Plays, October 2009
Rhythm and the Theatre of the Absurd, July 2009
Workshops for the XII FITB, 2010
"Theatre Games Workshop", Theatre Training Workshops for Teenagers, in conjunction with the District Secretariat for Culture, Recreation and Sports, January to March 2010
"Theatre Games Workshop", Theatre Training Workshops for School Teachers, in conjunction with the Ministry of Education, March 2010
Monday, February 27, 2006
Beef, no Chicken by Derek Walcott
The Pacific Workshop for Young Artists in Buenaventura
and Four Worlds Research Group presents:
CON CARNE, Y SIN PESCADO.
Colombian adaptation of the play by Derek Walcott.
(Santa Lucía, Caribbean. Nobel for Literature, 1994)
Oscar Javier Martínez and Luis Fernando Borja in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Sponsored by:
Arts Direction, Ministry of Culture
University del Valle - Pacific Branch
Theatre Department, University del Valle
XIV Pacific Book Fair and University Week
Directed by: Manuel Viveros, Everett Dixon
Colombian Adaptation: Manuel Viveros, Everett Dixon and the Young Artists' Workshop
Assistant: Diego Burgos
Project Director, Four Worlds Research Group: Everett Dixon
Production Manager: Carol Maritza Hurtado
Marling Rentería, Jhon Erick Caicedo and Jency Rentería in Beef, no Chicken. (Photos: Carol Maritza Hurtado)
What is progress? For many people, progress is the materialization of their dreams, but few think in the consequences of progress. In these times of globalization, open markets, and free trade treaties, the aspiration to belong to the so-called first world can make us forget our priorities as human beings who belong to a community: to forget our principles and our respect for others. Palo Mojado, our Pacific Coast version of Walcott's Couva, is a metaphor for any place where the constant aspiration of the distant provinces to acquire a better life is confronted with the necessity to conserve the old traditions which the new life wants to destroy.
Oscar Javier Martínez, Luís Fernando Borja and Marling Rentería in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Derek Walcott (Santa Lucía/Caribe, 1926)
Caribbean poet and playwright born on the little sovereign island of Santa Lucía (140.000 inhabitants), who works in the United States and Trinidad, Walcott is considered one of the greatest poets in English of the twentieth century. His works develop a remarkable dynamic between a highly refined traditional English and Caribbean patois, with its fusion of African, Asian and European elements. The conflict in his plays and poems often revolves around the necessity for progress but the urgency to preserve lost traditions, and has much in common with another great Trinidad writer, V. S. Naipaul. His masterpiece, Homeros, for which he won the Nobel prize in 1992 (twelve years before Naipaul), is a modern version of motifs from the Odyssey, where the Aegean is replaced by the Caribbean. In 1959, he founded the Trinidad Theatre Workshop, and with them wrote and premiered a series of excellent theatre plays which are still unknown in the English-speaking world.
Marling Rentería in Beef, no Chicken by Derel Walcott. (Photos: Carol Maritza Hurtado)
CAST
Faustina Silva, a woman from the Atlantic Coast: Jency Rentería
Otoniel Posso, restaurant and auto shop owner: Jhon Erick Caicedo
Epifania Posso, his sister: Marlin Rentería
Haragan (Radio), an idler: Luís Fernando Borja
His CD Player: Oscar Javier Martínez
Luís Pérez, schoolmaster: Ricardo Buenaventura
Carmenza Douglas, Otoniel's niece: Angie Yulieth Arroyo
Danilo Maldonado, a television newscaster: Oscar Javier Martínez
First Bandit: Ferley Salazar
Second Bandit: Yey Freddy González
The Mayor, also called Pablo Dos Santos: Edison Herrera
Lucy Balanta, widow: Angie Yulieth Arroyo
Don Toribio Viafara, member of the Municipal Council: Adolfo Hernández
Don Lai-Fuk: member of the Municipal Council:Ferley Salazar
Fernando Taylor, ex-merchant seaman: Oscar Javier Martínez
El Diácono, a vagabond preacher: Jhonny Castillo
Setting: Palo Mojado, a village in any part of Latin America, in the present.
and Four Worlds Research Group presents:
CON CARNE, Y SIN PESCADO.
Colombian adaptation of the play by Derek Walcott.
(Santa Lucía, Caribbean. Nobel for Literature, 1994)
Oscar Javier Martínez and Luis Fernando Borja in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Sponsored by:
Arts Direction, Ministry of Culture
University del Valle - Pacific Branch
Theatre Department, University del Valle
XIV Pacific Book Fair and University Week
Directed by: Manuel Viveros, Everett Dixon
Colombian Adaptation: Manuel Viveros, Everett Dixon and the Young Artists' Workshop
Assistant: Diego Burgos
Project Director, Four Worlds Research Group: Everett Dixon
Production Manager: Carol Maritza Hurtado
Marling Rentería, Jhon Erick Caicedo and Jency Rentería in Beef, no Chicken. (Photos: Carol Maritza Hurtado)
What is progress? For many people, progress is the materialization of their dreams, but few think in the consequences of progress. In these times of globalization, open markets, and free trade treaties, the aspiration to belong to the so-called first world can make us forget our priorities as human beings who belong to a community: to forget our principles and our respect for others. Palo Mojado, our Pacific Coast version of Walcott's Couva, is a metaphor for any place where the constant aspiration of the distant provinces to acquire a better life is confronted with the necessity to conserve the old traditions which the new life wants to destroy.
Oscar Javier Martínez, Luís Fernando Borja and Marling Rentería in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Derek Walcott (Santa Lucía/Caribe, 1926)
Caribbean poet and playwright born on the little sovereign island of Santa Lucía (140.000 inhabitants), who works in the United States and Trinidad, Walcott is considered one of the greatest poets in English of the twentieth century. His works develop a remarkable dynamic between a highly refined traditional English and Caribbean patois, with its fusion of African, Asian and European elements. The conflict in his plays and poems often revolves around the necessity for progress but the urgency to preserve lost traditions, and has much in common with another great Trinidad writer, V. S. Naipaul. His masterpiece, Homeros, for which he won the Nobel prize in 1992 (twelve years before Naipaul), is a modern version of motifs from the Odyssey, where the Aegean is replaced by the Caribbean. In 1959, he founded the Trinidad Theatre Workshop, and with them wrote and premiered a series of excellent theatre plays which are still unknown in the English-speaking world.
Marling Rentería in Beef, no Chicken by Derel Walcott. (Photos: Carol Maritza Hurtado)
CAST
Faustina Silva, a woman from the Atlantic Coast: Jency Rentería
Otoniel Posso, restaurant and auto shop owner: Jhon Erick Caicedo
Epifania Posso, his sister: Marlin Rentería
Haragan (Radio), an idler: Luís Fernando Borja
His CD Player: Oscar Javier Martínez
Luís Pérez, schoolmaster: Ricardo Buenaventura
Carmenza Douglas, Otoniel's niece: Angie Yulieth Arroyo
Danilo Maldonado, a television newscaster: Oscar Javier Martínez
First Bandit: Ferley Salazar
Second Bandit: Yey Freddy González
The Mayor, also called Pablo Dos Santos: Edison Herrera
Lucy Balanta, widow: Angie Yulieth Arroyo
Don Toribio Viafara, member of the Municipal Council: Adolfo Hernández
Don Lai-Fuk: member of the Municipal Council:Ferley Salazar
Fernando Taylor, ex-merchant seaman: Oscar Javier Martínez
El Diácono, a vagabond preacher: Jhonny Castillo
Setting: Palo Mojado, a village in any part of Latin America, in the present.
Saturday, September 18, 2004
A Midsummer Night's Dream by William Shakespeare
Stage Direction: Everett Dixon
Production Design: Jorge Reyes
Choreography: Charles Vodoz
Theatre Department, Del Valle University, Cali, Colombia
Premiere: September 17, 2004
Helena, Hermia and Lisandro (Ana María Gómez, Elizabeth Patiño and Juan Cely) in Midsummer Night's Dream by William Shakespeare. (Fotos: Juan Carlos Cuadros)
Es bien conocido que William Shakespeare es el plagio más ilustre de la historia del teatro, y que el gran dramaturgo inglés la pasaba saqueando obras de otros autores. Hay una notable excepción a esta regla, sin embargo, y esta excepción se llama Sueño de una Noche de Verano. Fruto único de la imaginación de Shakespeare, también resulta, en términos técnicos, su obra más perfecta, y si borras todos los plagios del repertorio del maestro y te quedas sólo con esta obra única, Shakespeare no dejará de ser el más grande dramaturgo inglés. Concisa y veloz, compuesta en verso tan impecable como las obras neoclasicistas francesas, repleta de giros sorprendentes llenos de sentido metafórico, sin dejar (anticipando a Molière) de plantear situaciones cómicas primitivas, esta obra también encierra una filosofía humanista más amplia que cualquier adaptación escénica pudiera comunicar, especialmente en nuestra época sin convicciones. En efecto, son convicciones muy fuertes que impulsan a los personajes: añade al dicho inglés All's fair in love and war las palabras “and play”, y tendrás las apuestas de esta obra. Los personajes persiguen sus metas cueste lo que cueste, pero no terminan castigados como en Romeo y Julieta, sino Shakespeare, con una risa homérica, los asusta, los hechiza, los violenta de tal manera que se dan cuenta de su fragilidad como seres humanos... y los deja en libertad.
Production Design: Jorge Reyes
Choreography: Charles Vodoz
Theatre Department, Del Valle University, Cali, Colombia
Premiere: September 17, 2004
Helena, Hermia and Lisandro (Ana María Gómez, Elizabeth Patiño and Juan Cely) in Midsummer Night's Dream by William Shakespeare. (Fotos: Juan Carlos Cuadros)
Es bien conocido que William Shakespeare es el plagio más ilustre de la historia del teatro, y que el gran dramaturgo inglés la pasaba saqueando obras de otros autores. Hay una notable excepción a esta regla, sin embargo, y esta excepción se llama Sueño de una Noche de Verano. Fruto único de la imaginación de Shakespeare, también resulta, en términos técnicos, su obra más perfecta, y si borras todos los plagios del repertorio del maestro y te quedas sólo con esta obra única, Shakespeare no dejará de ser el más grande dramaturgo inglés. Concisa y veloz, compuesta en verso tan impecable como las obras neoclasicistas francesas, repleta de giros sorprendentes llenos de sentido metafórico, sin dejar (anticipando a Molière) de plantear situaciones cómicas primitivas, esta obra también encierra una filosofía humanista más amplia que cualquier adaptación escénica pudiera comunicar, especialmente en nuestra época sin convicciones. En efecto, son convicciones muy fuertes que impulsan a los personajes: añade al dicho inglés All's fair in love and war las palabras “and play”, y tendrás las apuestas de esta obra. Los personajes persiguen sus metas cueste lo que cueste, pero no terminan castigados como en Romeo y Julieta, sino Shakespeare, con una risa homérica, los asusta, los hechiza, los violenta de tal manera que se dan cuenta de su fragilidad como seres humanos... y los deja en libertad.
Friday, September 17, 2004
Mariinsky Theatre, Petersburg, 2004-2007
(The first opera was performed in Russian, and the second in Italian. The capital letters indicate the languages spoken in rehearsal, where I is Italian, R is Russian, E English and F is French.)
Directing Assistant and Interpretor for Alain Maratrat, actor of Peter Brook's Centre International des Recherches Théâtrales, and opera director. The conductor in both cases was Valery Gergiev.
Love for the Three Oranges. Opera by Sergei Prokofiev. (F-R) March 2007
Website at the Mariinsky Theatre
The Voyage to Rheims. Opera by Giacomo Rossini. (I-R-E-F) April 2005 (French premiere, Théâtre du Châtelet, Paris, December 2005)
Website at the Mariinsky Theatre
Larissa Yudina performs Folleville’s aria from Viaggio a Reims on Youtube
Gran Pezzo from Viaggio a Reims on Youtube
Directing Assistant and Interpretor for Alain Maratrat, actor of Peter Brook's Centre International des Recherches Théâtrales, and opera director. The conductor in both cases was Valery Gergiev.
Love for the Three Oranges. Opera by Sergei Prokofiev. (F-R) March 2007
Website at the Mariinsky Theatre
The Voyage to Rheims. Opera by Giacomo Rossini. (I-R-E-F) April 2005 (French premiere, Théâtre du Châtelet, Paris, December 2005)
Website at the Mariinsky Theatre
Larissa Yudina performs Folleville’s aria from Viaggio a Reims on Youtube
Gran Pezzo from Viaggio a Reims on Youtube
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