CÁDIZ, 28 (EUROPA PRESS)
This Monday the XXXV edition of the Ibero-American Theater Festival (FIT) was presented in the courtyard of the Space for Contemporary Culture of Cádiz (ECCO), by the hand of its directors, Isla Aguilar and Miguel Oyarzun; and the Councilor for Culture and Festivities of the Cádiz City Council, Lola Cazalilla. This year, the program incorporates a total of 26 shows that will take place in six different spaces in the city.
After the months of confinement and uncertainty that the Covid-19 pandemic has drawn, the Ibero-American Theater Festival of Cádiz, one of the most veteran stage events on the national scene, reappears assuming the need to resume activity, to open theaters and the scenic spaces, as the organization highlights in a note.
With this determination, it maintains its face-to-face programming, combined with blended or virtual proposals, courageously offering a first-rate program, with the commitment to preserve the health of culture as a good of general interest and sensitive material, and applying the health security regulations which also guarantees the health of its audience and the artists invited.
On the other hand, in this complicated world context, he proposes a XXXV edition as a turning point in his evolutionary trajectory, a renaissance that leads him to rethink the dynamics and scenic themes in relation to the context in which they take place, without forgetting the legacy and the journey traveled in these 35 years of history.
Just as it is impossible for the living arts to ignore their environment, this will be a FIT that expresses the need to reflect on contemporaneity. From the works of the program, from the presentations, from the face-to-face, virtual or podcast meetings, it is necessary to rethink the stage event, its new languages and its relationship with the world, as transmitted by the poster for this edition, work of the graphic artist from Cádiz, Loren Roldán.
As a novelty, this FIT takes the ECCO as its nerve center and space for those meetings, conversations, workshops and laboratories. It is one of the six spaces that the Festival will use to unfold around the city, together with the Gran Teatro Falla, the Tía Norica Puppet Theater, the Central Lechera Room, the Baluarte de la Candelaria and the Tabacalera Warehouses as a new location for the Festival.
From October 23 to November 8, 20 shows make up a scenic offer that, keeping the necessary security measures, will recover presences in real environments, or that combine the real and the virtual.
This catalog is complemented by three online proposals that the FIT will develop, expanding its possibilities to create connections between artists and the public. To these it would be necessary to add another three appointments that will be held, as a virtual epilogue of the Festival, on Friday the 13th, Saturday the 14th and Sunday the 15th of November.
Likewise, in its XXXV edition the FIT is expanding, since it proposes a calendar that extends its dates, with more proposals and participants, as well as possible stage formats that make communication between the public and the work viable.
It is an expansion that reaches more real environments, new scenic spaces, and that also transcends the personal and floods the network, crossing natural physical barriers and resuming contact with Latin America, a link that is reestablished thanks to online technologies already through the programming of Latin artists in the diaspora who reside in Europe, of Spanish creators who are exponents of transatlantic themes, poetry or repertoires, and of the latest scenic proposals from Portugal.
However, in this edition, the FIT is deployed mainly in Cádiz. The city will be, more than ever, the axis on which the Festival will revolve, making its landscape and its peasantry a local theater protagonist. Cádiz will be the physical context of the FIT, the text of many of its proposals and the pretext for this celebration of the living arts focused on the local.
As a novelty, within the festival’s programming, the city will be the scene of different dramatized walks in the open air, as advised by health security measures, participatory tours led by contemporary poetics who rediscover Cádiz to its inhabitants.
It is the proposal of ‘El Paseo de Robert Walser’ that, after passing through other cities, Marc Caellas and Esteban Feune bring to Cádiz; by the great Argentine playwright Lola Arias and the musician Ulises Conti with ‘Ways of walking with a book in hand’, or by Emilio Rivas from Cadiz with ‘Take a walk on the wild side’, which for the first time presents his work in his land.
To these face-to-face walks, it is worth adding the installation ‘Cádiz en José Martí’ by Abel González-Melo, a tour of 17 points in the city where two QR codes will be located that reveal romances that celebrate the twinning of the city of Cádiz with Havana, through the figure of the Cuban intellectual.
For its part, abundant in this work in the territory, the program incorporates artists from Cádiz in specific appointments, and also the citizens of Cádiz will be the protagonists of the opening and closing shows of the FIT in the Gran Teatro Falla.
In this way, the Festival will open on October 23 with the FIT production ‘Atlas Cádiz 2020’, a version of the piece by Ana Borralho and João Galante that, since its premiere in 2011, has been held in more than forty cities of the world involving its inhabitants.
For this occasion, the 100 people from the host city who usually occupy the stage will be partially replaced by video players to save the measures of social distance. It will be possible not only to configure the human atlas of the city but also to make a gesture of affirmation of the living arts and the role they play as the backbone of society.
Along these lines, on November 5 and 8, ‘Covid-451’, a production of the FIT 2020 in complicity with the Grec Festival in Barcelona and with the support of the Institut Français Espagne, a project by the French playwright and director will be premiered in Cádiz -Uruguayan Sergio Blanco in collaboration with five hospital workers from the city, who come on stage to reflect on the theater and the hospital as two healing spaces.
Completing the Falla program, on October 28, ‘Shock (El Cóndor y el Puma)’, a production of the National Dramatic Center (2019) awarded with the Max Awards for Best Stage Direction and Scenic Space Design, with Ernesto Alterio, Ramón Barea, Natalia Hernández, María Morales, Paco Ochoa and Juan Vinuesa directed by Andrés Lima.
Likewise, on October 31, the national premiere of ‘Granma. Metales de Cuba ‘under the direction of the group of German theater directors Rimini Protokoll and Stefan Kaegi, a documentary theater exhibition to analyze the Cuban reality.
In the FIT program there are other examples of works that have been adapted to the reality of Covid. The playwright and director Sergio Boris reviews his award-winning debut film ‘La Bohemia’ for the FIT, adapting it to mobility restrictions, with character voices recorded in Buenos Aires and a third character performed in person by a local actor directed remotely from Argentina.
For his part, Marcelo Expósito presents the sound work ‘A global elegy for quarantine’ as part of the project ‘La pandemia en germinal’, in which the recorded auditory testimony is the only vehicle of the text.
It is worth mentioning the incorporation in the programming, for the first time in Spain, of the play ‘The walk of the elephants’ by the Portuguese Cia. Formiga Atómica, directed by Miguel Fragata and Inés Barahona, and that from the theater of objects naturalizes the fact of death.
*The article has been translated based on the content of Source link by https://www.infobae.com/america/agencias/2020/09/28/latinoamerica-el-xxxv-fit-trasciende-sus-limites-con-una-programacion-que-integra-26-espectaculos-en-seis-espacios-de-la-ciudad/
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