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“Nayra”, the memory of the La Candelaria Theater


In this co-production with the Teatro Mayor Julio Mario Santo Domingo, Santiago García inaugurated his series of works inspired by memory.

On one of his tours of Mexico with his theatrical version of Don Quixote, some members of the La Candelaria Theater they visited the sacred temple of San Juan de Chamula, in the Chiapas region. Patricia Ariza, current director of the group, remembers that place as a unique space, where people of different religions, beliefs and cultures came and each one did their own ritual.

That visit happened just as the group began their improvisation process for their new work Nayra (The memory), which premiered in 2004. With that piece, maestro Santiago García —founder and director of La Candelaria, who died last March— inaugurated his series of works inspired by memory. (You may be interested: 31 minutes he will present “I never saw television” at the Jorge Eliécer Gaitán Theater).

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In Nayra, García exploited the foundations of conventional narration, there were no longer clear narrative lines and the pieces based their strength on diverse visions and images on a central theme.

Just in a year full of challenges for the performing arts all over the planet, and in a year that particularly affected La Candelaria, because in addition to García’s death in July, Fernando died piyo Mendoza, one of the group’s co-founders, Nayra He returned to life.

This remontage, a co-production with the Teatro Mayor Julio Mario Santo Domingo, was recently recorded and will air this Friday, December 4, at 9 pm, on the Culture strip at Casa del Canal Capital.

Ariza, who directed the reassembly of the work, highlights the premonitory and at the same time commemorative character of NayraWell, although it was released 16 years ago, it talks about religion, faith and the plague, and it is also a commemoration of life. Despite refusing to guess the future, García managed to create a work of art that, through its powerful images, reflects on what it means to live in a world like the one that has surprised us this year.

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“It is a very significant work because Santiago put so much effort into it. It is a ritual work very different from all those La Candelaria has done, which tells us about cultural syncretism, which tells us about death; it is very bordering and very mysterious ”, adds Ariza.

The particularities of Nayra They are not only limited to their narrative approach, but to their scenic distribution. The piece is raised in a circular way, similar to the malocas or houses of knowledge and, in some way, inspired by that temple of San Juan de Chamula.

On stage, a series of incidents take place in a syncretic way that reveal the deep need for a response of the characters who seek help with their requests and needs. In this way, an exploration of the collective unconscious is proposed, where the imaginary world of popular hallucinations based on faith, the myths of health, death and dispossession is reflected in poetic images.

All those pieces that fit the puzzle of this work meant a great challenge for the group of actors and actresses of the group, despite the fact that several of them were in the original assembly, such as César Coco Badillo, Luis Hernando Poli Forero, Rafael Giraldo, Nohra González, Alexandra Escobar, Adelaida Otálora, Fanny Baena and Fabio Velasco. They were joined by Diego Vargas, Mónica Fernández, Ana Sofía Monsalve, Miguel Ángel Malaver and Eddy Yazmin Laverde.

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“At the beginning, the remounting was hard because it is a work of atmospheres, it is not plot; when the works are narrative it is easier to remember. We had few video materials. It touched us gropingly, but little by little we were remembering and also creating new things, because it is not the same montage, but it is the same starting point, the same atmosphere ”, explains Ariza.

This rebirth of Nayra It also had great significance for the group in their artistic endeavors. “We were starting a group neurosis for not being able to rehearse, so Nayra saved our lives and at the same time is a work that commemorates Santiago García and piyo”, Concludes Ariza.



Source link
https://www.elespectador.com/entretenimiento/gente/nayra-la-memoria-del-teatro-la-candelaria/

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