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Theater

Conversation with Elaine Centeno

The Cuban playwright and director, talks about his experience in theater and his new proposal, crazy heart Tram wheel, which will be released October 28 Danzaluz the Auditorium at 7:00 pm.

Santiago bloody

I was born in Santiago de Cuba, but I do not know the city as I know the city of Havana which eventually grew up and where I trained and studied, and where formed around what is now my life, my reality. But there is a way in which I recovered in a profound and visceral the city, my hometown, and in 1994 when my mother dies. When I have to walk the streets of Santiago de Cuba, at dawn, crossed by the news of the death of my mother, the city eventually tells me that city as I knew in the history books that tell the saga of Fidel Castro when in 53 assaults on the Moncada Barracks. What excited me most of those readings was the description of the city streets, steep streets, is the only Cuban city with mountains, so it costs to walk in them, the sidewalks are narrow and the houses are there, almost on the street. Then I had the chance history book of the young revolutionaries persecuted by the dictatorship of Batista, trying to hide behind the doors, not to be made by the police. And that city, of course, bloody mourning at that time is relative of mine because my mother died, and I walked the streets under that imprint, under that memory. From my trip to Santiago then concentrate on making that trip, as I said Lezama, "magnet for those corners."

The theater was a party

What I decided to study theater possibly are the carnivals, festivals, and more than the color, rather than striking, but the sound of the holidays, that thing fierce, violent, not the fun or the harmonic, but the flip side, the bodies translated into the sweats, the sharp gestures, sounds of people asking for beer, and begging for more, and I then I ran out. My uncle is Uncle Ephraim actor, puppeteer uncle, one night I said it would not be able to resist, because they were parties that lasted until dawn, but one night, finally, I could experiment with it. So when I take the Drama Theatre was like a party.

Understanding the human

With Raquel Carrio in playwriting seminar is a possibility, to invent the theater from the writing alone but from the drama that is done on the scene, this is called creation experience in Colombia collective. In Cuba there is a significant experience in the Escambray Theatre, but the late 80's in Latin America there are experiences of the group. The drama, therefore, was not only used as an experiment then put to the public but was a human group that is nucleated around a purpose also human, which had resulted in a poetic experience, or images made in practice to exercise the understanding of the human.

I do not want to take on the massive

Grotowski said, and I do not want to take on massive, I want to start to see what happens if the theater is a vehicle of communication with the other but not with the other in the tangle of massive, but with that other that I can look just in the shadows, almost appealed to my gesture.
Grotowski is the first deal, after the second world war, of giving the actor a director independence, the dramatic text and theatrical technique in use: lights, costumes, makeup, music, scenery. He says the actor, you can dig, sift through your memory and your memory to construct the text stage, but it had to give the actor a workout, an exercise that would enable it to make foraging, the selection of content and turn them into an image.

An experience outside

I always have to talk about Smith and Venus Lolymar Ledezma. Ten years ago were the first who dared me to do these things, and in that work was a tremendísima and deep loneliness. I remember we were very afraid.
The first risk we ran was that of understanding, a risk that I do not care so much running. After you've found the keys and you realize it is true that you can enjoy and not feel so afraid of understanding, we knew that maybe not all but a few moments of work could be used for another, and that encouraged us . The second was "Endgame." I think the highlight of that experience was when Venus said, almost her knees, and with a fury to understand what was happening, "how I happened to what I am" ... I have no answer to that, all I sense is that "acting is work." I remember in the second moment Venus said, "I know that to make way for what I am I have to be in me."
The third risk we run is a great, which we are accountable for what we do is not theater. But that's okay, it's perfect, because in addition we always have said and whether to put a name, well, yes, it's theater, but that does not concern us much. Okay than theater or dance or both. The only risk that really matters is that we have more chance to talk in this city and not keep doing experiments like these, regardless.

Four women turned inwards

In some parts of the world is celebrated with absolute indifference to theater and other costs of life. I'm talking about people who do theater in Latin America, the Caribbean, in Africa. There are many people doing things on the edge of the abyss. Tram wheel crazy heart, is the result of work of four years of painstaking research and training, which reveals some clues: it puts the actor at the center of theatrical activity, the actor is the author of the story itself, and fundamentally, the human being comes before the actor.
At first the group was large, but this work there are people who will not resist, no physical effort, but human. And these four women, Adriana, Sacha, Patricia and Beatrice, that I think of a sustained value, have been turned inwards, unlike many times and I find most beautiful, hence sorting everything that can be delivered to another . I want to emphasize this type of work although in the first stage working with a strong sense of individuation, because the individual has to look within itself the key that will serve for the trip, what moves me most it seems that no one touches the other, and then learn to work together. One begins to twist the collective and you start to hear that someone at your side to which a thing is happening quite similar to yours, then you begin to weave the sound polyphony refers to another sound, and that personal expression that refers to another gesture, and suddenly it a collective gesture that no one knows the origin and now belongs to everyone.

José Javier León