Welcome to the presentation of Season 21/22

Thursday, June 24, 2021

The trauma of the pandemic has left us a society that needs reconstruction and in this reconstruction the National Dramatic Center is involved with the exhibition of its productions, co-productions and invited companies, as part of the National Institute of Performing Arts and Music.

Disasters leave a mark on the collective memory that marks a before and after. A brand that, sooner or later, needs to be attended to. The Quest, N.E.V.E.R.M.O.R.E., The Book of Sicily, Alfonso the African, The Last Gondra or Rif (of lice and mustard gas) set their sights on a historical disaster that has conditioned the future.

The resulting fragments of an impact hit on the sensation of reality and the stories build knowledge and allow acceptance. Shaping is also giving meaning. Shaping is tending towards the unity of the disjointed, weaving stories helps to develop the desire for reconstruction. It is impossible to rebuild without words. Words themselves are the first victims of destruction. Using words to lie, giving false meanings to words, putting words together to manipulate, smearing words by proxy. The Golem, Mother tongue, Basic manual of sign language to break hearts, The Pythagorean notebook put the word or sign language, the use that is made of the word and the language to draw reality, in the center of the conflict.

The word makes us as a society, sustains us as a community. Theater is the community art par excellence, and the public, including the youngest, has defended it with their presence, as far as it has been able, as a place of encounter and salvation. Titerescena is consolidated as an essential line of our programming.

The drama is based on mutation, on change. The stories allow the current not to stagnate. The Theater, on stage, transforms the switches into actuators. The fakers, Song to return home, Dragon, Inloca, Moon on Mars, Untitled Comedy tell stories that have to do with the strength of the stories.

Fiction, since the beginning of the pandemic, has been an essential instrument for weaving reality and weaving community. The threat of uncertainty and disintegration has been mitigated with fantasy. "Life is a dream" ... perhaps today we could say "The dream is life." The future will not be like the past, reconstruction will not be able to help us make a replica, reinvention is necessary due to the very impossibility of restoring the human losses that we have all had. Blast, The Last Night of the World, FRATERNITÉ, conte fantastique, they speak of utopias and dystopias, of the need to attend to inertia, because it can become the worst enemy; they draw attention to the urgency of creativity and the effort to humanize destiny.

Neoliberalism is already inventing a present in which the best solution, as always, is consumption. Life always behind greed. Supernormals, Hamlet, Those who clean / As they clean, Imitation of Life, The birds / Els ocells, focus on the integrity of the person, on the ruthless rules that usurp the territory of dignity and of the bodies themselves; about the implicit and explicit violence that social norms protect.

In reconstruction, care is essential. We will never cease to be vulnerable, even though we now see the light at the end of the tunnel. We want the game and the theatrical party to always be at the service of the common good, to always be political in its deepest and most necessary sense. To change reality it is first necessary to change the vision of reality, and that is what the Theater is for, to change and broaden our gaze. The drama changes everything.

The National Dramatic Center, through its Dramatic Action program, invites us to new places for meeting, research and reflection around which, on the one hand, the function of the show is enhanced and, on the other, new links and community are generated. with the public and the professionals of the sector.

White Letters, Encounters with artistic teams moderated by students, + Dramas, the Reading Club and the Introductory Workshop on theatrical writing, are transversal proposals that expand the dimension of meaning of the creations and open, at the same time, new avenues of communication and participation with the public.

This season we also propose, with the Conciliation Workshop and the Open Days at the Almendrales rehearsal room (in Usera), two actions that want to encourage the presence of the public in our spaces.

Through the Professionals of the Dramatic, the National Dramatic Center promotes the encounter between the professionals of the Performing Arts. The intensive workshops, the master classes and the Dramout and Apunto calls create territories for research, exchange and training.

The Dramatic Residences will continue this season working with a group of playwrights and playwrights, with the aim that they develop the writing of an original text, at the same time that they participate in the activities of the theaters.

The New Dramatic is our project for girls and boys that aims to put them at the center of creation together with theater professionals, with whom they will carry out a project later, as we will do this season with Luna en Marte.

Dramawalker is a sound fiction experience that, through mediation work in neighborhoods, gives new meaning to the geography of our cities and their inhabitants.

And Dramática, the magazine published by the National Dramatic Center, will continue to be another of our forums for contemporary thought.

Source: dramatico.mcu.es

Future firefighters visit our facilities

Thursday, May 27, 2021

A few days ago, at the RETOM facilities, we have provided technical and didactic assistance in order to safely act in the rescue of people trapped in Elevators and other Lifting Systems during the teaching of a JCCM Firefighters course.

Thanks to the collaboration with the teachers and Emergency Firefighters of Ciudad Real and the Fergos Training Center, author and teacher of this course.

The theatrical version of "Perfect strangers" arrives in Córdoba

Thursday, May 27, 2021

This Friday and Saturday, at 8:30 p.m., on the stage of the Gran Teatro

The play "Perfect strangers" that is being performed this weekend at the Gran Teatro, is an adaptation of an adaptation, of another adaptation. The origin dates back to 2016 with the film "Perfetti sconosciuti" directed by Paolo Genovese. Alex de la Iglesia, made the version of him in 2017 to great box office success. And the most recent, is the theatrical adaptation that arrives in Córdoba, and directed by the also actor, Daniel Guzmán and starring Inge Martín, Alex Baraona, Olivia Molina, Elena Ballesteros, Bart Santana, Ismael Fritschi and Juan Carlos Vellido, whom we have interviewed in Hoy by Hoy Cordoba.

The best improvisational theater, with IMPREBÍS, this Friday at Chapí de Villena

Wednesday, May 5, 2021

You will never know what you are going to see ... they don't know what they are going to do either

With its slogan "You'll never know what you're going to see ... they don't know what they're going to do either," the L'OM IMPREBIS company introduced improvisational theater in Spain more than 25 years ago. Since then many have imitated his style, but his stamp is unmistakable. This week, we will have the opportunity to enjoy this show that is already a classic, on Friday, May 7 at 8:00 p.m.

Villena, May 3, 2021.- The L'Om Imprebis Company, a pioneer in the art of improvisation, once again stages this show with which, after traveling 18 countries, receiving numerous awards and exceeding one million spectators, they continue to the most recognizable. Those who still do not know them will be able to discover - and the fans repeat again.

IMPREBÍS is the original and genuine show that continues to amaze viewers around the world without ever repeating itself. Two actors, Carles Castillo and Carles Montoliu, a musician, Víctor Lucas from Villena, a director, Santiago Sánchez and an illuminator, Marino Zabaleta, who are the ones who have it… but it is the audience who proposes.

The success of IMPREBÍS is based on few, but very important, elements: the intelligence with which each of the sketches that make up the show is structured, developed and executed; the balanced mix of self-confidence, humor, drama, irony, music and poetry; the rapport and ease of the members of the company; and experience serving the imagination of all members of the company.

Theater Chapí of Villena.

IMPREBIS

• An original idea by Michel López.
• Live address: Santiago Sánchez.
• With Carles Castillo and Carles Montoliu.
• With Carles Castillo and Carles Montoliu.
• Live piano: Víctor Lucas.
• Friday, May 7, 2021. 8:00 p.m. (new schedule)
• Tickets: € 12 and € 10. Reduced prices for those under 30 and over 65: € 10 and € 8.

Source: cadenaser.com

The City Council of Mérida programs theatrical representation "50,000 pesetas" for the 8M

Tuesday, March 9, 2021

It will take place on March 12 in the Patio de Santa Julia and is part of the activities on the occasion of International Women's Day.

The delegate for Gender Equality, Ana Aragoneses, together with the actress and producer Raquel Bazo, have presented the theatrical performance "50,000 pesetas".

In this show, Bazo gives life to Matilde Muñoz, a journalist in the Crónica magazine who came in June 1933 to cover the premiere of "Medea" at the Roman Theater in Mérida, a "cultural milestone", paid for with a game of 50,000 pesetas. , which "changes the history of the theater and of Spain".

On June 19, the day after the premiere, while waiting for her train to depart, Matilde Muñoz reviews the notes she has collected for an article on Margarita Xirgu in which she discovers who this successful actress really is or how she found out about the existence of this monumental space a few years before.

As well as when her desire to recover it for the theater was born, where the work in question was conceived, why she managed to carry out her project and what were for her, as a woman and a businesswoman, the greatest difficulties that she had to solve to put on stage a play starring a woman, "Medea", "discriminated against for being a woman, a foreigner and of another religion".

The work shows, as Ana Aragoneses has pointed out, that "equality is built on valid references, with examples of women who, as intellectuals, artists and businesswomen, occupied a space in public life and defended it as much as possible" and, at "50,000 pesetas", the experience becomes the "backbone" that excites the public.

And, it has concluded that "the first-person account allows not only to share the experience of living a historical moment full of vicissitudes, but also to imagine how those decisions have shaped the future that is today the present".

It should be noted that admission is free, with prior reservation, at the following link.

Source: consorciofestivaldemerida.es

International Festival of Arts and Culture of Castilla Y León

from September 22 to 26. Salamanca

Tuesday, September 22, 2020

FACYL 2020 will have two programming blocks, FACYL EN VIVO (with musical programming, performing arts, workshops, installations and performance) and FACYL ONLINE, an intense programming on the Internet, free access, with the prestige of numerous national and international creators. internationals who have joined this cultural and artistic trip, who will discuss the diversity of creation and the state of culture, providing a plural look to the cultural sphere. The festival thus creates a new, digital, international and shared platform that shows the plurality of creation and cultural mediation.

FACYL LIVE

The FACYL LIVE section will feature theater, dance, music, performance and installations in eight representative spaces of the cultural life and heritage of Salamanca (Casa Lis, Juan del Enzina Theater, Liceo Theater, Patio Escuelas Mayores, Patio Chico , Huerto Calixto y Melibea, Palacio La Salina and Center for Performing Arts and Music). The festival puts on stage 11 live shows with first-rate personalities, among which you can discover the sounds hidden inside a piano, through the genius of the composer and brain of Zeitkratzer, Reinhold Friedl, with his proposal ' Inside Piano '; or else delve into the interactive experience proposed by the artist, director and choreographer Klaus Obermaier, with the show ‘Dancing House’, which will host the Patio de Escuelas Mayores. The collective of creators Clammy invites us to reflect on the prominence of digital platforms on the scene under the title 'A New Time?' And the composer and artist Alberto Bernal will present a specific adaptation for FACYL of the traveling concert 'Mobile', at the frame of the Huerto de Calixto y Melibea. The commitment against racial and gender discrimination and the denunciation of the abuse of human rights will also be present, through works and performances such as the one presented by the visual artist and poet Regina José Galindo, reflecting the situation of so many women murdered in Spain and in other countries such as Guatemala, with his show 'Detrás de la Ventana'.

The contemporary music scene will be represented with performances by Lina_Raül Refree, ONoff Ensemble, Neopercusión and Ensemble Flashback. You will also be able to see the play ‘Qualcosa nascerà da noi’, by Galician Pablo Fidalgo and performed by Juan Loriente or ‘PasdedeuX’, a linguistic research installation that uses discarded elements, conceived for 16 record players and two performers. And among the visual projects that FACYL offers, the talent of the artist Gonzalo Borondo stands out, widely recognized in the international art scene and whose works and installations have toured different museums and public spaces in European cities. His installation ‘NON PLUS ULTRA’, which has been expressly loaned by the Museum of Art of Rome for the festival, will be seen for the first time in Spain.

FACYL ONLINE

The FACYL online program offers around 30 activities, among which is 'Conversations about Culture', a program of meetings and dialogues on the web between artists, cultural management professionals and representatives of culture from around the world , with prominent names such as Laurie Anderson, Steve Reich, Meredith Monk, Milo Rau or Thomas Ostermeier, among many others. Theater pieces created to be enjoyed online, an online documentary film cycle and workshops and workshops, both in person and online.

See full program.

Source: turismocastillayleon.com

The adaptation of the railway ship to cultural equipment selected for the FAD and ENOR 2020 Architecture awards

Wednesday, September 9, 2020

The project consists of adapting Warehouse 3 of the Central Park of València to cultural facilities. The building was rehabilitated prior to this project, the previous works comprising the interventions in the factory enclosures, in the exterior carpentry and on the roof, but lacking the necessary acoustic conditioning for a building in which scenic activities would be carried out, since at that time it was unknown what its use would be. The ship was built in 1917 and is attributed to the architect Demetrio Ribes, being a valuable example of the Valencian railway heritage, with a qualification of Asset of Local Relevance.

An intervention is proposed that allows a great flexibility of use, allowing the performance of different activities simultaneously, respecting the industrial character of the warehouse where the action is registered.

The nave is divided into five bays, which will geometrically guide the project. This structural rhythm, as well as the possibility of developing two levels in height, are fundamental in the approach of the proposal.

The warehouse has two entrances from the outside, one in each of the end walls, using the one closest to Philippines Street as the main access, reserving the furthest as an emergency exit and access point for the content of the exhibitions or the scenic material.

Taking the access as a reference, the first bay comprises a lobby space, with the reception, the lockers and the linear vertical communication core behind a lattice formed by train rails. On the upper level there is a multipurpose room, which enriches the transition from the access space to the main space. This small piece is materialized with glass enclosures and a translucent acoustic stretch ceiling, so that the spatial conception of the ship is not lost.

On the ground floor of the second bay, a body is built with the toilets, the facilities room and an office. The roof of this space serves as a support to locate some bleachers, or simply as a platform for use at a high level.

The three remaining bays make room for a multipurpose space that allows the development of different scenic configurations, as well as the organization of exhibitions and activities. This flexibility is achieved thanks to the provision of folding platforms -which will be placed in a second phase of subsequent work to adapt to scenic use- that can be composed of different levels generating an artificial topography, since due to the heterogeneity of the planned contents, It was necessary to be able to have the surface horizontally for exhibitions, a side stage or a configuration with a central stage for other types of scenographies, even a linear series of platforms.

Giving continuity and coherence to the proposal, a perimeter cabinet is projected through which the necessary facilities run to provide service to the whole. This piece of furniture could be defined as a complex container that is deformed by picking up the reception or the lockers, which is decomposed into fragments of a mobile wall that will be support for the exhibitions and which grows by transforming into dressing rooms for the actors and storage spaces. This mobile wall and perimeter cladding also arises from the Heritage requirement to finish the parts of the existing wall that were not intended to be seen. This perforated sheet steel surface contrasts with the original brickwork, while acoustically transforming and conditioning the space for intended cultural and scenic use.

The mobile stands allow to reserve spaces for users with reduced mobility according to their number.

Here are some images of the work carried out by Industrias Maquiescenic, for the installation of a removable and height-adjustable modular stage. The multipurpose room is designed for performances of different kinds; creating a multifunctional space for artistic creativity.

Fuente: arquitecturayempresa.es

Theater claims culture as essential and appeals to courage

Tuesday, September 8, 2020

After six months of inactivity caused by the pandemic, the performing arts sector met again for the first time this Monday in Malaga, at the XXIII edition of the Max Awards granted by the SGAE Foundation. More than 500 professionals of the performing arts among actors, actresses, producers, playwrights, private entrepreneurs, directors of public theaters, set designers or lighting designers have shared 65% of the capacity of the Teatro Cervantes in a gala directed by Elisa Ramos and Joaquín Casanova , founders of the Andalusian company La Maquiné. A gala presided over by a huge conch shell on a naked stage, under the motto 'the art of listening' and led by the clown Chochote, master of ceremonies of a reunion in which the theater sector has collectively demonstrated its concern for the present and the future.

Culture as a safe space, as an “essential and necessary good”, as “teamwork that appeals to the collective and the public” have been frequent arguments in the speeches of the winners in a ceremony in which the restrictions on capacity have been central to many of the acknowledgments: "Let us fill the theaters as was the plane that brought us to Malaga", pointed out Tian Gombauy when collecting his Max for the best show for children or young people or the dancer and choreographer Manuel Liñán (Prize Max del Público), who said he did not want, in the future, "to design shows for trains, planes or buses." "We are disintegrating culture, the cultural fabric," added minutes later the president of the SGAE, Antonio Onetti, the only one who has addressed more or less explicitly the Minister of Culture, José Manuel Rodríguez Uribes, present at the ceremony. "The pandemic has left the performing arts like a Gruyère cheese, full of holes," added, at his side, the president of the SGAE Foundation, Juan José Solana.

"I dedicate this Max to courage, to that of the people who are going to fill the theaters, and to the courage that the performing arts have always shown", said the composer Luis Miguel Cobo when he picked up one of the three Max that he received the great winner of the night, 'Play', the dance show of the Aracaladanza company. ‘Shock, the condor and the puma’, by Andrés Lima, and ‘Jauría, by Miguel del Arco, both achieved two of the three blocks of Brossa for which they were eligible. The other great favorite, 'Como los Greegos', by Josep María Mestres, who was competing for three awards, has left empty-handed. Lima, director of 'Shock' and National Theater Award, collected his Max for Best Stage Direction recognizing that "we are in a difficult moment, not to say screwed up, and we need audacity to move forward" and dedicating the award "to all the disappeared of all the dictatorships of all the shocks and their mothers, in Spain, in Chile, in Argentina, but above all to the memory of a person who has been very present in this montage, the memory of Salvador Allende ”world already his parents, but above all to the memory of Salvador Allende”.

A gala neither too long nor too funny in which, in addition to the claims about the effects of the pandemic, there has been room for humor, which the actress Verónica Forqué took to the stage: “I don't really know who gives me this, but I'm very excited ”, said the Forqué when picking up his Max for best leading actress for his role in the play 'The things that I know are true', a text by Andrew Bowell directed by Julián Fuentes Reta. The actress took the opportunity to take away the seriousness of the gala: "I never get excited like that, it's drugs, my mother must be freaking out, long live the republic, Mommy", dressed in a dress printed with vaginas and nipples, and one of those bands that usually bring women who participate in beauty pageants, but with the questions: “How many seats are going to be occupied today by black or racialized actors or actresses? What visibility do racialized people have in Spanish industry?"

List of winners

• Best Theater Show: Jauría (Kamikaze).
• Best dance show: Gran Bolero, de Jesús Rubio Gamo.
• Best musical or lyrical show: Doña Francisquita (Teatro de la Zarzuela)
• Best street show: Al otro lado (Zanguango)
• Best show for children, youth or families: Zapatos nuevos (Tian Gombauy LEl Teatre de l’home dibuixat)
• Best Breakout Show: El viento es salvaje (Las niñas de Cádiz)
• Best Theatrical Authorship: Josep Lluís y Rodolf Sirera (Dinamarca).
• Best Revelation Authorship: Marta Arán (Todos los días que mentits)
• Best adaptation or version of a play: Jordi Casanovas (Jauría) y Joan Sellent (Como los griegos).
• Best Stage Direction: Jordi Casanovas (Andrés Lima (Shock. El Cóndor y el Puma)
• Best Leading Actress: Verónica Forqué (Las cosas que sé que son verdad).
• Best Leading Actor: Lluís Homar (La nieta del señor Linh).
• Best female dance performer: Olga Pericet (Un cuerpo infinito).
• Best Male Dance Performer: Marco Flores (Origen).
• Best Musical Composition for Stage Show: Luis Miguel Cobo (Play)
• Best Choreography: Sara Cano (Vengo).
• Best Stage Space Design: Beatriz San Juan (Shock. El Cóndor y el Puma).
• Best Costume Design: Elisa Sanz (Play).
• Best lighting design: Pedro Yagüe (Play).
• Max amateur or social award: Escuela Municipal de Teatro ‘Ricardo Iniesta’ de Úbeda.
• Max Audience Award: ’Viva’, de Compañía Manuel Liñán.
• Max Honor Award: Nacho Duato

Source: arquitecturayempresa.es

The first theater on Gran Vía reopens with a tribute to Michael Jackson

Tuesday, August 11, 2020

The EDP Gran Vía Theater is the first to open its doors after the pandemic and it does so with the show 'I WANT YOU BACK', a tribute to the King of Pop

The 'Madrid brodway'. Because of its theaters and musicals, this is how many nicknamed the emblematic Gran Vía de Madrid. At the beginning of the pandemic, theaters closed and all shows were canceled. On August 5, the EDP Gran Vía Theater was the first to reopen its doors with the Michael Jackson tribute show, 'I WANT YOU BACK'.

The first show was even more special, since the theater seats were occupied by health workers, policemen, transporters, cleaning personnel and supermarket personnel. For Noemí Montes, its producer, it is a way of paying tribute to the groups that have worked during these months against Covid19.

The team has not been on stage for almost 5 months and has not heard the applause of the public. Due to the different phases of the de-escalation according to the provinces, the musicians and dancers have only been rehearsing together for two weeks. Adrián Álvarez is the dancer who gives life to Michael Jackson on stage, but during the confinement he has not stopped working: "I have had online classes with one of the dancers from the show 'This Is It'", he is grateful for being able to put on Practice that knowledge and get a chance to represent your idol.

The 'I WANT YOU BACK' team have been the first brave ones to resume the shows, but the functions will be carried out in compliance with all safety and hygiene measures. At the entrance there are several hydroalcoholic gels available to the public and the entrances and exits of the theater will be duly controlled to avoid crowds. In addition, the rooms are disinfected before and after each performance, and in each seat there is a QR code for spectators to download the brochures of each show.

Masks are, of course, mandatory at all times. Even the dancers and the rest of the cast wear them during rehearsals. In addition to the masks, Gonzalo Pérez, producer, explains that PCRs are carried out on the entire team: "they were done yesterday on the entire company, technicians and theater personnel, and they all tested negative."

With its name, 'I WANT YOU BACK', the show seems to encourage us to refill theaters, musicals, movie theaters and, ultimately, to enjoy culture as before. From August 5 to September 27, Adrián, our Michael Jackson, encourages the public to go see the musical, "a dream" for all audiences.