“Are there no more tickets for the Marina Otero?” The question was reiterated in the places of sale. The Argentine delegation enjoyed great popularity these days of the festival and did not leave an empty chair in all their presentations.
Fuck me, the impressive work of Mariana Otero was applauded and many were left wanting to see it. Photo: Matias Kedak
The question for fuck methe work of Marina Otero, went around the entire building of the Sec, headquarters of the Festival. Not only was there great expectation, but anxiety grew after his first performance. The play in which she stars with her “Pablos” troupe – nude in almost the entire play – generated a deep desire to see this play in which the life, work and misadventures of the director’s life are recounted. She stands at the head of the stage, and explains what this ego trip of his own tragedy. also of his Resurrection.
With subtitles in Portuguese and speeches in that language by one of the Pablos who explains with a lot of jokes the problems that her beauty brings her, the work managed to sweep all kinds of borders and make people laugh, even with the unique drama. The biographical performance with the background theme “For that heartbeat” by sandroHe got a standing ovation.
The woman that I am. Photo: Laura Castro
Something similar happened with the woman i amdirected by Nelson Valente, a work that requires unconventional spaces for its development. For example, the use of two adjoining apartments in the exquisite Atlantic Hotelfacing the enormous sea of Santos, which this year turns a century.
A minimal explanation is needed for the immersion. So two dapper girls trans Brazilians explain how the work should be witnessed: in two times and two similar spaces where two different situations take place but that complement the work. And in the middle, a scene that unites both divided histories takes place in the hall of the hotel that connects both spaces. The original impact of the staging seduced the public of several countries that, tightly packed, celebrated the play starring Maiamar Abrodos, Daniela Pal, Mayra Homar Y Silvia Villazurcurated by Monina Bonelli and the support of a local team. The key to the text?: the gender transition of one of the protagonists, her relationship with her ex, and the current suspicious relationship of a daughter.
Erase. Photo by Francisco Castro Pizzo.
The Argentine groups presented themselves in this range of variants and were applauded in their presentations. Gustavo Tarrio wear Erasea parody to portray the dictatorship of 76. It is a play on words between “once upon a time”, typical of the beginning of fairy tales, and the verb “delete”, in English.
“Transshipment practices” was coordinated by the choreographers Marcela Levifrom Brazil, and Lucia Russoof Argentina. Together they make up “ch ãO”, they are artists who bet on “what is alive, that is, fragmentary and incomplete: fragmenting the body to articulate it, to release its power to relate”.
Clearly there was an attraction and a curiosity to discover what stage the Argentine theater scene is in. An interest that was totally satisfied during the ten days that this surprising, colorful and massive Festival lasted.