This time, Santiago a Mil wants to break down barriers and make anything possible, to encourage diversity and to initiate much-needed conversations.

In an ever-changing society, which is becoming more diverse, is being enriched by many different cultures and is also part of an ever more virtual, fluid and insatiable world, the performing arts are an opportunity for resistance: a reason to come together, to ask questions and starts discussions on different approaches, identities and experiences.

Echoing this feeling, Santiago a Mil is an event that brings together and gives visibility to what is diverse, inclusive and mixed race; to multiple voices, visions and opinions; to what is dissident and urban; to social resistance and militancy on behalf of culture, calling on people to rebel both against what is imposed on them and what is unacceptable. It’s an opportunity to appreciate the human side to things, take part in unique events, share unforgettable experiences and initiate conversations based on multiple artistic forms. It’s believing that another kind of world is possible.





Given the decline of certain important ideologies, the representation crisis and the fragmentation of the subject, identity is a process that is constantly shifting and changing. How can we (re)define who we are and understand the world we live in? The arts invite us to consider these shifts and mutations and not to give up on the things in contemporary society that trouble us, make us uncomfortable or get our hopes up. As part of this, the festival aims to provide an opening for different approaches to emerge, urgent topics to be raised and much-needed discussions to occur. It’s also an opportunity to be amazed by different artistic performances, to dare to discover new formats and to win back public areas for meet-ups to happen, as well as being an event where territorial, economic and social differences do not stop people from coming together.


Muses, virgins, mothers. Naked or provocative. Women have long been relegated to second place - an appendage to the arts’ official history or an object of art themselves - with their active role as authors, creators and artists hidden away. Since the festival began, women in all their roles and professions have featured on our program. Given the new wave of feminist movements and demonstrations demanding equality, equity, respect and an end to discrimination in different areas of knowledge, jobs and power, the program has adopted this focus as a means of adapting to this context. It will highlight the work of female creators, who propose new styles, question what is established, take what is personal into the field of politics and make their voices heard on topics that are essential to society.


A much-needed dialogue between society and culture takes center stage in these artists’ creations and concerns. They reflect, debate and open up the floor to much-needed though uncomfortable questions about xenophobia, homophobia and the patriarchal system, as well as discussions about gender identity, post-colonialism, war, human rights and multiculturality. These productions are a way of walking the line between fiction and reality, of bringing privacy into the public eye, of delving into collective memory through physicality and testimonies and of taking over the stage as a place in which every approach, voice and experience is required.


Since their beginnings, theater and the performing arts have had working-class roots, strongly entrenched in the traditions, celebrations and rituals of this community, reinforcing its identity and giving people a way of getting to know each other. Along these lines, these productions reclaim the essence of the great classics and of private but universal stories in transversal styles to bring together, connect and excite different audiences. Languages, cultures and beliefs unite in a shared experience.


The limits, crossovers and connections between different disciplines are becoming more blurred. As a festival, Santiago a Mil has welcomed multiple different styles and formats in its program, with creation, quality and ideas at the heart of them all. This time, Alessandro Baricco, one of the most important writers and intellectuals in the world, takes to the stage to take us on a “mind trip”, in a storytelling session that submerges the audience in art, writing, philosophy and history.


Multiple cultures, dialects and experiences run through our common, diverse and highly inspiring continent. Political, social and artistic issues are brought to the stage to portray violence, democracy, discrimination, the representation crisis and the growth of bodies as entities for pleasure, power and disputes. Risky, contingent and thoughtful pieces, they embody the creative concerns of artists in this part of the world.


Politics, society and art – that’s how broad and diverse the Chilean creative scene’s issues, journeys and interests are. Selected by autonomous juries since 2005 – specializing in theater, dance or regions (Valparaíso, Concepción and Antofagasta), with jury members that change each year and using a criteria that prioritizes unique styles, artistic excellence and Chilean scripts – these plays are a fundamental part of Santiago a Mil. To improve this program even more for 2019, the ‘Special Guests’ and ‘Teatro a Mil Foundation Co-Productions’ categories have been added, offering a wide range of formats, styles and subject matter.


Since it began, the festival has been family-orientated, with performances in public at the heart of this. Parks, squares and streets have brought together whole families, however they are made up, wherever they are from and whatever their tastes. As well as the universal language of street theater, new examples of theater for infancy, childhood and adolescence have been incorporated, as well as transversal productions that bring together audiences of all ages. As a result, the family-orientated program includes a selection of high-quality and innovative pieces, based on stories that reference local traditions, the environment and the crossover between disciplines to offer unique and unforgettable experiences for all.


We rebel against being typecast.

What’s expected from a festival? How can we diversify our audience and make the festival more accessible? How can we get rid of the prejudice surrounding a long-running festival? How can we move formats, disciplines and reflections around? Given these questions, we want to rebel against the fears, prejudices, hierarchies and limits of what’s possible.

We rebel against being typecast.

We rebel against established facts and blind prejudice.

We rebel against the arts not being part of education from infancy.

We rebel against culture being just entertainment.

We rebel against culture being just for intellectuals.

We rebel against the performing arts being just for the privileged few.

We rebel against centralist policies.

We rebel against easy solutions and cliched answers.

We rebel against the disappearance of the living arts.

We rebel against human beings losing their humanity…