Country Chile

Discipline Theater

Audience Youth | Adults

Recomended for +14

Duration 60 minutes

Language Spanish

Dates January 10, 11 and 13, 21.00h / January 14, 15 and 16, 18.00h

Arpeggione shines like a jewel waiting to be admired

Pedro Labra, El Mercurio

Rosa is a pianist and Lorenzo is a cellist. Together, they are rehearsing Frank Schubert’s Sonata in A Minor for Cello and Piano and, at the same time as they start an artistic discussion, they embark on a profound inner journey. Gestures, glances and words help these characters reflect on solitude, frustration, hope, ambition and desire.

Almost half a century after it was first premiered, Jesús Urqueta directs the third part of the Buenaventura trilogy by Luis Alberto Heiremans, one of the most prolific and representative Chilean writers and playwrights of the 1950s. With a minimalist and intimate set, Claudia Cabezas and Nicolás Zárate bring these characters, united by their love of music, to life. Arpeggione comes to Santiago a Mil as one of the Chilean plays most highly praised by critics, thanks to its nuances and ability to arouse emotion.

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Direction

Jesús Urqueta

(Chile)

Jesús Urqueta is an actor, academic and theater director. He is the director of the Teatro Versión Oficial company, which tackles subjects and political events from the last 40 years in Chile. Together, they have developed the Chile: pentalogía teatral fragmentada del bicentenario project, for which he directed the productions H (honor), Ele (la oficina) and C (civil), also writing the last two. He has also worked as an independent director on plays such as Taská (2013), Prefiero que me coman los perros (2017) and Cuestión de principios (2018). He’s a professor at several universities and theater schools.

Dramaturgy

Luis Alberto Heiremans

(Chile, 1928-1964)

Luis Alberto Heiremans was an important Chilean playwright, considered one of the main instigators of the modernization of Chilean playwriting and one of the main voices of the generation that emerged in the 1950s, which particularly stood out because they explored new theatrical styles. Both existentialism and French theater influenced his work. Some of his most outstanding pieces include ¡Esta señorita Trini!, the first Chilean musical; the trilogy made up of Versos de ciego, El abanderado and El Tony chico and the trilogy Buenaventura, made up of El año repetido, El mar en la muralla and Arpeggione.

Director Jesús Urqueta | Written by Luis Alberto Heiremans | Cast Claudia Cabezas, Nicolás Zárate | Set designer and lighting and video operator Tamara Figueroa | Composer and sound operator Marcello Martínez | (Replacement) sound operator Víctor Bravo

  • Arpeggione was premiered in 1974 at the University of Chile Theater. Forty-four years later, it was ‘rediscovered’ by Jesús Urqueta (for a long time, the play had been forgotten) in what has been considered by critics to be a great move, “particularly because (his version) shows off Heiremans’ powerful and, moreover, astonishingly modern script” according to Pedro Labra. As well as being critically acclaimed in the press, both audiences and Luis Alberto Heiremans’ own family found it incredibly moving, with the latter telling the director that the playwright’s spirit lived on in the play.

  • This production bridges the gap between the present and the work of Heiremans, one of the most important playwrights in Chilean theater, creator of pieces such as El Tony chico and Versos de ciego. It’s a play with a strong political hallmark. "Heiremans was a political writer. He thought about Chilean society, he lived as part of it (…). He’s a writer with a social conscience, who sometimes painted an unpleasant portrait of what we are”, said critic Javier Ibacache.

  • For Jesús Urqueta, the piece tackles the issues that Heiremans was constantly exploring: the solitude of being an artist, trying to find a place in the world and the search for transcendence.

  • The play is a reflection on artistic creation and, in particular, on music, which turns into one more character on the set, a “foil to the words” according to critic Javier Ibacache. He adds that "the production is one of the best exercises of theater and music engaging in dialogue and, for the same reason, has great potential beyond the performing arts”.

  • Actress Claudia Cabezas, who plays Rosa, highlights Heiremans’ approach to the role of women in the period the play was written. “My character is an intelligent, highly sensitive pianist who also questions both her position in society and a very powerful paternal figure. Heiremans adopted a very profound approach to the female being”.
  • Buenaventura. A trilogy of plays created by Luis Alberto Heiremans and premiered in Germany in 1962 under director Klaus Leininger, it includes El año repetido, El mar en la muralla and Arpeggione, all connected by the concept of ‘buenaventura’ (good fortune), referring to a search for happiness and the place the main characters dream of reaching. Arpeggione was written at the request of the Freiburg Municipal Theater, which considered its two previous plays too short. In 1965, a year after Heiremans’ death, the trilogy was published in Chile.

  • Arpeggione. The play’s name is a double play on words. On one hand, an arpeggione is a stringed musical instrument that no longer exists, similar to the cello and the guitar, invented in 1823 in Vienna. It’s the best instrument to play an arpeggio on - the name given to a series of notes played in succession to create a chord. On the other hand, it’s also the name of a sonata by Franz Schubert (1797-1828), the only important musical composition written for said instrument and practically the only reason it’s still remembered. Heiremans’ work has the structure of a sonata – in other words, it’s in three parts, with the musicians rehearsing the piece in between getting sidetracked.

«Delicate, sensitive and moving, it’s an intimate and discreet piece that immediately comes across as something that needs to be appreciated»

El Mercurio

«A master class in acting and humanity»

Leopoldo Pulgar, Bío Bío

«A great discovery, particularly because it shows off Heiremans’ powerful and, moreover, astonishingly modern script to the full»

Pedro Labra, El Mercurio

Arpeggione shines like a jewel waiting to be admired

Pedro Labra, El Mercurio

«Delicate, sensitive and moving, it’s an intimate and discreet piece that immediately comes across as something that needs to be appreciated»

El Mercurio

«A master class in acting and humanity»

Leopoldo Pulgar, Bío Bío

«A great discovery, particularly because it shows off Heiremans’ powerful and, moreover, astonishingly modern script to the full»

Pedro Labra, El Mercurio

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