Country Chile

Discipline Theater

Audience Youth | Adults

Recomended for +10

Duration 75 minutes

Language Spanish

Dates January 18, 21:00h, Til Til | January 20, 21:00h, Renca | January 31, 20:30 h, Gimnasio Municipal de Curanilahue

Given its success with critics and audiences alike, the fact it was extremely original and the historical and cultural contribution it made, El húsar de la muerte became one of the most transcendental plays in Chilean theater history when it was premiered in 2001. Inspired by the film of the same name by Pedro Sienna, this production is a tribute to both Manuel Rodríguez and silent cinema: the audience enters a venue that looks like it’s from the twenties and is seated in front of a screen-stage, waiting for a character on a motorcycle to arrive, bringing with him a roll of film. Just like the movie, the play tells the story of this guerilla’s exploits during the struggle for independence from the Spanish crown. With the expressionist style and esthetic so common to twenties cinema and a live band that plays modern tunes – like the pianist who used to set the old films to music - La Patogallina goes black and white to bring a piece that both marked Chilean theater and took it international to life. This­­­ is an essential and unmissable play celebrating the twenty-second anniversary of this legendary theater company.

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Martín Erazo

(Chile, 1974)

A theater director, actor and singer. He is also director of the La Patogallina company and lead singer with the bands La Patogallina Saunmachin and Patricio Cobarde. He was nominated for an Altazor award for the play El húsar de la muerte, which has toured Europe, Latin America and India. He directed the documentary Guerrero invisible, which was presented at the Guadalajara International Film Festival. He is co-founder and co-director of the Teatro del Sonido street theater company and co-director of the Chilean street theater festival, FITKA. He has taken part in festivals in France, Spain, Switzerland, Holland, India, Brazil, Ecuador, Argentina, Colombia and the Dominican Republic.


La Patogallina

La Patogallina is one of the most important artistic groups in Chile. With a history spanning more than 20 years, their ample experience is marked by reviving popular street theater, developing a style that involves copious amounts of acting, sound and visual energy. Throughout their artistic history, the group has aimed to tackle relevant topics, mostly related to the history of Chile. Since 1996, they have participated in festivals in France, Spain, Switzerland, Holland, India, Brazil, Ecuador, Argentina, Colombia and the Dominican Republic, bringing to the stage unforgettable shows including A Sangre e Pato and El Húsar de la Muerte that have positioned them as one of the most active companies in South America. The company was founded in 1996 by Rodrigo Rojas, Eduardo Moya, Sergio Pineda and Martin Erazo.

Director Martín Erazo Cast Cael Orrego, Sandra Figueroa, Rodrigo Rojas, Gloria Salgado, Victoria Gonzales, Pilar Salinas, Eduardo Moya, Matías Burgos, Laura Maldonado Musicians Alejandra Muñoz, Emilio Miranda, Jaime Molina, Pablo Contreras Set technician Juan Fierino Producer Lorena Ojeda Sepúlveda

  • La Patogallina is one of the most important companies on the Chilean theater scene who, since the 2000 premiere of El húsar de la muerte – based on the movie by Pedro Sienna – have been bringing a new way of doing theater to Chile through their multidisciplinary productions that fuse the tragicomic, street theater, live music and cinematography with the use of non-conventional spaces. It’s one of the most important artistic groups in Chile and, over a career spanning more than 20 years, it has developed a unique theatrical style.

  • El húsar de la muerte is one of the most legendary and essential Chilean theater productions of the last few decades. In 2001, it was picked to open the eighth version of Santiago a Mil International Festival at the La Moneda Palace, an event hosted by then- president, Ricardo Lagos and attended by the most important names in Chilean theater. It was a milestone in Chile’s recent history: La Moneda once again became a “public, social and cultural place, accessible and receptive to the people”, according to academic Fernanda Carvajal from the University of Buenos Aires.

  • The play’s visuals, plus its novel and original music, fascinated both critics and public alike in Chile and abroad: El húsar de la muerte used the esthetics of Pedro Sienna’s film in a completely black and white production, with expressionist performances that imitated the mime of silent cinema. Just like films from the twenties, the dialogues and script appear on boards and the pianist that used to set the projections to music is replaced by a band that plays rock, boleros, funk and other pop music.
  • Physical theater. This is the name given to a type of theater based on the body’s expressive and communicative abilities, in performances whose aim is to tell a story mainly through bodily movements. It has its roots in Noh Japanese theater, in renaissance comedy, in certain branches of Asian theater and in mime and its modern version is normally said to have originated in the first half of the twentieth century.

  • Street theater. This is the name given to outdoor theater presentations in public which don’t charge an entrance fee, performed on urban stages so a large number of people can see them. It emerged as a way of emancipating the working-class and reinforcing the revolutionary feeling against the powers-that-be at the beginning of the twentieth century. Later, it was developed as a way of making theater more democratic and of taking it to different parts of the city.

  • Chile and street theater. In the last few decades, Chile has become a kind of world leader in street theater, “one that’s able to tell stories and is unflinchingly political and brave” according to La Tercera journalist Pedro Bahamondes. As examples, he mentions La Patogallina, La Patriótico Interesante, La Gran Reyneta and Teatro Onirus, all “influenced by Andrés Pérez, Mauricio Celedón and other foreign groups such as (the French) Royal Deluxe". In a 2016 article, British newspaper The Financial Times quoted Jordi Durán, director of the Catalan Fira Tárrega Festival as saying: "Chile is clearly a world leader in street theater, which has an important history in the country. (…) Chilean artists are both good at writing street theater as well as designing and producing it, which makes it internationally attractive”.

  • El húsar de la muerte. Declared a cultural asset in 1998, this 1925 silent movie is one of the most important films in Chilean cinema history. It was directed by – and also starred – Pedro Sienna and tells the story of the adventures of Manuel Rodríguez. The result was a resounding success with critics and audiences alike. After its premiere, the El Mercurio newspaper called it “the first great national historical movie”. It’s one of the few silent Chilean movies of which a copy still exists.