Country Chile

Discipline Theater

Audience Youth | Adults

Recomended for +14

Duration 80 minutes

Language Spanish

Dates January 18 and 19, 17.00h y 20.00h / January 20, 20.00h

Warning Strobe (flashing) lights and special effects using smoke.

Manuela Infante turns theater into a crazy concert

Paula Magazine

According to Greek myth, Idomeneus, king of Crete, was sailing home after 10 years at war in Troy when he found himself in a terrible storm. To save himself, he promised to sacrifice the first living being he encountered on land. Seventy nine boats sunk and he was the only survivor. However, the first human he met when he got to dry land was his own son.

Acclaimed director Manuela Infante, one of the most important voices in Chilean theater, brings this version by German playwright Roland Schimmelpfennig to the stage, in a production that is somewhere in between a theatrical short story and an electronic music concert. According to Nietzche, the origin of tragedy is found in music, so Infante puts actress Paulina García and musician Diego Noguera on the stage in a ‘spoken concert’ that invokes tragedy, sacrifice, war and power. In a reflection on the ancestral rites of human sacrifice, horror, blame and remorse join the fear of dying and the frenzy of killing.

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Direction

Manuela Infante

Playwright, director, scriptwriter and musician. Between 2001 and 2016, she worked as a playwright and director for the renowned Teatro de Chile company, staging the plays Prat, Juana, Narciso, Rey Planta, Cristo, Ernesto, Multicancha, Loros Negros, Zoo and Realismo. Independently, she premiered Fin at the Festival of Modena; created What´s he building in there? during an artistic residence at The Watermill Center; premiered On the beach, curated by Robert Wilson, at the Barishnikov Arts Center in New York and premiered Don´t feed the humans at the Hebbel am Uffer in Berlin. Abroad, her work has been performed in America, Europe and Asia. Her last piece was Estado vegetal (2017).

Dramaturgy

Roland Schimmelpfennig

Award-winning German director and playwright, considered one of most prolific and acclaimed playwrights in current German theater. His plays have been performed at some of Europe’s most important venues. He collaborated in the artistic direction of the Münchener Kammerspiele and nowadays is a theatrical writer at the Deutsches Schauspielhaus in Hamburg. He has written plays for theaters such as the Deutsche Theater in Berlin and the Burgtheater in Vienna. In 2010, he won the Dramatikerpreis de Mülheim for best playwright for his piece El dragón de oro. His work has been performed in more than 40 countries.

Written by Roland Schimmelpfennig | Director Manuela Infante | Cast Paulina García | Sound and music designer Diego Noguera | Set, costume and lighting designer Claudia Yolín | Technical manager Pablo Mois | Producer Carmina Infante | Executive producer Paulina García | Movement consultant Carlos Mangas| Lighting consultant Pablo Mois | A production by the Gabriela Mistral Center (GAM) with the support of the Goethe Institute in Chile, the Chilean-German Union, Tada Zapatos and Oxiluz.

  • Manuela Infante is considered one of the most daring and inspiring directors and playwrights of her generation. Having written around 20 plays, her work has won awards both in Chile and abroad. As well as her individual work, she has taken part in projects such as Xuárez (2015) - directing a script written by Luis Barrales - and been involved in the creation of family-orientated theater shows, such as El corazón del gigante egoísta (2016) and Ayudándole a sentir, both directed by Juan Pablo Peragallo. Her previous piece, Estado vegetal (2017), was a success with both public and critics alike in Chile and was performed in countries such as Singapore, Switzerland and South Korea.
  • The Chilean press highlighted the involvement of “three important names” from the local theater scene: Manuela Infante, Paulina García and Diego Noguera. As a musician, the latter “changes and distorts the actress’s voice using samplers and synthesizers. (The play) has the nervous energy of a concert, of something live. Everything’s happening right then and there”, explained Noguera in Paula Magazine.
  • This is the first collaboration between Manuela Infante and Paulina García, for whom “the play has the poetic nature of a strange concert and the mark of a theater play but conceived as a rock concert. It’s a very different format to anything I’m used to doing, but what happens on stage is really interesting. My role is as a kind of singer-storyteller, a modern-day satyr who talks in a way that draws people in; someone really easy to understand and relatable”.
  • This piece tackles profound philosophical and moral human dilemmas, such as our fear of dying and guilt about killing. “’You die and others live’ says the script. Who dies and who lives is nothing more than a negotiation of power”, explains Manuela Infante.
  • In this play, Infante aims to study the notion of tragedy. In his essay The Birth of Tragedy (1886), German philosopher Friedrich Nietzsche confirms that Greek tragedy emerged from a tragic chorus: the Dionysian chorus. Infante takes this idea and adds a new dimension to Schimmelpfennig’s play. “We decided to work on creating a play where the actress isn’t in a chorus but on her own, although she behaves as if she were many: she comes to announce an event, sing of it, tell of it”, she says.
  • Infante has also started to write scripts for series and movies. She recently co-wrote the script for Evasión, the new movie by Chilean director Cristián Jiménez (Bonsai).
  • Idomeneo. Ronald Schimmelpfennig’s script “livens up the original myth, putting less emphasis on its superstitions and giving the story a materialistic and Marxist slant. More than dealing with a character who doesn’t answer to the gods, it’s about power, about those who have the right to decide who lives or dies. The play is developed around the idea of human sacrifice, rituals and man’s capacity to kill his fellow man”, explained Infante in Paula Magazine.
  • Tragedy. A dramatic genre in which the hero faces an unavoidably tragic end. Its name comes from the Greek word tragoedia, which means ‘goat-song’, referring to the rites the Greeks carried out in honor of Dionysius.
  • Friedrich Nietzsche (1844-1900) was one of the main figures in German philosophy in the nineteenth century. With a recognizable style that influenced many twentieth century thinkers, he questioned the way enlightened cultures started to take the place of faith. Some of his most important works are Thus Spoke Zaratustra and Human, Too Human.
  • Paulina García (1960) is an actress and theater director. She began her career in 1983 with the play ¿Dónde estará la Jeanette?, a role for which she won the APES award for best actress. Since then, she has constantly been involved with the theater. As a director, she put on El continente negro and she has run the National Playwriting Exhibition three times. She gives classes at the University of Chile, the Fernando González Theater School, the Uniacc University and at the Universidad de Desarrollo. She has taken part in soap operas such as Los títeres (1984) and in series such as Cárcel de mujeres (2007) and Narcos (2015-2016), produced by Netflix. She has acted in movies such as Gloria (2013) by Sebastián Lelio and La cordillera (2017) by Santiago Mitre. In 2013, she won the Silver Bear at the Berlin International Film Festival for best actress.

Manuela Infante turns theater into a crazy concert

Paula Magazine

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