Country Chile

Discipline Theater

Audience Youth | Adults

Recomended for +14

Duration 120 minutes

Language Spanish

Dates January 6, 7 and 8, 20.30 h

Warning Involves the use of a smoke machine

Leonart exacerbates the vestiges of classism, racism and sexual violence to give us three pieces full of cries of vindication, Tourette’s and dark humor. (…) This is Marcelo Leonart at his best - verbose and permanently delirious

Qué Pasa Magazine

In an apartment in an upper class neighborhood, two couples are hanging out. Fueled by alcohol, the atmosphere becomes more erotic when one of the hosts tells the story of her first sexual encounter, which was with a Mapuche worker in the middle of the night. As the evening draws on, eroticism and violence and dreams and reality merge, while the unexplained arrival of two new guests creates an even stranger atmosphere, adding fuel to the fire. This dark comedy reflects the violence of invasion by asking who’s invading who? The play aims to delve into unresolved issues, the violence dormant in different native people around the world and, above all, the nature of different events reported in the media and related to the conflict in southern Chile between the State and Mapuches. Noche mapuche draws parallels between the occupation of Araucania, the current state of this conflict and the Indian wars in the United States in order to look deeper into the violence of invasion and abuses of power based on the color of people’s skin and social status.

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Direction

Marcelo Leonart

(Chile, 1970)

Marcelo Leonart is a writer, playwright, theater director and scriptwriter. His story Maribel bajo el brazo (1998) won the Juan Rulfo Story Award. He has published Mujer desnuda fumando en la ventana (1999) and La educación (2012), two volumes of stories, as well as the novels Fotos de Laura (2012), La Patria (2012) Lacra (2013) and Pascua (2015). In 2015, his novel El libro rojo de la Historia de Chile (2016) was chosen as one of seven finalists for the Herralde Novel Award. In 2004, he founded the company La Fusa (later called the La Pieza Oscura) with writer Nona Fernández, with whom he has put on plays such as Grita (2004), El taller (2012) and Liceo de niñas (2015).

Company La Pieza Oscura | Written and directed by Marcelo Leonart | Cast Daniel Alcaíno, Nona Fernández, Roxana Naranjo, Pablo Schwarz, Macarena Fuentes, Felipe Zepeda | Sound designer Miguel Miranda | Lighting designer Andrés Poirot | Set designer Catalina Devia | General producer and publicist Francisca Babul | Technician Nicolás Jofré | Photos Maglio Pérez

  • La Pieza Oscura is one of the most interesting theater groups on the current Chilean theater scene. Run by Nona Fernández and Marcelo Leonart - originally under the name La Fusa - the company has created plays such as Grita (2004), El taller (2012), Liceo de niñas (2015) and Noche Mapuche (2018).

  • The play tackles unresolved issues in Chilean society, such as the conflict in Araucania, racism, the Mapuches’ fight for their rights and discrimination based on socioeconomic factors. “Humor, irony, laughter and teasing are always present (among the stars of the show). This reflects the deep-rooted values of a world with access to creature comforts that, above all else, feels contempt for anything indigenous, different or anyone that’s not from the same social class”, writes Leopoldo Pulgar, a critic for BioBio Radio.

  • The press has raved about the performances of an outstanding cast made up of prestigious actors such as Daniel Alcaíno, Nona Fernández, Roxana Naranjo and Pablo Schwarz. “The cast impresses with their ability to dance, change and follow through, in a radical piece with hints of a Dionysian celebration, a historical nightmare”, wrote Andrea Jeftanovic in El Mercurio.
  • Nona Fernández. One of the stars of this play is one of the co-founders, together with Marcelo Leonart, of La Pieza Oscura. Fernández is an actress and one of the most outstanding Chilean writers of our times. Among other books, she has published Av. 10 de Julio Huamachuco (2007), Fuenzalida (2012), Space Invaders (2013) and Chilean Electric (2015). El taller (2012), her first theater piece, was included in Bestiario (2013) and was chosen as one of the best plays of the year, winner of an Altazor Award in 2013 for best script and of the Nuez Martin Award for best play in 2014. Some of her latest work as an actress has been in Allende, noche de Septiembre and Liceo de niñas. In 2017, she received the prestigious Sor Juana Inés de la Cruz Award in Mexico for the novel La dimensión desconocida.

  • The idea of invasion. The company explains that Leonart wrote Noche Mapuche to protest against the media not reporting the death of a Mapuche citizen on their front pages, only their attacks on machinery. “We’re invaders. It’s a responsibility. And invaders are repelled. That’s what I’d do if they invaded my house”, the playwright has said.

«Leonart pours salt on the wound of issues as complex as the limits of the struggle to resist, the relative importance of victims in a conflict and the asymmetry in how struggles are fought. (..) Outrages not as outrages, but rather as provocation, as political projects»

Wikén, El Mercurio

«This controversial project reflects the greatest conflict in today’s society, which is simply the inequity in the relationship between the socioeconomic minority and the impoverished one»

Biobio Radio

«The result is an anguished cry against slurs and abuses of power in the lives of other human beings, based on their race, the color of their skin or their social status»

La Tercera

«Powerful, daring, provocative (..). One of the best theater premieres this season»

Tuiteroscultura.com

Leonart exacerbates the vestiges of classism, racism and sexual violence to give us three pieces full of cries of vindication, Tourette’s and dark humor. (…) This is Marcelo Leonart at his best - verbose and permanently delirious

Qué Pasa Magazine

«Leonart pours salt on the wound of issues as complex as the limits of the struggle to resist, the relative importance of victims in a conflict and the asymmetry in how struggles are fought. (..) Outrages not as outrages, but rather as provocation, as political projects»

Wikén, El Mercurio

«This controversial project reflects the greatest conflict in today’s society, which is simply the inequity in the relationship between the socioeconomic minority and the impoverished one»

Biobio Radio

«The result is an anguished cry against slurs and abuses of power in the lives of other human beings, based on their race, the color of their skin or their social status»

La Tercera

«Powerful, daring, provocative (..). One of the best theater premieres this season»

Tuiteroscultura.com