Country Chile

Discipline Street theatre

Recomended for +6

Duration 75 minutes

Language Spanish

Dates January 5 and 7, 21:00 | January 9, 20:00

Warning Involves smoke machines and a confetti machine

La Patogallina stands out for bringing a poetic style to the stage (…) always looking to talk about our history and use it to decipher the identity of a country that is still under construction

University of Chile Radio

"Paloma Ausente is street theater for the masses”. This is how the latest piece by the theatrical group La Patogallina, a show that looks at all the different social roles Violeta Parra played during her life and highlighting her spirit and legacy, has been described. Collaborator, mother, singer, guitar player and visual artist are just some of the sides to one of Chile’s most extraordinary creators. Physical theater, the use of objects and puppets, the creation of poetic images and the essential presence of live music form the popular street style used by La Patogallina to pay homage to the country’s great singer-songwriter. Far removed from theater full of folklore and costumbrismo, Paloma Ausente uses a theatrical style that isn’t based on reality but which has been described as ‘rural surrealism’. The play is a Teatro a Mil Foundation co-production that was one of several different initiatives supported by the National Council for Culture and the Arts to commemorate the 100 year anniversary of Violeta Parra’s birth.

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Direction

Martín Erazo

(Chile, 1974)

Martín Erazo is 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.

Company

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 has been used to revive 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 Europe, America and Asia, bringing unforgettable shows to the stage including A Sangre e Pato and El Húsar de la Muerte, positioning themselves 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.

Directed by Martín Erazo | Dramatic structure and original idea by Martin Erazo | Script development Carla Zúñiga and Martín Erazo | Cast Sandra Figueroa, Victoria González, Gloria Salgado, Laura Maldonado, Matías Burgos, Juan Ferino, Eduardo Moya, Rodrigo Rojas, Cael Orrego and Antonio Sepúlveda | Musical director Alejandra Muñoz | Musicians Jaime Molina, Emilio Miranda, Alejandra Muñoz | Puppets Tomas O´Ryan & La Patogallina | Set, costume and lighting design La Patogallina | Set design consultant Pablo de la Fuente | Development Rodrigo Rojas, Eduardo Moya, Juan Ferino | Costume designer Antonio Sepúlveda | Sound Pablo Riveros | Produced by Lorena Ojeda Sepúlveda | A strategic project with the National Council for Culture and the Arts | Co-produced by the Teatro a Mil Foundation

  • More than a biographical review, La Patogallina aims to delve into the creative mind of Violeta Parra with Paloma Ausente. Talking about this play, they’ve said that “our production focuses more than anything on the rock in her music and, above all, on the idea that the production can get out and about, just like she did”.

  • The show’s live music is made up of the sounds of electronic instruments and a low-tuned acoustic guitar, converting Violeta’s original compositions into newer, more contemporary ones. This mixture of sounds is in addition to the use of vocalization in which the text takes on a starring role, rhythmically and musically.

  • Paloma Ausente has a dramatic structure that is based on three time periods: Violeta travelling through Chile, collecting information untiringly; Violeta and her creation of Gavilán and Violeta and her memories of infancy.

  • 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.

  • La Patogallina’s repertoire includes plays such as A sangre e pato (1996); El húsar de la muerte (2000); 1907 el año de la flor negra (2004); Karrocerías (2005); Los caminos de don floridor (2008); Frikchou (2008) and Extranjero, el último Hain (2011). The staging and ground-breaking sound and music of all their productions particularly stand out.
  • 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”.

«La Patogallina stands out for bringing a poetic style to the stage (…) always looking to talk about our history and use it to decipher the identity of a country that is still under construction»

University of Chile Radio

La Patogallina stands out for bringing a poetic style to the stage (…) always looking to talk about our history and use it to decipher the identity of a country that is still under construction

University of Chile Radio

«La Patogallina stands out for bringing a poetic style to the stage (…) always looking to talk about our history and use it to decipher the identity of a country that is still under construction»

University of Chile Radio