Country Chile

Discipline Theater

Audience Youth | Adults

Recomended for +14

Duration 80 minutes

Language Spanish

Dates January 4, 5, 6, 8, 9 and 10, 21:00 h

A controversial and ironic production

Biobio Radio

A group of four electoral officers are getting their voting station ready. It’s not just any old election but a historical moment for Chile: a referendum to decide whether or not to put an end to the democracy in a democratic way. The country positions itself on the political cutting edge by asking how valid this system is to the people. What if nobody comes to vote? Is voting still worth it? If this isn’t democracy, what is? Representar is the second play by Teatro Perro Muerto, this generation’s look at a system that is currently being questioned, at low voter turnout and at the profound political representation crisis. Fast-paced and full of irony and humor, the characters are forced to talk about politics and think about the system’s future. How does this crisis affect an outstanding performing art like theater? The company’s response is that “we don’t know what’s going to happen, we don’t know what the best solution is, but we believe that theater’s role is to make us ask ourselves about its future”.

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Company

Teatro Perro Muerto

Teatro Perro Muerto is a company whose work is based on workshops and experimentation. Their aim is to create a generational discussion on political theater through their plays. These are self-written and mainly based on humor, satire, contradiction and transgression, looking to generate theater that is thoughtful, innovative and entertaining. “Theater to us is a way of circulating ideas. That’s why we always investigate issues that are of interest to society. Theater should encourage reflection and discussion on what things are like at the moment”, they indicate.

Sebastian Squella

Sebastian Squella is the director of Teatro Perro Muerto, co-director of the Fénix e Ilusiones company at the Colina 1 prison and a teacher at the Latin American School of Popular Theater (ELATEP). In August 2016, he won the Eugenio Guzmán award for best director with Pinochet, la obra censurada en dictadura as part of the XV Festival of Promising Directors and in 2017 he was chosen for the Theater Directing Program (PDE), organized by the Teatro a Mil Foundation and the Goethe Institute, whose aim is to promote the artistic training of young Chilean theater directors. In May 2018, he took part in the international forum at the Theatertreffen Festival in Berlin, Germany, being the only South American chosen for the program.

Director Sebastián Squella | Assistant director and audiovisuals Nicolás Calderón | Set, costume and lighting designer Javier Pávez | Photographer Paul Osses | Producers Victoria Iglesias and Valeria Aguilar | Cast Rodrigo Florechaes, Camilo Venegas, Valeria Aguilar and Victoria Iglesias | Project funded by a 2018 Regional Fondart grant, with the support of the Teatro a Mil Foundation and the Goethe Institute.

  • The Perro Muerto company returns to Santiago a Mil after performing their acclaimed and successful debut Pinochet, la obra censurada en dictadura in 2017. They stand out for their pieces full of political reflections about recent Chile. In Representar, they consolidate this hallmark, being compared to the La Re-sentida company and with the work of Marco Layera. “We’re young people born in a democracy and we have to debate and think about our future as a society”, explains director, Sebastián Squella.

  • Representar proposes an idea that is both playful and provocative: is a viable political system that isn’t a democracy possible? Is there an alternative, a better representative system than the current one?”(Democracy) is the best political system that we’ve known up until now, but it might not be the most evolutionary one for humans”, says Squella. Under this premise, the Perro Muerto company creates a trail-blazing Chile that decides to abolish it.

  • Although Representar tackles a serious and transcendental issue like democracy, Perro Muerto does so with humor and irony. “As a company, we believe that theater is, above all and whether political or not, a moment to relax and enjoy, both for the actors and for the audience. We think it’s possible to talk about important issues in an amusing way, because reflection also emerges from laughter and humor”, explains Squella.

  • The play is the result of a specific problem in Chile: the project was created after the municipal elections in 2016, when only 34.9% of the population voted, one of the lowest turnouts in local history. That’s when they began to ask themselves why people weren’t showing any interest in democracy, but their reflections went beyond this. “We came across the fact that not many people go to the theater and everything added up: polling stations and theaters are empty because those in charge of representing people stopped representing what is important to the rest”, claims the director.
  • The intellectuals behind the play. For this production, the company carried out an extensive bibliographical revision: to the essays of Terry Eagleton, Pierre Bourdieu and Rüdiger Safranski were added texts like The Just Assassins by Albert Camus; On Violence by Hannah Arendt; Discurso by Guillermo Calderón and Alabardas y Ensayos sobre la Lucidez, by José Saramago. “We also read a French group called the Invisible Committee, who wrote To Our Friends and The Coming Insurrection, one pre- and the other post-indignant movement in Spain. The first is about the revolutionary movement and the desire to change it and burn everything down and the second is ‘we set up a party, PODEMOS, we become an institution and nothing happens”, explains the director.

  • Pinochet, la obra censurada en dictadura. Perro Muerto’s first piece was premiered in 2015 to critical and public acclaim and also tackles a political topic: it’s a free and scathing reconstruction of a play from 1986 that shows four influential characters from the dictatorship and how they see Chile’s future. Using satire and dark humor, they ask themselves what the transition will be like for them, a process full of uncertainty and fear. The play talks about the power and dreams of the dominant class that imagines its place in the future of Chile and contrasts the state of the country 30 years ago to the Chile of today.

«A fast paced and playful production, full of humor»

La Nación

A controversial and ironic production

Biobio Radio

«A fast paced and playful production, full of humor»

La Nación

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