Country Chile

Discipline Theater

Audience Youth | Adults

Recomended for +16

Duration 50 minutes

Language Spanish

Dates January 4, 5, 6, 7, 8 and 9, 21:30 h

An experience that involves good theater: a story with meaning and historical, social and human significance, put on by a single actor who is willing to bring the most of an extraordinary character’s tragedy to his performance

Biobio Radio

Ricardo III, el príncipe contrahecho is one of the last works written by winner of the National Performing Arts Award, great Chilean playwright Juan Radrigán who died in 2016. This short and moving script was created as part of a project organized by the British Council to reinterpret William Shakespeare’s works. Richard III faces his very last battle after suffering life-threatening injuries. He finds himself in a kind of dream-like limbo, where it seems he’s alone in front of a large door, without knowing if he’s inside or out, alive or dead. Richard III’s voice reverberates around the place, coming back to his own ears as a faraway voice that questions him. It’s the voice of death; it’s his own voice; he comes face to face with himself and his decisions and actions. This poetic text is written in a style in which both Shakespeare’s and Radrigán’s contributions can be recognized. Rodrigo Pérez once more comes back to one of the key playwrights in Chilean theater history’s plays, which reflects deeply on the abusive use of power.

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Direction

Rodrigo Pérez

(Chile, 1961)

Rodrigo Pérez is an actor, theater director, teacher and psychologist. He has been part of the Teatro La Memoria company since 1988, talking part in plays such as La manzana de Adán, Historia de la sangre and Casa de muñecas. In 1998, he worked for the municipal theaters in Cologne, Stuttgart and Esslingen in Germany. With his company Teatro La Provincia, he has directed plays including the Patria: Cuerpo (2005), Madre (2006) and Padre (2006) trilogy; Las brutas (2008); Violeta: al centro de la injusticia (2008); Diatriba de la Victoria (2010) and La viuda de Apablaza (2016). Over the last few years, he has acted in productions such as Realismo (2016-2017), Pompeya (2017-2018) and Los arrepentidos (2018).

Dramaturgy

Juan Radrigán

(Chile, 1937-2016)

Juan Radrigán was one of the most renowned playwrights in Chilean theater history. During his career, he wrote more than 40 plays with a strong social undertone, including Hechos consumados (1981), Balada de los condenados a soñar (1989) and Amores de cantina (2009). In 2011, he won the National Award for Performing Arts, an honor that joined other awards such as ones from the Art Critics’ Circle in 1981 and 1982, the Municipal Award for Literature in 1983, the Altazor Award in 2005, the Bicentenary Playwrighting Award in 2010 and the Sello de Excelencia Award in 2011 from the National Council for Culture and the Arts.

Written by Juan Radrigán | Director Rodrigo Pérez | Actor Cristián Carvajal | Set and lighting Catalina Devia | Costume designer Loreto Monsalve | Produced by the Quilicura Cultural Corporation

  • Juan Radrigán is one of the most renowned Chilean playwrights of the last few decades, a creator who has heavily influenced several generations. His name is associated with an independent and thoughtful theater that puts the deprived and outcasts at its heart, particularly in the political and sociocultural context of the military dictatorship. He has written legendary plays such as Hechos consumados (1981), El toro por las astas (1982), Made in Chile (1984) and Oratorio de la lluvia negra (2012). Ricardo III, el príncipe contrahecho was a coproduction with the Quilicura Cultural Corporation in the framework of a tribute to Radrigán called ‘Fragmentos para La Memoria’.

  • Rodrigo Pérez is not only one of the heavyweights of the contemporary Chilean theater scene (“the most important Chilean director of theatrical productions in the nineties”, according to the academic Adolfo Albornoz), but he is also an expert on Radrigán, with whom he worked on several of his last pieces. In fact, he is the director who has directed the greatest number of Radrigán’s works.

  • Ricardo III el príncipe contrahecho shows the evolution of Radrigán’s writing, with his style’s synthesis, precision and refinement reaching notable poetic levels. It does, however, provide a heartbreaking look at reality and, in this respect, adopts a different perspective to this author’s most emblematic pieces.

  • With this Shakespearian character, Radrigán reflects profoundly on the abusive use of power, using this figure as a pretext to talk about the important topics that were the impetus for his writing: power and its abuse, justice, forgiveness, impunity and death.

  • The hallmarks of both Shakespeare and Radrigán can be seen in the script in a crossover of styles that makes this a unique example of the Chilean author’s writing.
  • Rodrigo Pérez and Juan Radrigán. Pérez is the Chilean director who has directed the greatest number of Radrigán’s plays, including several of the ones the playwright wrote in the years before his death, such as Fantasmas borrachos (1997), El príncipe desolado (1998), Perra celestial (1999), Medea mapuche (2000) and Digo siempre adiós, y me quedo (2002). He has also directed some of his older ones, such as Pueblo del mal amor and Las brutas. “His despairing approach - which on the stage becomes optimistic - amazes me”, the director has said. He had already worked on Diatriba before, in the production Diatriba de la Victoria in 2009.

  • Ricardo III (The Life and Death of King Richard III) is a tragedy by William Shakespeare, the last play of his historical tetralogy that also contains the three parts of Henry VI. It is thought to have been written at the beginning of his career, between 1591 and 1592. The piece describes the ascension and brutal fall of Richard III of York, who was defeated by the future King Henry VIII of England in the Battle of Bosworth in 1485. This was part of the War of the Roses between the Lancaster and the York families. It’s the second longest of Shakespeare’s plays.

  • Power in the play. On this topic, Pérez has commented that, “the actor playing Ricard III uses hypnotizing words to delve deeper into how power is used nowadays and its devastating consequences (…). It’s important to us that the spectator listens to the arguments about the brutal use of power from the viewpoint of the person who wields it and not from that of the person who suffers under it”.

  • 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.

«Cristián Carvajal takes over and completely exposes himself; his voice, whether vibrant or whispering, is colored by a script that mixes Shakespeare’s prose with Radrigán’s»

Biobio Radio

«The script operates as a kind of continuation of the Shakespearian tragedy, although there are notable differences that make Radrigán’s script one of his most powerful and playful. This is seen in a register and quality that make it impossible to keep insisting on a caricature that defines him as a ‘playwright of marginalization’»

Hiedra Magazine

An experience that involves good theater: a story with meaning and historical, social and human significance, put on by a single actor who is willing to bring the most of an extraordinary character’s tragedy to his performance

Biobio Radio

«Cristián Carvajal takes over and completely exposes himself; his voice, whether vibrant or whispering, is colored by a script that mixes Shakespeare’s prose with Radrigán’s»

Biobio Radio

«The script operates as a kind of continuation of the Shakespearian tragedy, although there are notable differences that make Radrigán’s script one of his most powerful and playful. This is seen in a register and quality that make it impossible to keep insisting on a caricature that defines him as a ‘playwright of marginalization’»

Hiedra Magazine

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