Country Chile

Discipline Family theater

Recomended for +6

Duration 50 minutes

Language Spanish

Dates January 6, 19:30

With Viaje a la luna (1902), French cinematographer and illusionist Georges Méliès not only gave us with one of the most important movies in history — the first science fiction one, no less — but also one of cinema’s most unforgettable scenes: a rocket crashing into the moon. The renowned La Patogallina company pays tribute to this great magician of the seventh art with this comedy, which tells of the chaotic adventures of the Pelotillehue Films team, a poverty-stricken production company made up of six clowns who have to film a version of Viaje a la Luna in a single day. Continuing with the style that has made them famous since the play El húsar de la muerte, La Patogallina unites physical theater with mime, live music, audiovisual projections and cinematography in order to tell of the absurdities, difficulties and predicaments that occur on the film set. This is a tribute to one of cinema’s forgotten geniuses, a creator who set the foundations for cinema as a dream and a vehicle for both fantasy and fiction.

| Multimedia

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.

Compañía

La Patogallina

La Patogallina is a theater group founded in 1996 by Rodrigo Rojas, Eduardo Moya, Sergio Pineda and Martin Erazo that, by premiering the play El húsar de la muerte (2000), brought a new and original way of doing theater to the Chilean stage. By taking elements from street, popular and physical theater and adding live music and sets strongly influenced by film, La Patogallina has tackled issues linked to Chile’s history and has made inroads into the use of non-conventional spaces for their productions, which are full of poetic images. Some of their plays include Los caminos de don florido (2008), Frikchou (2008), Extranjero, el último Hain (2011) and Paloma Ausente (2017).

Written and directed by Martin Erazo | Cast Sandra Figueroa, Pilar Salinas, Rodrigo Rojas, Cael Orrego, Eduardo Moya, Victoria González | Musical director Alejandra Muñoz | Live music Alejandra Muñoz and Emilio Miranda | Sound technician Pablo Riveros | Producers Lorena Ojeda, Minga Producción Escénica

  • 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 Viaje a la luna, the company pays tribute to one of their main sources of inspiration – the cinema – and the work of Georges Méliès in particular.

  • This production showcases one of the sources of La Patogallina’s style and one of their main influences over a career spanning more than two decades – the cinema of Georges Méliès. According to director, Martín Erazo, his presence can be felt in all of their pieces. “Since his cinema was made at the beginning of the twentieth century, it’s very theatrical”, he explains. “He came from the world of magic and created a very specific series of effects and a style, full of humor and fantasy and very traditionally executed”,

  • Viaje a la Luna is a world cinema classic that never gets old and a film that continues to delight today’s audiences with its originality. This play, which according to its author is “basically an adaptation of the original”, revives with theater one of cinema’s founding pieces, the seed from which special effects, staging and fantasy on the big screen would emerge.
  • Georges Méliès (1861-1938). An illusionist and French cinematographer, he’s considered the father of staging and cinematography and the creator of experimental films whose style would later become the basis for cinema being considered an art. He went from magic to the cinema, introducing tricks and effects that manipulated images and created illusions and complex styles that made up the basis for the staging. According to Ricciotto Canudo, father of cinema theory, this was how cinematography was born and with it, the idea of cinema as a fiction based more on suggesting emotions than on portraying reality.

  • Viaje a la luna. A silent French movie from 1902, this was the first cinematographic piece of science fiction and one of the films that made up the foundation of cinema history. Only 14 minutes long, it’s considered one of the most important films of the twentieth century. It is Georges Méliès’ most famous piece and its script, based on the novels From the Earth to the Moon by Jules Verne and The First Men in the Moon by H. G. Wells tells of a group of astronomers who decide to journey to this natural satellite in a space rocket. The image of a rocket crashing into one of the moon’s craters has become part of pop culture.

  • Tragicomedy. A literary genre that, as its name suggests, mixes elements of drama and comedy, as well as sarcasm and parody. It originated in classical Greece and was later used by devotees Lope de Vega, Jean Racine, Molière, Pierre Corneille and Miguel de Cervantes.

  • 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.

«A production complemented by the live music of the La Patogallina Saun Machin band, a group that give each of its plays a unique hallmark»

La Cuarta

«Film’s greatest visionary. A genius admired by all but then completely forgotten. With their sights set on Georges Méliès and his classic movie Viaje a la Luna (1902), the acclaimed La Patogallina company is back treading the boards again»

La Tercera

«A production complemented by the live music of the La Patogallina Saun Machin band, a group that give each of its plays a unique hallmark»

La Cuarta

«Film’s greatest visionary. A genius admired by all but then completely forgotten. With their sights set on Georges Méliès and his classic movie Viaje a la Luna (1902), the acclaimed La Patogallina company is back treading the boards again»

La Tercera