Theater

2118, TRAGEDIA FUTURISTA

By La Patogallina

Chile

  • Spanish
  • 75 minutes
  • +14

With its puppets, videos and important audiovisual content, La Patogallina’s latest creation journeys through time to try and change Chile’s history.


An anarchist-feminist fighter, Ana, travels through time to try and change her present by getting rid of nine influential, conservative and powerful characters who have shaped Chile’s history, including Pedro de Valdivia, Julius Popper, Diego Portales and Augusto Pinochet. Using both actors and puppets, video projections and an energetic live band on stage, Chilean group La Patogallina - together with playwright Carla Zúñiga - create a multimedia show of science fiction and political terror, inspired by retrofuturistic films and comics. An epic and outrageous universe reflects the cyclical nature of history and reveals the powers that have controlled the country’s destiny from the shadows.

Defined by La Patogallina as the most political of its shows, 2118, Tragedia futurista - coproduced by the Teatro a Mil Foundation and Matucana 100 and with financing from a National Cultural and Artistic Development Grant (Fondart) - is an attempt to imagine what would happen if the course of Chile’s history was changed.

Original idea: Martín Erazo | Dramatic structure and texts: Carla Zúñiga and Martín Erazo | Director: Martín Erazo | Cast: Sandra Figueroa, Pilar Salinas, Victoria González, Laura Maldonado, Antonio Sepúlveda, Cael Orrego, Matías Burgos, Rodrigo Rojas, Eduardo Moya and Juan Fierino | Musicians: Alejandra Muñoz, Emilio Miranda, Jaime Molina | Musical director: Alejandra Muñoz | Set designer: Pablo de la Fuente | Set construction and props: Taller Patogallina | Lighting designer: Martín Erazo | Costume designer: Antonio Sepúlveda | Puppet and mask designers and creators: Tomás O’Ryan and La Patogallina | Dance choreography: Christian Farías | Videos: Francisco Ramírez | Historical research: La Patogallina | Media: José Arroyo | Graphics: Rodolfo Jofré | Sound engineer: Pablo Riveros | Producer: Lorena Ojeda | Coproduced by: the Teatro a Mil Foundation and Matucana 100 | Project financed by a 2018 National Cultural and Artistic Development Grant (Fondart).

«There’s no doubt that, behind this piece - with its ambitious aim and complex format - there’s been an important process and a lot of hard work that deserve both attention and respect».

El Mercurio

“It’s an ambitious piece that forces this consolidated company to advance towards new theatrical horizons”.

—El Mostrador

It’s extraordinary audiovisual content incorporates puppets made by the company themselves, as well as special effects and a soundtrack created especially for the story. All these elements add to its appeal and offer up support for an interesting storyline.

It brings important topics to the fore from a new perspective, such as Chile’s history over the last century and the political events that have affected the country over the last fifty years.

La Patogallina is one of Chilean theater’s most important groups and one of the key companies on the contemporary national scene.

—Dystopia: The Royal Spanish Academy defines this term as ‘a fictional representation of a future society with negative traits, which leads to human alienation’. Famous dystopias include The Handmaid’s Tale by Margaret Atwood and Fahrenheit 451 by Ray Bradbury.

—Julius Popper: A Romanian engineer born in 1857, he lived in Argentina from 1855. He was one of the people responsible for the Selknam genocide at the end of the nineteenth century.

—Retrofuturism: A social and artistic movement from which an esthetic emerged reviving art from before 1960 to portray a utopic or dystopian future. The term was used for the first time in 1983, coined by the multidisciplinary North American artist Lloyd John Dunn, who used it as the title of one of his publications.

—Tragedy: A dramatic genre in which the hero faces an unavoidable fatal end. Its name comes from the Greek word tragoedia, which means ‘ode to the goat’, referring to the songs the Greeks sang to honor the god Dionysus.

—Physical theater: This is a kind of theater based on the body’s expressive and communicational abilities, in performances whose aim is to tell a story using corporality. Its roots are in Japanese nō theater, Italian commedia dell’arte, circus acts, certain types of Asian theater and mime. Its modern-day version is usually said to date from 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.

—La Patogallina’s official YouTube channel

—Official La Patogallina website

La Patogallina, without frontiers. An interview with the group’s director, Martín Erazo, on Teatroamil.tv

Social media:

—On Facebook, colectivo.lapatogallina

—On Twitter, @La_PatoGallina

—On Instagram, @lapatogallina

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