—Pequeño Teatro de Morondanga, a Uruguayan group, has spent 20 years researching new ways of bringing stories to the stage. One of its most recent pieces reflects this: the play Bienvenido a casa, whose format means the audience had to go to the theater on two consecutive days in order to see the whole play.
—Its director, Roberto Suárez, is one of the most important figures in Uruguayan theater to have graduated in the nineties.
—The style of the majority of this group’s work mixes humor and tragedy: a contradiction that, in the words of Roberto Suárez, helps reflect onstage the ‘double standard’ that occurs in everyday conflicts. This style has even been compared to Ionesco and Beckett’s ‘Theater of the Absurd’ although, in an interview with Uruguayan newspaper El País, Suárez said that he prefers not to use that term.
—Teatro Odeon: Located in Montevideo, Uruguay, this venue started to be used as a theater in 1925. In 1943, it was renamed the Odeon and in 1987 it changed its name again to the Carlos Brussa Theater. During these years, it was home to the Uruguayan Society of Actors and to the Teatro de la Ciudad de Montevideo company. On January 1, 1996 it was completely destroyed by fire and what remained of it - plus the land it stood on - were auctioned off. A Uruguayan-French couple bought the site and put it up for sale again years later. At this point, the company got in touch with them and suggested rebuilding the theater, an offer the owners accepted.
—Collective creation: This is the name given to plays written not by one author but by a theater group which is collectively responsible for the writing of a piece in a creative process with several voices. It started being developed methodologically in the 1960s, as a way of breaking down the rigid notion that separated the concepts of director, author and text and as a way of questioning theater companies’ verticality.