By Loba Teatro
This intriguing script by renowned playwright Juan Vera is brought back by Loba Teatro, putting on a play that looks into the power struggles between the heroes of Chilean independence.
Los diálogos de La Merced o dónde fue que la cagamos takes place in the cloisters of the La Merced Church in 1814, where Manuel Rodríguez takes refuge after the Battle of Rancagua. Rosa, his wife, is waiting for him there, disguised as a nun. The religious order hides Rodríguez in the convent, but he’s discovered by governor Mariano Osorio, who interrogates him after the terrible things that have happened in Santiago. In the meantime, the church’s chapel is burnt down after a struggle and everyone inside dies, leading the nuns to rebel. All this happens in the midst of a power struggle between Osorio, Rodríguez and also Bernardo O’Higgins, who have conversations that even today, hundreds of years later, ring disturbingly true. This production is the second by Loba Teatro, formed in Antofagasta in 2017.
Cast and crew
Directed by: Freddy Soto Torres | Written by: Juan Vera Aldunce | Cast: Guillermo Aguilera, Francisca Yáñez, Sebastián Reinoso, Kelly Collao, José Salazar, Mónica Le-Blanc, Carolina Sáez, Rafael Barrera, Carolina Castañeda | Lighting: Fabián Álvarez | Music: Fabiana Giménez.
Freddy Soto Torres
Interested in circular theater
This actor trained at the La Casa Professional Theater Institute in Santiago and also teaches at schools, social groups and institutions in the Maipú, Isla de Maipo, Padre Hurtado and Antofagasta areas. He was part of Teatro El Riel in Santiago for 13 years, where he worked as an assistant director and actor. In 2017, he joined Antofagasta’s Compañía de Teatro Independiente (TIA) as a performer, taking part in several productions based on children’s stories. Nowadays, he’s director of Loba Teatro, where he’s introduced the circular theater methodology.
Juan Vera Aldunce
A long career outside of Chile
Born on February 3, 1945, Juan Vera Aldunce studied at the University of Chile’s Theater School between 1965 and 1970. He was a member of the Teatro Nuevo Popular and a writer and director for Teatro Campesino Itinerante. After the military coup, he was exiled to Argentina, Peru and England, where he trained as a playwright under Harold Pinter and carved out a career with several different groups. When he returned to Chile in 1981, he founded Teatro El Riel, working there until his death in 2002.
Getting rid of theatrical hierarchies
This group was formed in Antofagasta in 2017 and is directed by actor Freddy Soto Torres. It’s mainly aimed at developing social and circular theater. The latter is a format in which the audience becomes part of the play from where they’re seated in the venue to their interaction with the play and its actors, breaking down ‘the fourth wall’, giving them a critical conscience and getting rid of theatrical hierarchies. The company is made up of a mixture of professional artists and people who are actors and actresses by trade.
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