By KIMVN Teatro
One of the most commented-on plays in 2019 due to its powerful political roots: a report on the violence that has occurred in the Araucania area over the last few years.
Trewa deals with three cases of violence in the south of Chile: the death of environmental activist Macarena Valdés in Tranguil in the Los Ríos region; the case of teenager Brandon Huentecol Hernández, shot with 180 pellets by the Chilean police and the police work of the PACI (the Native Community Reconciliation Patrols). The story begins when, in deep midwinter, the family and close friends of Macarena Valdés ask the ngen mapu (the spirit owner and protector of the earth) for permission to exhume her body, willing to move heaven and earth in their search for truth and justice. In the shadows, the Chilean state’s historic violence towards the Mapuches can be seen at an intimate and private level in this Trawün (meeting). Described as a theatrical documentary, Trewa is a KIMVN Teatro creation and one of the most commented-on and acclaimed pieces of 2019. It’s an in-depth investigation that aims to depict the violence and human rights violations suffered by the Mapuches over the last 20 years.
Cast and crew
Written and directed by: Paula González Seguel | Cowritten by: Felipe Carmona Urrutia and David Arancibia Urzúa | Assistant director: Andrea Osorio Barra | Projections and sound designer: Niles Atallah | Music written, composed and directed by: Evelyn González Seguel | Musical arrangements: Sergio Ávila and Juan Flores | Cast: Hugo Medina, Paula Zúñiga, Benjamín Espinoza, Amaro Espinoza, Constanza Hueche, Fabián Curinao, Norma Hueche, Elsa Quinchaleo, Rallen Montenegro, Vicente Larenas, Francisca Maldonado | Musical performers: Evelyn González, Sergio Ávila, William García, Nicole Gutiérrez, Juan Flores | Stage designer: Natalia Morales | Lighting designer: Francisco Herrera | Costume designer: Natalia Geisse | Press and publicity: Marcela Piña | Research consultants: Helene Risor (anthropologist), Marcela Cornejo (psychologist), Fernando Pairican (Mapuche historian) | Mapudungun teachers: Constanza Hueche and Norma Hueche | Producers: Andrea Osorio, Nicole Gutiérrez, Paula González | Cultural managers: Evelyn González and Paula González.
Paula González Seguel
Bringing a documentary style to the stage
Born in 1983, this director, playwright, teacher, documentary maker and cultural consultant is the founder and artistic director of KIMVN Teatro and is studying for a Masters in Documentary Theater at the University of Chile. Together with her group, she’s created and directed several documentary-style plays on issues relating to memory, violence, native people and human rights. Her work has won awards in Chile, France, Brazil, South Korea, Argentina, Cuba and Mexico and her plays have received financing from the Ministry of Arts, Culture and Heritage, IBERESCENA, the National Corporation of Native Development (CONADI) and the Center for Intercultural and Native Studies (CIIR), among others.
Based on the issues that affect the Mapuche people
This multidisciplinary theater company was founded in 2008 by actress, theater director and documentary maker Paula González Seguel (director and playwright) and psychologist, musician and composer Evelyn González Seguel (director and score), under the name Teatro Kimen, which means ‘Do you know me?’ in Mapudungun. It was renamed Kimvn in 2016, meaning ‘knowledge’. They have put on plays including Ñuke. Una mirada íntima hacia la resistencia mapuche, Ñi Pu Tremen, Mis antepasados, Territorio Descuajado. Testimonio de un país mestizo and Trewa. Estado-Nación o el espectro de la traición.
“A solid piece on the history of violence towards and resistance by the Mapuches, which shows a unified identity that has resisted centuries of harassment and being made to feel invisible”.
“A clear step forward in the tools KIMVN Teatro uses to bring political discourse back to the stage”.
“The Mapuches’ view of the conflict is expressed with such vehemence and helpless rage that it’s impossible for the audience to remain indifferent”.
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