• Theater

ARLEQUINO, SERVIDOR DE DOS PATRONES

By TeatroPAN

Chile

  • Spanish
  • 120 minutes
  • General Audience

A commedia dell’arte classic, written by Carlo Goldoni in 1746, now with all the visuality and showmanship of TeatroPAN.


In this version by TeatroPAN, Arlequino, servidor de dos patrones is a comedy within a play. Created as a celebration everyone can take part in, it invites us to watch how a passionately Italian theater company puts on Carlo Goldoni’s classic, playfully showing what happens backstage. On a stage that recreates a town square, a comedy of errors talking about love, ingenuity and joie de vivre combines with the unexpected situations faced by the actors trying to put on the play. It’s a showcase of human relations that pays tribute to theater and which brings back commedia dell’arte in all its glory.

Cast and crew


Direccted by: Jaime Reyes | Director assistant: Paulina Casas | Cast: Jaime Reyes, Érico Vera, Paulina Casas, Marcela Paz Silva, Sebastián Ortiz, Carolina Alarcón, Renato Vásquez, Fabián Vergara, Nicolás Navarro, Javier Abadie, Valeria Moya | Technical Manager: Juan Pablo Asencio | Music: Original de TeatroPAN |
Scenographic design and lighting: Jaime Reyes |
Costume design and clothing: TeatroPAN | Objects: TeatroPAN.

TeatroPAN

TeatroPAN

The company

This group has a history spanning 19 years and is an artistic company in residence at the Aldea del Encuentro in La Reina, performing to great reviews at Chile’s main theater venues. The company works to keep the art of acting alive, on a quest for work that honors the celebratory and ritualistic aspects of theater. Its productions aim to create places of of beauty, refuge, shared utopias and encounters, giving the audience a global experience that both moves and involves them. Theirs is a kind of contextualized theater for our times, but whose theatrical style feeds off 3,000 years of history, power and symbolism. For TeatroPAN, theater is a reservoir of humanity and a fertile ground for combatting barbarity, creating much-needed opportunities for both contemplation and self-contemplation and uniting human beings in an ongoing celebration of life.

—It brings back the figure of the harlequin, one of the archetypal and indispensable characters in commedia dell’arte. This servant doesn’t have the resources to survive, being both astute and foolish. This duality is reflected in their typical outfit, which has been mended a thousand times and that, over time, comes to look like a cloth with diamonds stamped all over it.

—It uses everything Carlo Goldoni intended for his carnival-like productions: stylized costumes, masks, music, songs and on-stage acrobatics, with every aspect just as effective as it was all those centuries ago.

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