MAGDALENA WITHOUT BOARDERS IV
SANTA CLARA/CUBA JANUARY 8-18 2014
DRAMATURGY AND PERFORMANCE
The possibility of creating a safe gathering space have inspired me to keep on working to share the privilege of this gatherings. Ever since the first call on 2005 my tendency impulses me to privilege every theme related to the craftsmanship, the troubles of the craft, as if I perceived that every time we try to avoid arguing or thinking collectively about the nature of the work that gather us together: the theater. On the other hand I fell far from that useless practice of trying to build theories or be judgmental about particular artistic results, deliberately taking as granted the personal biography, the turns, rants and specific context where the performance comes to live. I don’t think that the soul can separate the road we all are fighting to create and to defend the theater we do, but the theater we do, as different as it is, comes from a precise inspiration and have a precise language as well. “Each inspiration comes with its own language” said the revolutionary Cuban poet José Martí.
I want to insist on themes related to the theatrical creation. I want to insist on each artist trying to pass on with a language equivalent, the mechanisms that articulated the invention process. I want each one of us trying to get close to our practice and our history on the dramaturgy and performance theme, as a testimony of a process in process inside a precise reality subtle to change and doubt. I am obsessed with the brutal pragmatism crossing by our world and the possibilities we have to share eloquently our experiences, the thoughts that may create illusions and sustain the, sometimes uneasy, road that lots of young people are searching and needing a voice standing out the human misery. We can’t change the world, but we can do our craft with conviction, of toing against the consumerism that is invading every aspect of our lives, our thoughts and our theater.
That is why I insist on talking about the craft, it sounds useless but it’s not, our craft is our true heritage, and thinking it, knowing it fragile, makes us walk against the consumerism current that invites us to play safe upon quick short term earnings.
I am waiting for you since this moment to keep weaving this conversations opening questions and keep cultivating concerns that may inspire us not to go beyond but deeper.
Santa Clara/Cuba June 25 2014
Note: Sin the publishing of this message international participation call is open. Registration and participation conditions will be soon explained on mail and published on the Magdalena site. For inquiries you can address Roxana Pineda the Festival director on rosa@cenit.cult.cu