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On the fly, Federico García Lorca attributes one of his characters from his works “El Público” the said: “We shall destroy theatre or to live in the theatre”. In this literary work, written in 1930. Lorca claimed not only the perseverance linked to the theatre over the course of centuries, but the value of it due to change completely the past, tradition, repression, prohibition, but most of all, the potential of the theatre to express our own will. In these pandemic times full of uncertainties, insecurities, unrest, hesitation, suspicion… This novel regains sense completely because when everything confabulates to destroy theatre, it remains alive. And here it’s a recurrent  cliché (sometimes repeated and sometimes disproved): “Theatre won’t die because the durability of it lies on the public.”

Is the public those who Teatro Guiniguada wants to dedicate this monthly section of “Lo tuyo es puro teatro” appreciating their interest, attention and their own level of interaction with some of the scheduled performances:  La digestión del mundo, Beyond, El rey zolito, Inmujerables, Eti-queta, Vivir para siemprePólvora, Miau, una farsa musical, Islazz, Las Alegrías, Alexis Alonso Quartet, Arizona, Takten, Flor de canela, Suicidio de una actriz frustrada, OMN, Olor a sal, Thelmo Parole, Tributo al maestro, Conversaciones con Gardel, Masdanza Xtra, Paco España era un espectáculo, Funeral Planner, En estado de show y El hijo, among other things. 

We shall set things clear: 2020 has been a complicated year for theatre but not a lost year. As the british actor Simon McBurney said in his 2018 Global Theatre Day manifesto: “We are living hard times where it is difficult to watch things clearly. Any fact could be disputed, any quote could claim our attention as an unquestionable truth.  There is a particular fiction which is around us constantly. A fiction which is dividing us from the truth and dividing us from each other (…) There are many people saying that theatre won’t change or it can’t change anything of what ‘s happening, but theatre won’t escape and it has a shelter condition. Wherever there are actors and public, stories that can’t be told in any other place will be told”.

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We can’t pretend anything else.

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