A crack has appeared in the Teatro UC, but it seems that nobody cares. The technical team solve the last details of the next piece to show, while the actors rehearse their lines. The Sala Eugenio Dittborn is witness again of new talents and histories, but is tired of not being truly part of them.
After the crack is the dark matter. It is that we do not see but it is there, that absence-presence from the other side of the time, that watches us before appearing. In simpler words, part of the past and the theatrical history of the venue is expressed in the seats, in the lights and on the stage, seeking to be the true protagonist of this assembly.
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Directed by Ana Luz Ormazábal, , “La materia oscura” (Dark Matter in Spanish) is an artistic achievement made by graduates of the UC Theater School, its main source of inspiration being the repertoire of works assembled in that room. This collective creation rescues different scenes and milestones of the more than seventy years of theater life, reinterpreting messages and characters according to national news.
More than being a remake or a re-release of these classics, the creators show the actors as puppets of these ghosts of the past, which seek to resurface through acting. Works as “Tres mujeres altas”, released in 1996 and directed by Ramón Núñez, returns to the stage to present a dispute out of script between the two major actresses, Paz Yrarrázaval and Liliana Ross, for the role of the main character.
Both spirits compare their artistic careers and criticize the current scene and television, in addition to reflecting on the role of women in industry and, mainly, in the Eugenio Dittborn Room: only 25% of the works released to date have been directed by a woman, while 20% of all montages was written by a playwright. On average, 1.4 women per year participated in the direction and script.
Another story rescued is “Los millionairos”, created and directed by Alexis Moreno and released in the summer of 2015. The montage shows the story of a group of corrupt and derogatory lawyers who decide to defend a Mapuche person accused of murder. Linking the fiction with the case of Camilo Catrillanca, the cast reverses the original scene and begins to interpret it in Mapudungun, later demanding greater representation of Mapuche actors and actresses in the national theater.
More than being a remake or a re-release of these classics, the creators show the actors as puppets of these ghosts of the past, which seek to resurface through acting.
Finally, the work causes discomfort in the audience, but at the same time laughs at the strange rudeness of its interpreters, ending in a deep reflection about these ghosts, those we think are in the past, written in the credits or plates of important rooms. However, they are more present than ever, and new ghosts appear through these ongoing social causes.
Each of the thirteen actors has its moment in the more than ninety minutes of work. With a simple scenography and focused on audiovisual tools such as songs, lights and projections of the original works, “La materia oscura” is shown as a must for the season despite its short exhibition period.
“LA MATERIA OSCURA”
From 11 to 15 of December
Tuesday to Saturday / 20.30 h
General entry price $3000
Lenght: 1:30 min.
Recommended age: + 14
Sala 2 “Eugenio Dittborn” does not have acces for wheelchair.
Direction: Ana Luz Ormazábal
Direction assistant: Valentina Parada and Max Salgado
Team: María Belén Cárdenas Cisternas, Florencia Cárdenas Carrasco, Sofía Esponda Valenzuela, Carla Fuentes Abu Abbarah, Rafaela Garretón Valle, Mishell Guaña Montoya, Paloma Landea Salinas, Paula Luchsinger Escobar, Javiera Murillo Donoso, Agustín Sanhueza Céspedes, Pascal Schuck Rodríguez, Bia Tapia Guerra and Evaluna Valdivieso Segura.
Integral Design: Toro
Sound Composition: José Manuel Gatica