\n
MARTES 14<\/p>\n
Sindicato Nacional Independiente de Trabajadoras Sexuales Amanda Jofr\u00e9
\nMUMS
\nCUDS
\nFundaci\u00f3n Iguales
\nNo Alto Maipo
\nRed por la Defensa de la Precordillera
\nChile sin Transg\u00e9nicos
\nColectivo Ecol\u00f3gico de Acci\u00f3n
\nAqu\u00ed la Gente
\nSindicato de Trabajadoras de Casas Particulares
\nObservatorio de G\u00e9nero y Equidad
\nSindicato de Trabajadores de Edificios de Chile
\nComit\u00e9 de Refugiados Peruanos
\nOrganizaci\u00f3n sociocultural de la comunidad Haitiana de Chile
\nAsociaci\u00f3n cultural folkl\u00f3rica Intiquilla del Per\u00fa
\nSindicato de Fruteros de Cal y Canto
\nColectivo Pandemia
\nP\u00e9rgola de floristas Santa Mar\u00eda
\nP\u00e9rgola de floristas San Francisco
\nAsociaci\u00f3n de locatarios de la Vega Central
\nMovimiento Furiosos Ciclistas
\nCorporaci\u00f3n SOFINI
\nColectivo Todos Trabajando<\/p>\n
MI\u00c9RCOLES 15<\/p>\n
Colegio Paulo Freire
\nColectivo Familiares y Compa\u00f1eros de los 119
\nONG 81 razones
\nSambaigo
\nTercera Compa\u00f1\u00eda de Bomberos de San Miguel
\nLa caleta
\nVoces de la Calle
\nFuria Leguina
\nMillant\u00fa
\nRaipillan
\nJJCC La Legua \u2013 Solidaridad con Cuba
\nJ\u00f3venes de la parroquia San Cayetano
\nEnrique Molina<\/p>\nFICHA ART\u00cdSTICA<\/span>\n
Una iniciativa de Roger Bernat
\n<\/b>\u00a0Que no ser\u00eda posible sin la participaci\u00f3n de muchos colectivos<\/b> de la ciudad que hacen suyo el proyecto
\nCo-creadores Txalo Toloza,<\/b>\u00a0Juan Navarro<\/b>
\nDramaturgia Roberto Fratini<\/b>
\nConstrucci\u00f3n de la maqueta Patricio y Jos\u00e9 Saavedra
\n<\/b>Coordinaci\u00f3n del proyecto en Santiago de Chile Enrique Rivera<\/b> con la ayuda de Maura Aranda
\n<\/b>Regidur\u00eda del primer recorrido\u00a0Jorge Leiva y Colectivo Pandemia<\/strong>
\nRegidur\u00eda del segundo recorrido\u00a0Jos\u00e9 Torres<\/b>
\nCoordinaci\u00f3n en Barcelona Helena Febr\u00e9s
\n<\/b>Agradecimientos a Jony Labra y Santiago Moreno
\n<\/strong>Coproducci\u00f3n El\u00e8ctrica Produccions y\u00a0Fundaci\u00f3n Teatro a Mil (Chile) <\/strong>
\nResidencia previa en Le Man\u00e8ge de Mons (B\u00e9lgica) y Lieux Publics (Francia) para preparar el proyecto<\/strong>
\nAgradecemos la colaboraci\u00f3n del Centro Cultural de Espa\u00f1a en Santiago de Chile\u00a0<\/strong><\/div>\nLABORATORIO ESC\u00c9NICO<\/span>

\n
Seminario Ciudad y Cultura, Panel 1: El Poder transformador de la cultura.<\/a><\/p>\n
Seminario Ciudad y Cultura, Panel 2: Ciudadan\u00eda y participaci\u00f3n.<\/a>\u00a0<\/div>\n
Ilustraci\u00f3n Marie-Klara Gonz\u00e1lez<\/strong><\/p>\n
$\"logo_irl_cast_color\"$ <\/a> $\"desplazamiento_del_palacio_de_la_moneda_01-2014\"$ <\/p>\n
INTERNATIONAL | URBAN ITINERANT INTERVENTION | SPAIN-CHILE
\nFREE<\/p>\n
January 14th, 18.30h from Palacio de La Moneda to Explanada del Cementerio General
\nJanuary 15th, 18.30h from\u00a0<\/strong>FIRE STATION (Salesianos 1150)<\/b>\u00a0to Plaza Salvador Allende at La Legua (San Joaqu\u00edn)
\n<\/a><\/b><\/p>\n
Duration 2 hours each trip | Spanish | All audiences<\/p><\/blockquote>\n
A Project by Roger Bernat
\n<\/b>Coproduction Fundaci\u00f3n Teatro a Mil<\/b><\/p>\nREVIEW<\/span>
\n
In traditional minga, the house moving of one becomes the mobilization, effort, the gathering of all. The community moves with us the very symbol of our family, economic and social stability. It is in this movement \u2013 which temporarily deprives us from a roof over our heads- when we are, more than ever, protected by the moving building of community values.<\/p>\n
Similarly, the dismantling and moving of La Moneda, the monument though which the state intends to represent\u00a0 its stability, not only is the ironic celebration of his inconsistency , but a way of celebrating its ability to place itself in new scenarios, to announce new action fronts and, why not, its ability to expose itself to criticism. In other words, La Moneda\u2018s capacity of making itself truly public. By transplanting the Palace, everyone’s voice is introduced into silence.<\/p>\n
It is by circulating<\/em> that La Moneda can acquire and represent some value<\/em>. <\/div>\nAUTHOR AND DIRECTOR<\/span>
\n
Unfinished Studies in painting and architecture. 1996 Special Prize of the Institut del Teatre. In\u00a02008 he began to create shows in which the audience takes to the stage and becomes the main\u00a0character. \u00abSpectators go through a device that invites them either to obey or conspire and, in\u00a0any case, to pay with their own body and compromise.\u00bb These performances are P\u00fablic Domini\u00a0(2008), Puracoincid\u00e8ncia (2009), la consagracion de la Pirmavera (The Rite of Spring, 2010), Please\u00a0Continue: Hamlet (2011), Pendiente de voto (2012) and RE-presentation (2013). These shows have\u00a0been staged in over twenty countries. <\/div>\nPRESS AND MEDIA COVERAGE<\/span>
\n
ROGER BERNAT, THE CATALAN DIRECTOR DOING THEATER WITHOUT ACTORS<\/strong><\/p>\n
Roger Bernat visits Chile for the first time to present Dominio Publico (Public Domain) and\u00a0Pendiente de Voto (Pending Vote), two performances with no actors and no dialogue. They are\u00a0mainly based on the involvement of the audience in the play. The Spanish director has spent five\u00a0years staging both shows in different parts of the world, making people participate, but at the\u00a0same time questioning the very validity of the democratic system.<\/p>\n
Although this is his first visit, he says he feels close to the country. Like it or not, half of his\u00a0company is Chilean. \u00abSpain and Chile are not so far from each other\u00bb he says, not necessarily\u00a0referring to all the centuries of colonialism.<\/p>\n
\u00abThey\u2019re much closer than that. Both are countries which have endured a long dictatorship and\u00a0then a transition with its peculiarities. There is a common feeling and a story linked to people’s\u00a0minds. A country like Spain that has lived 40 years of dictatorship still has not returned to a normal\u00a0dynamics, even after 40 years of democracy. The way of understanding and relating with culture,\u00a0with education, with politics; these are dynamics that still are very close to a way of doing and\u00a0working during dictatorship. \u00bb<\/p>\n
The plays directed by Roger Bernat usually involved spectators. While Pendiente de Voto simulates\u00a0a line where people answer yes or no before a series questions, Dominio Publico is presented\u00a0in open spaces, and responds to the narrative possibilities of the group based on questions that\u00a0guide the dramatic action.<\/p>\n
\u00abI think drama is the only art that speaks of us. It speaks about what is to live in a city like, living\u00a0in a community, and what I try to do is working on that line. If I go to work on it, I prefer to do it\u00a0through action. What I offer viewers is the opportunity to express themselves so that they place\u00a0on either side of the boundary. You live above or below Plaza Italia, earn more or less than 300\u00a0thousand pesos. You had a public or private education. There are a number of things that mark us,\u00a0beyond film tastes or our sexual paraphilia. And that’s what the show tries to depict.\u00bb<\/p>\n
Pendiente de Voto will polarize the audience depending on the answers they give, although as\u00a0Bernat says, it is always a challenge as the audience attending the play is mostly leftist.<\/p>\n
\u00abIt has been difficult to polarize a left-wing audience. We are always wondering how to rub salt\u00a0into the wound and challenge the people who believe they are leftists if they really are, or what\u00a0being a left-winger really means,\u201d he says.<\/p>\n
Are you pointing to the cynicism of the left?<\/p>\n
It could be interpreted that way, but to get that we ask questions that are outside of the political\u00a0agenda. Questions the political parties in different countries have not risen yet, so you have to\u00a0appeal to your ethics. You cannot draw upon the Catechism of the socialist or liberal party. There\u00a0is a time when people get to discuss and the theater, despite being a fictional space, turns into a\u00a0real space for discussion. And the place where the discussion should really occur, the parliament,\u00a0becomes a theater where all what is spoken is already known, they will not change their position\u00a0according to what the others say and, moreover, they won\u2019t even listen to each other because the\u00a0different positions are predetermined, and that is drama in every sense. And we, who are in the\u00a0theater world, say ‘ since politicians have devoted themselves to drama we, the theater people,\u00a0have decided to do politics.’<\/p>\n
Does theater lack politics?<\/p>\n
The theater is inevitably political. As Walter Benjamin stated, since politics becomes a spectacle,\u00a0then the show becomes politics. Politicians express their ideas through the show, and we’re in\u00a0showbusiness, the naturally political medium since the early twentieth century. Therefore, theater\u00a0is indeed political.<\/p>\n
How did you come up with the idea of having the audience move the plot?<\/p>\n
Well, theater is participation. Since film and TV are taking the role that had belonged to the\u00a0theater until the nineteenth century, theater has had to move to a place that is ultimately that\u00a0of the neoliberal policies: participation. There is no government that does not appeal to the\u00a0participation of citizens.<\/p>\n
Citizenship is in vogue nowadays.<\/p>\n
Yes, unfortunately because while people are participating in a number of things, they are not\u00a0participating in those things that really matter. We put a critical eye on it: OK, you can play, but to\u00a0what extent are you doing it without being manipulated? When voting what I propose you, aren\u2019t\u00a0you in fact validating me the same way you legitimize the one dictating the political agenda?<\/p>\n
Does participation always come to fruition? In Spain, a right-wing president was elected after\u00a015M.<\/p>\n
I think that 15M is precisely one of the few examples where participation was not addressed. It\u00a0was genuine social mobilization. It was not an instance of participation geared towards the politics\u00a0of performance: come and submit your opinion on traffic. Then they thank you but, do they let\u00a0you have your say about the country’s economic policy? Or on the country\u2019s education? No, they\u00a0only allow you to have your say on unimportant matters.<\/p>\n
Has the crisis in Spain affected culture?<\/p>\n
Due to the crisis many theaters have closed down, in fact next year we have no programmed\u00a0performances in Spain.<\/p>\n
On what other things can you see the impact of the crisis?<\/p>\n
The first thing crisis killed was security, the comfort of a community. But it has also created new\u00a0things. And something that the crisis has nurtured is a sense of solidarity among people. When\u00a0we staged Pendiente de Voto, we tried to do it in a real house of parliament; we got in touch\u00a0with members who said they were afraid of the people. But we had no problems in doing so in a\u00a0parliament in Belgium, where the politician is fully aware that the parliament is the natural space\u00a0of the people, of the citizens. It is my site, my house; I need no permission from you to be there. If\u00a0that day there is no session to be held, you can perform there. We also attempted to do so in the\u00a0former Congress of Chile, but it was unthinkable. Can you see now how the Spanish and Chilean\u00a0stories are twinned?<\/p>\n
Twinned by fascism<\/p>\n
Unfortunately yes.<\/p>\n
Romina Reyes – The Clinic (Chile)\u00a0<\/strong><\/div>\nINFORMATION SHEET<\/span>
\n
Project by Roger Bernat<\/strong>
\nCoordination Juan Navarro<\/strong>
\nAssistant Director and Technical Director Txalo Toloza<\/strong>
\nCollaborating Company Colectivo Pandemia<\/strong>
\nArtistic Consulting Roberto Fratini<\/strong>
\nProducer El\u00e8ctrica Produccions<\/strong>
\nCoproducer Fundaci\u00f3n Teatro a Mil<\/strong>
\nIn residency Le Man\u00e8ge de Mons (B\u00e9lgica) y Lieux publics – Centre national de cr\u00e9ation (Francia)<\/strong> <\/div>\nSCENIC LAB<\/span>
\n
Panel Discussion 1: The Transformative Power of Culture.<\/a><\/p>\n
Panel Discussion 2: Dynamizing the City: The Festival Phenomenon.<\/a>\u00a0<\/i><\/div>\n
Ilustration Marie-Klara Gonz\u00e1lez<\/strong><\/p>\n
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