Teatro de calle
Director: Fabián Sáez Maldonado | Producer: Raisa Ganter Araya | Performers: Raisa Ganter Araya, Rodrigo Alvayay Inostrosa, Ximena Sheila Concha, Carolina Rodríguez Pinto, Claudia Munzenmayer Vega, Nicolás Godoy Olave, Luis Felipe Chávez Sáez, Elena Orueta Castro, Javiera Arancibia Vicuña | Musicians: David Pérez Rada, Matías Baeza Miranda | Designer: Catalina Salas Méndez
Fabián Sáez Maldonado
Director
Acting, Directing, Teaching
Fabián is an actor and holds a degree in Scenic Studies from the Universidad Mayor. He has worked as a performer in several national and international companies, such as La Rueda Coja, La Patriótico Interesante, La Difunta Teatro, Teatro La Criatura, Teatro del Silencio and LabPerm, among others. He has also participated in projects and internships in Italy and Turkey.
He is currently director of the company Laburatorio Teatro, from where he has led five productions and 28 training processes related to street theater in Chile, Uruguay and Mexico.
Laburatorio Teatro
The company
A Breeding Ground for Street Theater
This street theater company began its work in 2014, conforming itself as a laboratory for research, training and creation in street theater based on the intervention of public and private spaces. Live music plays a fundamental role in their work, especially their original songs, written by the company itself. The company premiered, so far, five productions and has also applied its research in 28 formative and creative processes open to the community, both in Chile and abroad.
-Because it is a production that seeks to refresh the historical memory of the repression and extermination suffered by the Chilean people, workers and organizations throughout the country's history. The company also wants to highlight the abuse that powerful groups exert over society, "and how the Chilean State and the church defend the economic interests of these groups, leaving aside the welfare of an entire country".
-Because the play, due to its nature -being a street performance-, manages to establish a deep connection with the audience from the very essence of theater, without major technical devices. "It is based only on the physical skills of the actors and actresses, the live music, the choreographies and the infrastructure of the staging, the use of singing as a communication tool and the historical data given through the text, as well as some performers’ biographical experiences" the company says.
-Because within their performances there is a concrete, close and sensitive one for Chileans: the social outbreak of October 18, 2019, and its episodes of repression and death.
Street Theater: A form of theatrical representation that takes place in open public spaces, where spectators do not pay for the show and commonly attend it spontaneously. Its origins lie in ancient Greece around the 6th century BC. In its modern stage, it was born from the rejection of conventional theatrical venues, in search of an audience that does not frequent the theater as a direct socio-political action. This original ideological value meant that during the first half of the 20th century it was associated with proletarian theater. From the 60's onwards, it progressively inclined towards more aesthetic than political objectives, and in the 90's it incorporated greater lighting effects, sound and special effects.
-Watch the documentary Más cerca de la luz,, by Martín Farías, about street theater in Santiago.
On Instagram, @laburatorioteatro | @fa.ayurvedapopular | @raisaganter
On Facebook, https://www.facebook.com/fsaezmal
210 Genocidio de la memoria
By Laburatorio Teatro | Directed by Fabián Sáez
- Chile
- Spanish
- 55 minutes
- + 14 years
A street montage that visibilizes the repression and violence experienced in Chile through a historical review of four of the major abuses committed in the country.
210 Genocidio de la Memoria is a street performance that seeks to visibilize the episodes of repression and constant violence experienced in Chile from 1810 -the year of its supposed independence- onwards. The company rescues four historical events in which the forces of law and order abused their power: the Selknam genocide, the workers' slaughter, the dictatorship, and the social unrest in 2019. In this performance, the concept of genocide is used as the main object of study and creation. It becomes the guiding and reflective thread proposed by the company.
Texts, songs, choreography and music are part of the staging. The fusion of historical and biographical material of the performers triggers a direct link with the audience.
Director: Fabián Sáez Maldonado | Producer: Raisa Ganter Araya | Performers: Raisa Ganter Araya, Rodrigo Alvayay Inostrosa, Ximena Sheila Concha, Carolina Rodríguez Pinto, Claudia Munzenmayer Vega, Nicolás Godoy Olave, Luis Felipe Chávez Sáez, Elena Orueta Castro, Javiera Arancibia Vicuña | Musicians: David Pérez Rada, Matías Baeza Miranda | Designer: Catalina Salas Méndez
Fabián Sáez Maldonado
Director
Acting, Directing, Teaching
Fabián is an actor and holds a degree in Scenic Studies from the Universidad Mayor. He has worked as a performer in several national and international companies, such as La Rueda Coja, La Patriótico Interesante, La Difunta Teatro, Teatro La Criatura, Teatro del Silencio and LabPerm, among others. He has also participated in projects and internships in Italy and Turkey.
He is currently director of the company Laburatorio Teatro, from where he has led five productions and 28 training processes related to street theater in Chile, Uruguay and Mexico.
Laburatorio Teatro
The company
A Breeding Ground for Street Theater
This street theater company began its work in 2014, conforming itself as a laboratory for research, training and creation in street theater based on the intervention of public and private spaces. Live music plays a fundamental role in their work, especially their original songs, written by the company itself. The company premiered, so far, five productions and has also applied its research in 28 formative and creative processes open to the community, both in Chile and abroad.
–Porque es un montaje que busca refrescar y revivir la memoria histórica en torno a la represión y el exterminio que han sufrido pueblos, trabajadores y organizaciones durante el devenir del país; la compañía quiere poner de manifiesto, además, el abuso que los grupos de poder ejercen sobre la sociedad, “y cómo el Estado chileno y la iglesia defienden los intereses económicos de estos grupos, pasando por encima del bienestar de todo un país”.
–Porque, por su naturaleza –ser una obra de calle– logra establecer una profunda conexión con la audiencia a partir de la esencia misma del teatro, sin mayor aparataje técnico. “Se sustenta solo en la destreza física de las actrices y los actores, la música en vivo, las coreografías y estructuras físicas de la puesta en escena, el uso del canto como herramienta de comunicación y los datos históricos que se dan a través del texto y algunas experiencias biográficas de los intérpretes”, cuentan en la compañía.
–Porque dentro de sus escenificaciones hay una concreta, cercana y sensible para los chilenos y chilenas: el estallido social del 18 de octubre de 2019 y sus episodios de represión y muerte.
Teatro callejero o de calle: Forma de representación teatral que se desarrolla en espacios públicos abiertos, donde los espectadores no pagan por asistir al espectáculo y comúnmente dan con él de manera espontánea. Tiene sus orígenes en la antigua Grecia hacia el siglo VI a.C. En su etapa moderna nació del rechazo a los recintos teatrales convencionales en búsqueda de un público que no frecuenta el teatro, como acción sociopolítica directa. Ese valor ideológico original hizo que durante la primera mitad del siglo XX se asociara al teatro proletario. A partir de los 60, se inclinó progresivamente hacia objetivos más estéticos que políticos, en los 90 se incorporan mayores efectos de iluminación, sonido y efectos especiales.
—Ve el documental Más cerca de la luz, de Martín Farías, sobre el nacimiento y crecimiento del teatro de calle en Santiago.
En Instagram, @laburatorioteatro | @fa.ayurvedapopular | @raisaganter
En Facebook, https://www.facebook.com/fsaezmal
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