Theatre
By Colectivo Primate | Direction: Alberto Olguín | Integral Design: Mauricio Rojo | Music: Claudio Merlet | Performers: Mariana Barahona, Fernando Guerra, Renzo Rocco and Verónica Torres | Technical Staff: Paloma Pérez | Scenographic Design: José Salazar | Photography: Valeria Ramírez
Alberto Olguín
Director
Alberto Olguín is an actor, dramaturge and theater director, born in Antofagasta. Between 1990 and 2014 he was part of the Universidad de Antofagasta Theater Company and served as its director from 2007 to 2014. He has directed more than 20 stage performances, including Monkey (2000), Zoológico (2001), Patria, Ensayo y Error (2007), Los Trenes se van al Purgatorio (2013), Quijote (2016) and El Propósito de los Pájaros (2019). He is currently the head of Performing Arts at the Universidad de Antofagasta.
Colectivo Primate
The Collective
Colectivo Primate was launched in 2018 in Antofagasta with the first generation of graduates of Performing Arts from the Universidad de Antofagasta. Their premiere production was Rinoceronte by Eugène Ionesco (2019). Since 2020, the collective holds a partnership with the theater company La Huella Teatro, which supports and strengthens the professional training of its members and generates artistic creations such as Resonancias (2021). The latter was premiered as part of “Identidades 2021”, at the International Festival of Performing Arts in the Atacama Desert.
—Both the plot and the subject of this creation inevitably push the spectator to reflect on his or her own existence. In other words, the play makes us think about how our treatment of nature and one another have led to an uncertain and dangerous future.
—The play is told through an agile staging, with successions of images, settling in a universally recognizable world. A single, large scenic element is used to explore its various forms, turning it into an object with multiple meanings, capable of telling numerous stories. The performers constantly interact with the device, in a narrative projection of actions and images that contribute substantially to the development of the show.
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@colectivoprimate
On Facebook
Colectivo Teatral Primate
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Dios nos odia a todos
By Colectivo Primate - Directed by Alberto Olguín
- Chile
- Spanish
- 60 minutes
- + 12 years
A story about the miseries of a society that is extinguished by its own evil undoing, set in the Bolivian town of Antofagasta in the late 1800s.
Based on the novel by the journalist and writer Patricio Jara, Dios Nos Odia A Todos (God Hates Us All), the play is set in Antofagasta in the late 1800s, then part of Bolivia. The nascent community suffers with the appearance of a plague that devastates the town. In between desperate prayers and pleas to a wrathful god, the plot immerses us in the miseries of a society that is extinguished as a result of its own evil undoing. Death, misery, stench and loss of faith are mixed with the love and assertiveness of the protagonists who watch everything around them fall apart.
The versatility offered by the scenic device, designed as a unique object on stage, offers different narrative possibilities. It is a mutable element that transforms itself according to what the story may require, and which guides the actions of the characters. The sound effects also contribute to the generation of the atmosphere and stimulates the journey of the show.
Dios Nos Odia A Todos is an outcry over the extinction of the human being.
Dios nos odia a todos
By Colectivo Primate - Directed by Alberto Olguín
- Chile
- Spanish
- 60 minutes
- + 12 years
A story about the miseries of a society that is extinguished by its own evil undoing, set in the Bolivian town of Antofagasta in the late 1800s.
Based on the novel by the journalist and writer Patricio Jara, Dios Nos Odia A Todos (God Hates Us All), the play is set in Antofagasta in the late 1800s, then part of Bolivia. The nascent community suffers with the appearance of a plague that devastates the town. In between desperate prayers and pleas to a wrathful god, the plot immerses us in the miseries of a society that is extinguished as a result of its own evil undoing. Death, misery, stench and loss of faith are mixed with the love and assertiveness of the protagonists who watch everything around them fall apart.
The versatility offered by the scenic device, designed as a unique object on stage, offers different narrative possibilities. It is a mutable element that transforms itself according to what the story may require, and which guides the actions of the characters. The sound effects also contribute to the generation of the atmosphere and stimulates the journey of the show.
Dios Nos Odia A Todos is an outcry over the extinction of the human being.
By Colectivo Primate | Direction: Alberto Olguín | Integral Design: Mauricio Rojo | Music: Claudio Merlet | Performers: Mariana Barahona, Fernando Guerra, Renzo Rocco and Verónica Torres | Technical Staff: Paloma Pérez | Scenographic Design: José Salazar | Photography: Valeria Ramírez
Alberto Olguín
Director
Alberto Olguín is an actor, dramaturge and theater director, born in Antofagasta. Between 1990 and 2014 he was part of the Universidad de Antofagasta Theater Company and served as its director from 2007 to 2014. He has directed more than 20 stage performances, including Monkey (2000), Zoológico (2001), Patria, Ensayo y Error (2007), Los Trenes se van al Purgatorio (2013), Quijote (2016) and El Propósito de los Pájaros (2019). He is currently the head of Performing Arts at the Universidad de Antofagasta.
Colectivo Primate
The Collective
Colectivo Primate was launched in 2018 in Antofagasta with the first generation of graduates of Performing Arts from the Universidad de Antofagasta. Their premiere production was Rinoceronte by Eugène Ionesco (2019). Since 2020, the collective holds a partnership with the theater company La Huella Teatro, which supports and strengthens the professional training of its members and generates artistic creations such as Resonancias (2021). The latter was premiered as part of “Identidades 2021”, at the International Festival of Performing Arts in the Atacama Desert.
—Both the plot and the subject of this creation inevitably push the spectator to reflect on his or her own existence. In other words, the play makes us think about how our treatment of nature and one another have led to an uncertain and dangerous future.
—The play is told through an agile staging, with successions of images, settling in a universally recognizable world. A single, large scenic element is used to explore its various forms, turning it into an object with multiple meanings, capable of telling numerous stories. The performers constantly interact with the device, in a narrative projection of actions and images that contribute substantially to the development of the show.
On Instagram
@colectivoprimate
On Facebook
Colectivo Teatral Primate
PRODUCE
COLABORA