The theater is no longer just theater: thus looks at the discipline towards the future
Of classical Greece to the Japanese Kabuki theater.On the scenario of the most disparate cultures in history, an attraction is projected that is magnetic.For some people, that magnet is able to change their lives, as is the case with Robert Lepage.When the Canadian artist saw a work in Tokyo, he was certain of having found his half: "I knew there was something for me," he recalls.In a way it is a feeling that he shares with Matías Umpierrez, his disciple within the artistic initiative for mentors and disciples of Rolex in the theater discipline: “I felt that everything that happened on stage had taken place for possibly thousands of years”, the student comments on a work that went to see together in Japan.
When the mentor is also a student: what we can learn from the new generations of the theater
7 FotosVer fotosIn spite of the abysmal differences that there may be between the cultural heritage linked to the theater of different countries, the formula has always been more or less the same: a representation on a scenario with a specific argument that develops in front of an audience composed ofSeveral people.However, in the S.XX This formula was no longer valid.The experimental theater investigated new alternatives to give a twist to the classic concept of this branch of the performing arts.
Currently, discipline is positioned towards the future with a renewed look that drinks from different sources.For example, Lepage creates fluid image and sound patterns for the works of his ex -machina company: "My work is multidisciplinary," explains the Canadian."I inspire myself mainly on the theater, but I am always thinking about what I can adopt from the opera, the circus ...", he describes.In 887, one of its latest productions, it is impossible to differentiate when live action begins and when video projections.
