“Making theaters is making theater,” says Fabrizio Cruciani in a brilliant maxim from his book Arquitectura teatral. The hypothesis is deeply revolutionary—an architect is no longer a theater maker, because when drawing up the main floor, the scene, the drops, the fly systems, among other things, they are already designing the kind of theater that can be built there. They generate its potentialities, but also its limits.
2020 has been a year that expelled all of us—artists, technicians and audiences—from theaters, and forced us to generate virtual spaces through technologies so that we could continue generating environments of expression and work. But there were also those who, following that idea, generated sceno-technical devices able to adapt to the uniqueness of these times, and whose structure and form drew up a kind of circulation, production and consumption of stage projects.
Sinisi produces this #PandemicTheater series, and FIBA decides to leave the sketch, to go out into the physical world and produce, in one of them, three stage projects that wouldn’t have existed or wouldn’t have been the way they were without the “architectural-spatial” thinking of this unique Italian artist. It also means the world premiere of this device in a tangible format. Alongside the ITALIA XXI Series and in collaboration with Teatro Coliseo and Istituto Italiano di Cultura, #PandemicTheatre lands in Buenos Aires as part of FIBA, but its run is already guaranteed—like any other theater room created for that end, it is only necessary for an artist to be willing to inhabit it, to generate a content, so that then an audience in need of bonding with these new forms of being of theater can come.
Three different proposals will make their way and inhabit this device that will be located in the Mandarine Cultural Tent venue, in the Punta Carrasco Complex.
Comizi d’amore #BuenosAires, which opens this edition of FIBA, is based on the documentary Love Meetings, shot by Pier Paolo Pasolini in 1965. The original film shows the artist posing questions about love, sexuality, family, affection and taboos in Italy at the time, crossing personal perspectives with a wider political context. These issues, now resignified and of an inescapable currentness, are resumed by Comizi d’amore #BuenosAires, directed by the Kepler-452 group founded in Bologna in 2015, and raises the same questions fifty years later, comparing today’s answers with those in the original documentary. In co-production with the ITALIA XXI Series presented by Teatro Coliseo and Istituto Italiano di Cultura, came this challenging proposal which, for its production, gathered a powerful local work group formed by members who represent different dissidences or social minorities, coordinated by its creators in Italy. A theater report through love and sexuality that involves onstage the inhabitants of Buenos Aires and their opinions.
Fuego y pasión, directed by Jorge Eiro, is a play that tells the story of Nicolás, who leaves jail after ten years of being in prison, and reunite with what remains of his family and some friends that have an impromptu celebration by the warmth of the music, the car lights and the ashes of a fire.
Lastly, with idea and direction by Lautaro Simione, we will be able to enjoy Boom Chapadama, in which a tribe that visits us from a junkyard in the outskirts of time resounds with the rhythms they observe in our earth. Their goal is to find new forms of communication in order to transform this reality that dooms them. The solution will be hidden in the redefining, reusing and recycling of objects, and in what these beings discover they can do together: music!