Having performed more than 100 times in Havana and having concluded a successful tour of France, Austria, Argentina and Uruguay, the Cuban theater group, “El Público”, returned to the United States to present their version of “Antignon, an Epic Contingent”.
The group, created in 1992 by the dramatist and National Theater Prize 2015 winner Carlos Díaz and considered to be one of Cuba’s most important theater groups, performed in the Miami Dade County Auditorium on January 29, 30 and 31.
The play, written by Rogelio Orizondo was very well received by the U.S. public, who were given the opportunity to experience from a contemporary perspective the nuances of Antígona, the mythical Greek daughter of king Edipa of Tebas.
Set in the present day, the ancient myths reappear in modern contexts, creating a show that through more than one linear storyline reflects the Cuban lifestyle and their way of being.
The work interprets the poems El Padre Suizo (The Swiss Father) and Sueño con claustros de mármol (The Dream of Marble Cloisters) by Jose Marti, Cuba’s National Hero and includes the words of local dramatists Virgilio Piñera y Joel Cano.
This is not El Publico’s first visit to the U.S., they previously performed “Las amargas lágrimas de Petra Von Kant” (The Bitter Tears of Petra Von Kant)with the support of the North American non-profit organization dedicated to the promotion of music, cinema, theater, dance and visual arts, FUNDarte.
Following on from their performance of this written piece for the German film and theater director Rainer Werner Fassbinder, they brought “Calígula” by Frenchman Albert Camus and Cuban Nilo Cruz’s, “Ana el trópico” to the U.S stage.
Renowned for their outspoken authenticism, El Público also maintain deep theatrical traditions because therein lie the roots of what today are classified as contemporary performance arts.
According to the company’s director, they have worked extensively in Cuba, where there are a range of theatrical voices, and where space is made for every creator.
Examples of this are the Teatro de La Luna, Argos Teatro, El ciervo encantado and the Teatro de Dos groups, all of whom are presently wowing the audience with performances that differ but reflect one voice; that of national theater.
Recognized as one of Cuba’s most notable and controversial theater directors, Díaz’s work with his group relies on the sensuality of the staged image and a fusion of contemporary languages.
Intent on protecting the original integrity of each theatrical piece, Carlos Díaz foresees a healthy future for Cuban theater because in his view an effort is made every day to develop the theatrical arts.Share on FB Share on TT