A Brand New Digital Theatre Play
Based on Real Life Experiences
Developed with birthworkers
The play is also informed by conversations with childbirth professionals and birthworkers. By collecting the stories of women who have assisted women in labour or work in defending their rights during the COVID-19 pandemic, Childbirth-19 will also reflect their experiences and amplify their voices.
Proudly Supported by Birthrights.
Sorcha Corcoran was the costume designer, Ignacio Leache the stage manager and Marcus Roche the production manager, all of them, alongside Puerto Baker, Paula Paz, Jorge de Juan and the rest of the staff at the Cervantes Theatre created the best possible environment to work, each and every single one of them showing a level professionalism that’s not easy to find.
What a blast!
STUPID PEOPLE: Two brothers who argue as to who should care for their lonely mother, a couple who sleep together again after a year of separation, a pregnant policewoman, a British father who aims to pick up his son on his birthday, a desperate man who assaults an off-roader driven by a local dignitary. This is a comedy about stupidity, which knows no economic or social barriers. For there are stupid people in all societies, throughout all ages of all sexes, religions and races. But do we stop to think about this ?
What is a Rapid Production? A Rapid Production is the complete play performed by actors with full movement, staging, music and lighting but with script in hand. The Cervantes Theatre pioneered this sort of production when they noticed that when they watched the play they quickly ‘forgot’ that the actors were reading. Rapid Productions are much more cost effective to put on because rehearsal time is significantly reduced so, for the Cervantes Theatre they have become a way of making top class theatre available at a really low price.
“THE MIND-BOGGLING SHRINKING WOMAN” tackles childbirth and motherhood. A short play written and directed by Beatriz Cabur (with a little borrowing from Lars Von Trier) to be performed by Mirko Grewing. This play has been commissioned by Procreate Project as a part of the symposium “OXYTOCIN, Birthing the world” that took place on Saturday, June 3rd at the Royal College of Art. 1 Hester Road, London SW11 4AN
WATCH THE #LIVE RECORDING clicking on the video below.
A man performs the journey a woman endures from being regular sized to a barely noticeable, almost impossible to be heard miniature of herself. The text reflects on how the treatment provided by the medical profession during the pre-pregnancy, pregnancy, delivery and post-partum time impacts on the body and mind of women.
Would you like to know more about the first LIL'BIRD?
¿Quieres leer "PÍO PÍO 2"? (Versión en español)
Un miércoles 20 de diciembre recibí un mensaje grupal de WhatsApp felicitándonos las fiestas. El mensaje era un texto infinitamente largo, escrito en caracteres chinos. Copié el mensaje, lo pegué en Google Translate y el texto resultante se me apareció claramente como el material de una comedia postdramática del absurdo. Pero no sólo eso. Una comedia postdramática del absurdo encontrada en la Biblioteca de Babel. Casi nada. Para los que no estéis familiarizados con este fantástico relato breve de Borges lo podéis leer haciendo clic aquí. La Biblioteca de Babel es ese espacio en el que existen todos los libros escritos y por escribir, y todas sus variaciones. Todas las posibles combinaciones de los veinticinco símbolos ortográficos. Existe tu biografía y la mía y todo lo demás.
“El número de símbolos ortográficos es veinticinco. Esa comprobación permitió, hace trescientos años, formular una teoría general de la Biblioteca y resolver satisfactoriamente el problema que ninguna conjetura había descifrado: la naturaleza informe y caótica de casi todos los libros. Uno, que mi padre vio en un hexágono del circuito quince noventa y cuatro, constaba de las letras MCV perversamente repetidas desde el renglón primero hasta el último. Otro (muy consultado en esta zona) es un mero laberinto de letras, pero la página penúltima dice «Oh tiempo tus pirámides». Ya se sabe: por una línea razonable o una recta noticia hay leguas de insensatas cacofonías, de fárragos verbales y de incoherencias.“
“Cuando se proclamó que la Biblioteca abarcaba todos los libros, la primera impresión fue de extravagante felicidad. Todos los hombres se sintieron señores de un tesoro intacto y secreto. No había problema personal o mundial cuya elocuente solución no existiera: en algún hexágono. El universo estaba justificado, el universo bruscamente usurpó las dimensiones ilimitadas de la esperanza.”
Hasta que lei la traducción de ese mensaje de WhatsApp nunca me había planteado que en la Biblioteca de Babel hubiera obras de teatro. Qué maravillosa realización. Esa idea me pareció motivo suficiente para desarrollar el texto que vais a encontrar a continuación. Porque como dramaturga es mi trabajo reivindicar la presencia del teatro hasta en la Biblioteca de Babel.
NOTA DE LA AUTORA
PIGWASH es un texto dramático (postdramático performativo del absurdo) que reivindica el teatro como espacio lúdico. Nos volvemos locos a veces con la seriedad y la ambición de cambio que queremos tengan nuestros textos. Yo la primera, mientras escribo esta obra tengo otra pendiente sobre la violencia doméstica, que en mis horas orgullosas me parece capaz de lanzar olas de concienciación y toma de responsabilidad por parte de la sociedad en su conjunto, a los cuatro vientos.
Pero el teatro no es sólo eso. Material escénico es todo aquello que nos atrevamos a decidir que es material escénico. ¿Por qué debería alguien elegir montar este texto? ¿Y por qué se elige cualquier otro? ¿Y qué si este texto no se monta nunca? ¿Y qué si nadie lo lee entero? ¿Y qué si alguien se enfada mientras lo lee y no vuelve a leer nunca nada que yo haya escrito? Ni siquiera mis obras “serias”. Las que rezuman ambición de cambiar el mundo. Qué pena sería perder público por esta extravagancia. ¿No? Meh.
Asumido el riesgo seguimos adelante porque al final ese espectador / lector ideal para el que escribirmos las dramaturgas y dramaturgos del mundo, alguna vez está bien que seamos nosotros mismos. Os invito amablemente a leer esta obra pero podéis dejarla inacabada o buscar entre los “diálogos” las sorpresas que se van desarrollando, o no. Cava y escarva entre los textos, no pierdas la esperanza, aguza la memoria y puede que la disfrutes. Leela en alto y puede que te lleve a un estado meditativo fuera de este mundo y ahí quizá decidas montarla. ¿Por qué no? Déjate llevar por la Luz Macho y el Sitio Web en verano.
Quizá no es todo tan lúdico como os estoy diciendo. Tómate a los personajes en serio y date cuenta de que, al final, no somos mejores o peores que ellos. Toda nuestra capacidad articulativa, en 2017, no sirve de nada. Ahí está el mensaje. Ya podéis no leer la obra ahora. Ya os he contado de qué va. 2017 es el despropósito más grande que hemos vivido hasta la fecha. Ahora que nos preparamos para subir otro escalón, quería dejar constancia de ello sacando una obra de la Biblioteca de Babel antes de que me caduque el carnet.
Las tendencias que se convierten en imposiciones desde todos los frentes. La imposibilidad de relacionarse sin aprender nuevos lenguajes, palabras y significados que se actualizan constantemente y si no mereces el ostracismo absoluto. Eso ha sido 2017. Feliz año nuevo a todos. Señoras y señores, sin más preámbulos…
¿QUÉ TE HA PARECIDO "PIGWASH"?
Women’s issues are making strides in equal rights. Our voices are becoming more audible and are definitely resonating but there is a huge backlash to all this progress: The Femicide rates have increased globally.
I met Patricia Masera, a theatre performer from Paraguay, based in New York City, and working mainly in technical theatre on Broadway, in 2012 working on Hotel Project, in NYC. Since then we’ve been cooperating on different stages of our own work, until this year when our desires and goals met to create and produce “GOODBYE, MOTHER”.
“GOODBYE, MOTHER” is a new play about femicide that gives a voice not only to the women who can’t talk anymore but to the people who stay behind.
All these people and the human networks around them and the impact that every single femicide has on every single person. “GOODBYE, MOTHER” shows that the women killed are not numbers in a yearly list. We need to give them names and lives and people around. We need to see them as they are.
She was my friend. She was my mother. She was my sister. I was alive and loved. I was surrounded by family and friends and my killer. She was my mother and I left her there. I had a daughter, and a husband. I had a father and I left him alone with her. She was my favorite aunt and all I have are beautiful memories of her, she baked me lemon muffins. My aunt Marcia, she was 32.
The project has grown exponentially since its conception. Our initial phase involved research and interviews with key people in three cities: Asuncion, London, and New York City.
We are determined to get as much information as possible to hear the voices of the people around the victims and to catalyze them in one universal piece of work, that can be heard and understood regardless of origin.
After our research and development work, the writing phase started. We will soon start producing the work for its presentation in New York, London and Madrid.
Thousands of women are violently killed by their partners or family members, every year. A study published by the United Nations concludes that Femicide:
• Is difficult to eradicate
• It has significant prevalence in all regions
• Is important to monitor
• Needs future research work to better understand enablers/drivers and perpetrators.
“GOODBYE, MOTHER” focuses on the last point of the report that is, to my understanding, the only area in which art, and theatre in particular, can contribute, and it is our responsibility as artists to take on the task.
On March 11th, I had the honor of directing the Spanish division of The League of Professional Theatre Women (LMPT) second gala in Madrid. It was called “DIRIGE – Mentorías a Escena”. DIRIGE was presented to general audiences within the Ellas Crean Festival and it was a huge success, more than 200 people were left outside queuing for returns!
The League of Professional Theatre Women – Spanish Division, that I founded and direct, has launched a Mentoring Program in which we pair a woman with more than 10 years of professional experience in theatre with another one that has significantly less experience. In this pilot program we have paired more than 60 women that are developing 30+ projects. This gala, DIRIGE – Mentorías a Escena, was created with the idea of showcasing three of those projects to present the whole Mentoring Program to the Spanish society. All of them felt the pressure of putting something on stage in an early moment of the process but I personally think that throwing theatre makers into a stage can always be turned into a really good experience. Both the Ellas Crean Festival and the Conde Duque Theatre put the best people they have to work with us, making out of DIRIGE a really enjoyable experience. I couldn’t be more thankful.
We started to set up the Conde Duque Theatre on Friday and it went beautifully. Cristina Santoro was our light designer and Alba Redondo our sound technician. They both did an amazing job.
Our host for the night, and vicepresident of the League of Professional Theatre Women – spanish Division (LMPT) Belén Santa Olalla rocked the stage!
Within the Mentoring Program and in order to create the first piece of the Gala, QUIMERA, The League of Professional Theatre Women – Spanish Division, organized a multidisciplinary laboratory in collaboration with the Circo Price. The laboratory was directed and guided by Neus Gil Cortés and Eva Redondo developing the project Neus is working on. QUIMERA will be fully developed and ready to tour by the end of the Mentoring Program.
The talented women who worked in the laboratory, with Neus and Eva, developing QUIMERA and then presented it at the gala were Lucia Bravo, Cristina Sánchez, María Zárate, Laura Jabois, Sarah Funda, Aranzazu Alonso, Ascen Caballero, Lola Acosta, Julia González, Lucía Passardi, Inma Gamarra, Natalia Moya. Thank you, ladies. You were all brilliant!
Our second piece for the evening was called EXTERNAL YOUTH and the team who developed it were Cachito Noguera, Marta Bascuñana and Loly Garayalde. Cachito and Marta are working together since the LMPT paired them within the Mentoring Program. Loly helped them directing the piece for the gala. The two women present the life of a girl through the milestones of her birthdays until she is forty years old. She undergoes a series of surgeries and body modifications in order to please everyone but her. We can’t wait to see this play fully developed.
Our third work in progress for the evening was the result of the work of the playwrights Velilla Valbuena and her mentor Laura Rubio Galletero, based on “Excentric Paganini”, a musical project by Pablo Martos. It presents the story of Marie Louise, Duchess of Parma and Paganini. Within the Mentoring Program Laura Rubio Galletero is helping Velilla take care, not only of the dramaturgical development of the piece but of the historical precision of each single word. Inés Adán directed the piece beautifully.
We’ve got till the end of this article without mentioning Yolanda Dorado and you may wonder how that happened, well, she is the woman in the shadow who makes everything possible. Let’s shed some light on her now. Yolanda runs the LMPT with me and if we are growing at such a fast pace (from zero to 6300 members in less than a year) is because of her hard work. Thank you, Yolanda. It’s always a pleasure and an inspiration to work with you.
So getting back to DIRIGE, it was a beautiful evening, full of amazingly talented and professional artists, technicians, the theatre and the festival staff and more. Concha Hernández, María José Aliste, Raquel Provencio, Marc Bartolo, Álvaro Villahoz, Daniel Ramírez, Patricio Forrester, Sandra Dominique, Pilar Almansa, Conchita Piña… and so many more! I couldn’t be more thankful to all of them for making my job so easy and enjoyable. See you all soon!!
Pictures of the pieces ©Ellas Crean by Alicia Blanco
You may have heard about this one: I have been the Dramaturg in a groundbreaking show that was live online to watch and interact with, no matter where you were. It happened on Monday 23, Tuesday 24 & Wednesday 25 January at 2pm & 7pm. (more…)
The Spanish Division of the LPTW was founded by Beatriz Cabur, Yolanda Dorado, Conchita Piña and Inge Martín San Juan on World Theatre Day, 2016. Right now, it counts with more than 6000 women among its members. Click here to become a member of The League of Professional Theatre Women – Spain.
The LPTW-Spain is still directed by Beatriz Cabur, Yolanda Dorado and Conchita Piña but after Inge Martín San Juan had to step out of her role, Belén Santa-Olalla took over and is doing the best possible job. Still four amazing professional theatre women working to make change happen!
The musical group “The Funamviolistas” created a specific show for the gala in which they went through their experiences as women in the industry and how that impacted their careers. A story of deception and overcoming that had a profound impact on our audience.
Marinma Dorado, first in the right in the picture, is a professional coach who took us all through an amazing journey of self discovery and empowerment. The audience was raging during her performance and lots of women contacted her after the gala to try and work together. It was a true networking event made possible by The Spanish Division of The League of Professional Theatre Women.
Very proud to announce that my latest play “BREAKFAST AT DADDY’S” premiered in New York on November 5th. BREAKFAST AT DADDY’S is part of a show produced by Partly Cloudy People. This production seeks to end the stigma and the silence around abortion. Part of the proceeds will be donated to the historic Margaret Sanger Center of Planned Parenthood. (more…)
As the Head of The Hispanic Languages Committee it is my pleasure to announce that:
The call for submissions is now open for EURODRAM 2017
EURODRAM is a theatrical promotion network of works in European, Mediterranean and Central Asian languages. Its main objective is to present works by contemporary playwrights to both theater professionals and the public at large, with a particular focus on linguistic diversity. The network is organized into30 language-based committees with a total of more than 300 members.
EURODRAM hosts two types of theatrical contests:
– Even years: the selection of plays written in the language of the committee (original plays).
– Odd years (as is the case of this edition 2016-2017): the selection of plays from other languages translated into the language committee (translated plays).
The complete list of EURODRAM winners is published in the press of all member countries, and has a large impact on subsequent theater seasons. The specific award varies depending on the language committees that grant them. For instance, in the case of Hispanic Languages Committee, the winning works have been distributed to a large number of theater professionals inside and outside of Spain, and are presented as part of a reading series in New York City. This event is being organized by AENY – Spanish Artists in New York in collaboration with NITE – New International Theatre Experience.
This year, EURODRAM 2017 will accept plays that have been translated into the languages of the committees.
To participate, send an email with the subject heading “EURODRAM 2017 – Submissions” to the director of the committee of the language in which the play has been translated. Check the addresses of the directors in each committee’s page by clicking here. If you want to submit a play translated into Spanish for the consideration of the Hispanic Languages Committee, please feel free to email me directly at email@example.com with the subject “EURODRAM 2017 – Submissions”. Any email received with a different subject won’t be filtered into the proper folder and therefore won’t be able to participate in the selection process. Please, be careful.
PLEASE NOTICE THAT THE RULES MAY VARY PER COMMITTEE. Check the rules that apply to you here: EURODRAM 2017. The deadline for submissions is 31 December 2016. If you have any further questions please contact Dominique Dolmieu, general coordinator of EURODRAM at firstname.lastname@example.org
COUNTDOWN TO EURODRAM CONTEST DEADLINE
The Italian translator Marta Graziani has translated Beatriz’s “NEFERTITI & BEEP”. The Italian translation has been published by Dragomanni Teatro and it is available on Streetlib (.ePub), at the Kindle Store (.Mobi & .AZW) and on the best online libraries. (more…)
I am very excited to be working as a Dramaturg in ORBITS, a collaborative and multi-disciplinary dance project resulting in an innovative online platform for audience co-creation and a series of cross-platform performances.
The publishing house Ediciones Antígona released a volume in their theatre collection including “NEFERTITI & PIII” by Beatriz Cabur. The book was available for the Spanish National book fair in May. (more…)
On March 27th, 2015, at the Kubik Theatre in Madrid, there was a staged presentation of the Spanish Edition of 365 Women A Year introducing works by Beatriz Cabur, Inmaculada Alvear, Margarita Reiz, Yolanda Dorado, Inge Martín, Vanesa Sotelo, Denise Despeyroux and Diana Cristóbal (more…)