( note published on Friday 26 November in the extra DNA, Nation)
"I have more friends than enemies"
Kive Staiff leaves the direction of the Teatro San Martín and tired of the daily fight for the budget
By Pablo Gorlero
Thirty years is enough to make the visitor feel Kive's office Staiff is like home. Are your paintings, many personal items and dozens of awards. On one side, some boxes. Since being saved, very little, some of their belongings. He looks sad. At times it breaks, do not conceal, and if I wanted to I could not. But the silences after questions are long. In a few days will leave this place that proudly made his way.
- How long are still here in his office, Kive?
-Until 30 November. We have created an arts advisory council whose presidency I shall use from December. It's a good idea of \u200b\u200bHernán Lombardi, in the sense of developing a cultural policy all levels of activity in the city. It does not seem too bad, because it sets a goal, a vision, and we must work to unite them in the same direction.
- What does the Teatro San Martín for you?
"And look ... Briefly you have to say: life.
"That's a lot ...
" Yes, very much. I am connected to the theater for 40 years. When you first arrive at the end of 71, in mid-1973 I went to practice journalism in the newspaper La Opinión, I call back in 76, I had to leave at 89 and went back to my journalistic work but always connected to theatrical activity, through criticism. It's a unique experience, especially because I arrived late 71 with a kind of rage theater critic: "I'm going to demonstrate what to do with a theater audience of Buenos Aires." And in a sense we demonstrated because there was a tremor, a large earthquake from the ideological point of view in the first directory of 1972
- Do you remember what was the first work that much?
"Yes, there were two. An Enemy of the People, Ibsen, in the adaptation of Miller, in Martin Coronado, and the other was Nothing to see, the first work that made us Griselda Gambaro in Casacuberta. Ernesto Bianco and Hector Alterio were formidable enemy of the people A . Back then the political fervor played a huge role, the public policy involved a fever.
- Do you regret some things in all this time?
"No, I think not. One may regret having chosen a title that was a disaster. But part of the responsibility. I had great partners and together we create an institution on the move. Very quickly cease to be producers of theater to become a cultural institution. I surprised myself. The daily swallowed one and when you look back you wonder, "How we get here? ". This is an institution that publishes magazines, books, produces a television program, another radio, edit records, makes several courses ... We have turned a hall that was a paradigmatic confectionery, which is the Cunill Cabanellas. Sometimes I get the impression that there are people who go to that room and no other.
- Does it hurt the theater?
And yes, it really hurts ... really hurts when I see that we should do more of what we do and better. Although there are shows that I produce a great satisfaction, I am sorry we do not have money, that we lack a good budget, architectural work ahead is paralyzed. We with a roof halfway, with a draft rehearsal for the ballet but it was never consummated, plumbing problems, problems with rain, problems with the roof of the room Alvear and Martin Coronado. That hurts, very much indeed.
- What will you tell the authorities when they said these things?
"Well, they claim that no money ...
- And you how you react to that?
"I have wanted to make a pineapple. Is a recurring theme in us, in the direction of theater. I am not alone. There are people next to me and we formed a team of very interesting and very passionate.
- What do you think? "This government has no resources or indifferent?
"I can not say that it is indifferent, the opposite. But it is clear that political decisions required to decide what to do with the budget for the Teatro San Martín. I find it hard to imagine but hey, it is also true that there should be a greater awareness of cultural phenomenon in the political leadership ... and the economy. We have no culture of patronage among us. We have some companies who have joined us, as the Galicia Bank, City Bank, the YPF Foundation ... But we should have more input from more sponsors. Anyway, we can not compensate for deficiencies of government budgets with assistance from private institutions.
- What is income that is the theater box office?
-is high if we have a good active season. I think this year will be. If more viewers is going very well, but take into account that charge a very cheap entry. 45 pesos when we are in private theaters are playing the 200. So the pride is through the collection but to be given by the number of attendees to the theater, and here we are at about 600,000 to 700,000. We've had times when we have a million many years ago. But I'm not complaining, we have good responsiveness to the public.
- Is won friends and enemies at the same time?
-Nooo ... I have many more friends than enemies. There are some that should go around chewing the anger of not having worked here as he wanted. But the San Martin was always the place where many artists could make certain repertoire that, obviously, either on television or in the commercial theater would have been addressed. There are actors who spend their lives without doing Shakespeare, which is terrible.
-The San Martin is the place where all players want to go ...
"It's true, absolutely true. There was an actor who was thrown to the floor to kiss the first stage when we call for action.
- Would you have liked to return to have a stable group?
"Absolutely. But there is economic to do so. In 1989 he dissolved the cast but the company remained dance and puppetry. I believe a lot in a cast. Everyone knows the risk of bureaucratization, but there are methods and ways to combat this trend. In practice, different teachers, the repertoire change, the rapid exchange of a work to the other, do not be bureaucratic.
- Do you get mad when I criticize and tell you not want to move from San Martín?
"No ... But I have disproved I left because the initiative has been mine. Nobody called for the resignation and no one threw it out the window. It just does not go further. Maybe a little tired from the fight everyday.
- What was in the pipeline with a desire to realize?
"They gave me many years and many tastes. It would be unfair to say something. I wanted to do Troilus and Cressida, Shakespeare. I covered almost the entire spectrum of activity. From classic to contemporary.
- What will you do after 30 November?
"I'll assume adviser resigns ... Carlos Elia as the new director general, Alberto Ligaluppi, like new artistic director. I'll take care of the presidency of the advisory council. But I do not have to worry about the night's performance.
- And you think to be able to take off that?
"You should not ask this question ... I'll make the effort, I promise. Over the years the relationship with staff can be converted into a friendly relationship, friends, to hug. From personnel management to technicians and well, that counts a lot. And why hide it, there is always curious to see what they will do with this.
"It's very painful to know that the trades have been diluted here ... The workshops were decimated.
"That's what we did: we do not prepare new people. I think one of the key tasks is to create complex systems development and training of technical personnel, props, shoemaker, tailor's. Are areas where we have a critical situation because many people have retired. We must preserve the crafts that a work demand, caring, adding people.
- You loves actors. How are they?
-Fragile and only live from the stage. Below the stage, their lives are just a transit point for the function tomorrow.
- So when they are on stage are complicated?
"Do not say that, but are some personalities.
-prefer it on paper ...
"In some cases, yes. But on the other hand, are fragile and must be helped
- What are the actors you see as the future Alfredo Alcon, Ernesto Bianco and Elena Tasisto?
"What commitment ... Sergio Surraco could be one of them. Malena Solda too. You make me name names and it is very difficult.
- What mounting San Martin remembered as historic and difficult to overcome? -Inexorably
tell you The enemy of the people with Ernesto Bianco and Héctor Alterio, and Trojan Women , Maria Rosa Gallo. Also The Threepenny Opera, Brecht and Weill, who made Marzal Daniel Suarez, and we made versions The Seagull and Three Sisters of Chekhov. I find it memorable also the beginning of At home in Kabul , who led Carlos Gandolfo. The first, a 75-minute monologue, Ellen Tasisto, it is difficult to forget.
- How is retirement living? How anxiety or distress?
-Calmly ... with a few tears, but realizing at the same time, life goes on.
"It's all very tidy in his office. Already know where you get all these things?
"There are many things of the theater but many others are mine. I'm in the process of ordering, so you can see.
"I have more friends than enemies"
Kive Staiff leaves the direction of the Teatro San Martín and tired of the daily fight for the budget
By Pablo Gorlero
Thirty years is enough to make the visitor feel Kive's office Staiff is like home. Are your paintings, many personal items and dozens of awards. On one side, some boxes. Since being saved, very little, some of their belongings. He looks sad. At times it breaks, do not conceal, and if I wanted to I could not. But the silences after questions are long. In a few days will leave this place that proudly made his way.
- How long are still here in his office, Kive?
-Until 30 November. We have created an arts advisory council whose presidency I shall use from December. It's a good idea of \u200b\u200bHernán Lombardi, in the sense of developing a cultural policy all levels of activity in the city. It does not seem too bad, because it sets a goal, a vision, and we must work to unite them in the same direction.
- What does the Teatro San Martín for you?
"And look ... Briefly you have to say: life.
"That's a lot ...
" Yes, very much. I am connected to the theater for 40 years. When you first arrive at the end of 71, in mid-1973 I went to practice journalism in the newspaper La Opinión, I call back in 76, I had to leave at 89 and went back to my journalistic work but always connected to theatrical activity, through criticism. It's a unique experience, especially because I arrived late 71 with a kind of rage theater critic: "I'm going to demonstrate what to do with a theater audience of Buenos Aires." And in a sense we demonstrated because there was a tremor, a large earthquake from the ideological point of view in the first directory of 1972
- Do you remember what was the first work that much?
"Yes, there were two. An Enemy of the People, Ibsen, in the adaptation of Miller, in Martin Coronado, and the other was Nothing to see, the first work that made us Griselda Gambaro in Casacuberta. Ernesto Bianco and Hector Alterio were formidable enemy of the people A . Back then the political fervor played a huge role, the public policy involved a fever.
- Do you regret some things in all this time?
"No, I think not. One may regret having chosen a title that was a disaster. But part of the responsibility. I had great partners and together we create an institution on the move. Very quickly cease to be producers of theater to become a cultural institution. I surprised myself. The daily swallowed one and when you look back you wonder, "How we get here? ". This is an institution that publishes magazines, books, produces a television program, another radio, edit records, makes several courses ... We have turned a hall that was a paradigmatic confectionery, which is the Cunill Cabanellas. Sometimes I get the impression that there are people who go to that room and no other.
- Does it hurt the theater?
And yes, it really hurts ... really hurts when I see that we should do more of what we do and better. Although there are shows that I produce a great satisfaction, I am sorry we do not have money, that we lack a good budget, architectural work ahead is paralyzed. We with a roof halfway, with a draft rehearsal for the ballet but it was never consummated, plumbing problems, problems with rain, problems with the roof of the room Alvear and Martin Coronado. That hurts, very much indeed.
- What will you tell the authorities when they said these things?
"Well, they claim that no money ...
- And you how you react to that?
"I have wanted to make a pineapple. Is a recurring theme in us, in the direction of theater. I am not alone. There are people next to me and we formed a team of very interesting and very passionate.
- What do you think? "This government has no resources or indifferent?
"I can not say that it is indifferent, the opposite. But it is clear that political decisions required to decide what to do with the budget for the Teatro San Martín. I find it hard to imagine but hey, it is also true that there should be a greater awareness of cultural phenomenon in the political leadership ... and the economy. We have no culture of patronage among us. We have some companies who have joined us, as the Galicia Bank, City Bank, the YPF Foundation ... But we should have more input from more sponsors. Anyway, we can not compensate for deficiencies of government budgets with assistance from private institutions.
- What is income that is the theater box office?
-is high if we have a good active season. I think this year will be. If more viewers is going very well, but take into account that charge a very cheap entry. 45 pesos when we are in private theaters are playing the 200. So the pride is through the collection but to be given by the number of attendees to the theater, and here we are at about 600,000 to 700,000. We've had times when we have a million many years ago. But I'm not complaining, we have good responsiveness to the public.
- Is won friends and enemies at the same time?
-Nooo ... I have many more friends than enemies. There are some that should go around chewing the anger of not having worked here as he wanted. But the San Martin was always the place where many artists could make certain repertoire that, obviously, either on television or in the commercial theater would have been addressed. There are actors who spend their lives without doing Shakespeare, which is terrible.
-The San Martin is the place where all players want to go ...
"It's true, absolutely true. There was an actor who was thrown to the floor to kiss the first stage when we call for action.
- Would you have liked to return to have a stable group?
"Absolutely. But there is economic to do so. In 1989 he dissolved the cast but the company remained dance and puppetry. I believe a lot in a cast. Everyone knows the risk of bureaucratization, but there are methods and ways to combat this trend. In practice, different teachers, the repertoire change, the rapid exchange of a work to the other, do not be bureaucratic.
- Do you get mad when I criticize and tell you not want to move from San Martín?
"No ... But I have disproved I left because the initiative has been mine. Nobody called for the resignation and no one threw it out the window. It just does not go further. Maybe a little tired from the fight everyday.
- What was in the pipeline with a desire to realize?
"They gave me many years and many tastes. It would be unfair to say something. I wanted to do Troilus and Cressida, Shakespeare. I covered almost the entire spectrum of activity. From classic to contemporary.
- What will you do after 30 November?
"I'll assume adviser resigns ... Carlos Elia as the new director general, Alberto Ligaluppi, like new artistic director. I'll take care of the presidency of the advisory council. But I do not have to worry about the night's performance.
- And you think to be able to take off that?
"You should not ask this question ... I'll make the effort, I promise. Over the years the relationship with staff can be converted into a friendly relationship, friends, to hug. From personnel management to technicians and well, that counts a lot. And why hide it, there is always curious to see what they will do with this.
"It's very painful to know that the trades have been diluted here ... The workshops were decimated.
"That's what we did: we do not prepare new people. I think one of the key tasks is to create complex systems development and training of technical personnel, props, shoemaker, tailor's. Are areas where we have a critical situation because many people have retired. We must preserve the crafts that a work demand, caring, adding people.
- You loves actors. How are they?
-Fragile and only live from the stage. Below the stage, their lives are just a transit point for the function tomorrow.
- So when they are on stage are complicated?
"Do not say that, but are some personalities.
-prefer it on paper ...
"In some cases, yes. But on the other hand, are fragile and must be helped
- What are the actors you see as the future Alfredo Alcon, Ernesto Bianco and Elena Tasisto?
"What commitment ... Sergio Surraco could be one of them. Malena Solda too. You make me name names and it is very difficult.
- What mounting San Martin remembered as historic and difficult to overcome? -Inexorably
tell you The enemy of the people with Ernesto Bianco and Héctor Alterio, and Trojan Women , Maria Rosa Gallo. Also The Threepenny Opera, Brecht and Weill, who made Marzal Daniel Suarez, and we made versions The Seagull and Three Sisters of Chekhov. I find it memorable also the beginning of At home in Kabul , who led Carlos Gandolfo. The first, a 75-minute monologue, Ellen Tasisto, it is difficult to forget.
- How is retirement living? How anxiety or distress?
-Calmly ... with a few tears, but realizing at the same time, life goes on.
"It's all very tidy in his office. Already know where you get all these things?
"There are many things of the theater but many others are mine. I'm in the process of ordering, so you can see.
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