I Have Herpes But Looks Like A Cut

(Extension of the note issued on December 11, 2010, in The Nation.)

Rockabilly circus in the desert

By Pablo Gorlero

LAS VEGAS .- The road from the airport to the Luxor hotel is like living an American film of the 80's. Desert cactus, arid mountains and back without a miserable weed. But the journey is on a highway in the First World. Suddenly, from nowhere, huge buildings are appearing out of sight of the hotel assigned to this reporter: a huge
Egyptian pyramid, presided over by a sphinx, as output from the set of the movie The Ten Commandments. That is almost the starting point of the ride known as The Strip, along the Las Vegas Boulevard. Is that the city of fun, play and sex is like a giant in the desert scenery. Each resort, theme, offers a different world, the lights do not go out and never give visitors the feeling of not knowing what time it is. Nearby
(though each resort is the size of several city blocks) in the middle of the braid of large complexes, the Aria is a modern building which, like all houses a hotel, casino and entertainment groups. Among this offer entertainment is the theater where, every night is Elvis Viva , one of the latest proposals of the Cirque du Soleil.
is that, out in the streets the figure of Elvis Presley is repeated hundreds of times. Whether in posters, clothing, or even in those street artists who are characterized with sideburns, broomrape and white jackets open and full of blemishes. Elvis is without a doubt, an icon that Americans love and want to see permanently. Acrobatics and neon

The mega-Québec has fixed seven shows in Las Vegas: O , Mystère, Zumanity , Criss Angel Believe , Love , KA and Elvis Viva . Each of them represents a different resort, between luxury, kitch, the unreal and "timba" always present. There is also a nearly constant air rodeo, with men who wear their cowboy hats and boots Texan joined by thousands of Dolly Parton. Of course, all mixed with all sorts of local and foreign tourists, among which always prevail Japanese and Mexican. Aria
The theater has 1,800 seats that are the equivalent to 1,800 armchairs. Each seat is wide, soft, with enough space for the viewer to change position when you want. Also you can enter with food or any drink.
In this new proposal is not fantastic and the transcendental character has a "here and now" more palpable. That's the biggest difference from other Cirque du Soleil. That is, is much more theatrical and its format is closer to a music collection with a few circus acts as seasoning.
The dance is what rules, auque circle surprise proposal at all times. But as it is an evocative show, much as the performance of acrobatics and choreography are completely subordinate to a precious musical direction that is the work of Erich arranger Van Tourneau (see sidebar).

course, in keeping with the productions of Cirque du Soleil, all is grand, but functional to the circus and theatrical devices. Thus one can see a huge blue suede shoes that dancers use as a slide, a prison where inmates can run or walk upside down in a challenge to gravity, or a gigantic Elvis create endless perspective on stage.
This show has all the iconography of Elvis and reviews all the elements that are identified with the 50. It is a remembrance that uses historical data to create sub Presley and, above them, climate and concepts. That is, will review the years of the emergence of the artist, the label boom, it passes through Hollywood, and his own fanaticism (the gospel, cartoons), their fate as a soldier in the war, his fans, and the arrival of love. In turn, all that is supported by documentary images projected on many occasions.

course poetic relish Cirque du Soleil is on several stretches of the staging, as in the third box: "One Night With You. " A pianist is in the air with his piano tail, while she performs the song, a duet with the real image projected Elvis. But that poetic beauty is the setting of a giant metal guitar which symbolizes the magnitude of the star's love for music and hanging to give rise to smooth acrobatic movements performed by an artist who represents Elvis and another who plays his twin brother Jesse Garon, who died at birth.
Another high point of the show is "Return to Sender", which represents the boot camp, where all male company hiphop juxtaposed with acrobatic movements on the parallel bars and other feats of gymnastics. Meanwhile, used "Got a Lot of Livin ' To Do "to symbolize that Elvis had a fascination for the superhero comics of the 50's. A group of talented acrobats, dressed in layers, leggings and masks developed almost unbelievable feats with trampolines. The synchronized leaps and bounds make them look like walking through walls to street art of parkour.
The director Vincent Paterson got the pictures and acrobatic skills are several perfectly synchronized with the choreography and music. And meanwhile, one can see how both the icon and aesthetics Soleil achieve a perfect communion. Blond heads that rest on the shoulders of urban cowboys in "Love Me / Don 't "or" Love Me Tender "and a whole room is shaking to the beat of" Hound Dog "in a shared party, elected and all come with the necessary energy to continue having fun and spending on that city's scenery and fierce neon.

Elvis's voice, but live

LAS VEGAS .- Unlike many other shows of Cirque du Soleil, Elvis Viva is completely subordinate to the music . And it is the soundtrack, the live band and such arrangements are true stars of the proposal. To
communicate the album release Viva Elvis , Sony Music invited this reporter to watch the show and interview one of their creative stars: the musician and arranger Eric Van Tourneau.
Virtue and the highlights of this musical is that the original voice of Elvis Presley is present in different versions, but with a live band, modern arrangements and mergers in each of the tables and the support of other voices in that scene nourish.
"It is true that the show is subject to the music. It is not the case with other proposals from the Cirque du Soleil. I think that is the way to do justice to the work of Elvis because he is the head of the company. It is a tribute to it and members of the band, another member, "Van conceptualized Tourneau, a nice" Quebecois ".
- Long working?
" Yes. It was 35 years of code review. That job lasted two and a half years intense. All you wanted to do then was to hear everything that Elvis created. There were many hours to know and respect, to distinguish the various incarnations and reinventions. In 54, it was pure rockabilly, other than the 64. I had to listen 3000 hours of music to know. But it took three months to make the disc. It was like working with the Holy Grail of rock. It was a lot of pressure and very demanding, but I'm proud of the work achieved.
"There are differences between the disc and the live show.
"It's the soundtrack with some variations. To modernize the show about 35 songs, but the disc is 12 tracks that make a total of 45 minutes. Became more contemporary repertoire of Elvis.
-The mixture is notorious. Keep the original guitar of Scotty Moore, but the sums to the current band ...
"Yes, that's interesting. All I did is up to each song. Some were taken to a heavier rock or hip-hop. Respect the original guitar helped me to unify and bring together the sounds before the modern.
- Do you think that this CD may serve to bring the music of Elvis to new generations?
- Absolutely. It was the biggest goal. I have 37, but I know there are young people who do not know Elvis. Only recognize the icon, the figure in his white suit. But that's not the one that changed the history of music. The one who did was that from 1954 to 1968. It was the high energy and sensual groove, but in turn tender.
- After the show you're going to entertain any of the casinos?
"I'd rather go to take a few martinis with the band. I'm not a great player. So I'm much richer than before in the past six months in Las Vegas.

Wood Plant Pot Holders

VIVA ELVIS 50 years of the Teatro San Martín Alberto Ligaluppi


facade of the Teatro San Martín, Ernesto Bianco, Cyrano de Bergerac in , Lautaro Murua and Duilio Marzio, in Beckett
Images of book Teatro San Martín 50. 1960-2010, and my personal file

( Extending the note published in the supplement DNA, The Nation, November 26, 2010.)

Between laughter and tears

The San Martín turns 50 and releases new leadership, but suffers from financial strangulation and the decline of their facilities

By Pablo Gorlero

Forty years ago, this writer had to choose each week between three potential areas of cultural output that made their parents go to the movies, the theater or the San Martín. That is, go see the cartoons in a row; to different rooms offering books for children, or all in one, directly to San Martin. The latter option, of course, was a way more sophisticated, less predictable, to see the works of Roberto Aulesa, Liliana Paz or children's classics film as white mane or The red balloon in the room Lugones. For more Buenos Aires Buenos Aires, San Martin is the quintessential cultural icon. Is that giant stage heart that is surrounded by caves and record libraries. It is where the passion started many theater people and, in turn, where every actor wants to be.
The San Martin is a dandy who turned 50 this year. He had a wonderful life, left a wonderful legacy, and today, some bloodied, makes efforts to maintain the stately appearance. Although always had a persistent ailment: politics.
Construction began in 1953, where there was a huge garage, in an area of \u200b\u200b30,000 square meters located in Corrientes Avenue, between Parana and Montevideo. The work was detained for over three years for financial reasons, but he inaugurated on May 25, 1960.
is said that at that time, there was no theater in the world with the sophistication of this great complex. Its largest room, the Coronado Martin (named after one of the pioneers of the drama in Argentina), was the world's most comprehensive. The great merit of the architect Mario Roberto Alvarez and Oscar Ruiz Macedonian escenotécnico work was accomplished. Took to the challenge of mounting two rooms overlapping mechanisms in the early stage unforeseen 50, and an advanced construction technique. The space you make should be vertical, so it took the route of the subway but, in turn, had to neutralize any outside noise or vibration. Not only did it, but the acoustic treated rooms have Casacuberta and Martin Coronado is excellent. Perhaps viewers are not aware of that, but San Martin is a great well. Cunill Cabanellas room, the smallest (built in 1979) is located on the third basement, where at first, had a bakery. San Martín
The show opened with More than a century of Argentine theater led by Osvaldo Bonet, and involving all major actors of the time representing fragments of the national scene. "I did work with a well crazy," said the director when he noticed the huge central section liftgate. Anyway, the designer Luis Diego Pedreira managed to make enjoyment of each of the possibilities offered by this room 1049 spectators. It was a challenge not to despise. The whole contraption with which, until then, no designer could have. His Italian stage is equipped with a wide mouth of variable size (between 11 and 16 feet wide by 7 high), with that impressive central section which can move vertically in whole or in part, by nine lifts that operate simultaneously or separately, a pair of rotating discs 9 to 10 meters in diameter respectively, and a drawbridge to the orchestra pit. The second room is named after Juan Jose de los Santos Casacubierta, for many the first actor of the scene in Argentina. There is capacity for 566 people and is semi-circular shape, with a decline Isopto ideal. It also had its innovation on the platform stage drawbridge above the room and can be stage floor plates or orchestra pit. The huge stage is 20 meters wide and 5 high and 6 deep.
For its part, Leopoldo Lugones, dedicated to cinema, opened on 4 October 1967, with the screening of The Passion of Joan of Arc, Carl T. Dreyer. There is capacity for 233 spectators and has always been and is one of the temples of art film, on its screen, the critical film program Luciano Monteagudo greats as Chaplin, Griffith, Keaton, Visconti, Murnau, Kurosawa, Bergman, Truffaut , Godard, Herzog and Fassbinder, among many others. San Martín
But not only art and culture flashes in their rooms. Its halls, its central hall, their offices, archives, her workshops are creative hubs that are visible in the art plant that also generated (or generated) a lot of work. In their workshops apparel footwear and props arose generations of artisans.
towering giants of San Martin are also murals. The foyer of the Martin Coronado has a high relief of colored cement 7 meters wide and 2.80 high, entitled Allegorical theater, the sculptor José Fioravanti, while the side walls of the room can see the sculptures The drama and comedy , conducted by Paul Curatella Manes. Meanwhile, in the lobby of the Casacuberta, a large mural of Louis Seoane involves 32 meters wide and 11 tall. It is the birth of the Argentine theater, a play look impossible to stop.
Passing through the swing doors of access, the world of San Martin salutes the audience through the hall, something like the ballroom. That's where hundreds of artists have worked for free to give sound and movement to this enormous area guarded by attractive photo galleries. Tornello
Carmelo was the first director general and the first visit abroad was The Theatre Guild American Repertory Company, U.S.. The following year Vivien Leigh was presented with The Old Vic Company, Great Britain, to La Dame aux Camelias and Twelfth Night, and later, John Gielgud and Irene Worth, The Brenda Bruce Company, the Comedie and Marcel Marceau-Français
La Comedia National working in Eva Dong, Gianni Lunadei, Alexander Anderson and Rafael Rinaldi, among others, stepped on the stage several times because of San Martín Cervantes National Theatre fire, which occurred in June 1960. Armando Discépolo Watchmaker set up his own work in Martin Coronado.
In 1962, Cirilo Grassi Diaz succeeded Tornello, until 1967, and among others, followed, Maximo Mayor, Cesar Magrini, Juan Carlos Muiño, Fernando Lanús, Osvaldo Bonet, Iris Marga and Emilio Villalba Welsh.
One of the highest quality works of art was the Yerma starring Maria Casares and directed by Margarita Xirgu. In his cast were Alfredo Alcon José María Vilches, Eva Franco and Thelma Biral. Also of note Becket, Anouilh, with Lautaro Murua, Duilio Marzio, Norma Aleandro and Alicia Berdaxagar, led by Mario Rolla; physicists, with Pedro López Lagar, Osvaldo Enrique Fava Newfoundland and directed by Luis Mottura; Romeo and Juliet with Luis Medina Castro, Leah Gravel and Marta Gam, directed by Alberto Rodríguez Muñoz Family Reunion, with Milagros de la Vega; La Celestina, Iris Marga, bohemian lights with Fernando Labat, Miguel Ligero and Maria Luisa Robledo; The Royal Hunt of the Sun with Lautaro Murua, Coriolanus, with the memorable work of Carlos Muñoz; Hadrian VII, directed by Carlos Gandolfo, Pepe Soriano, Flora Steinberg, Zelmar Guenole and Luis Polito, among others, and La pucha by Oscar Viale with Norma Bacaicoa, Luis Brandoni, Julio De Grazia, Jorge Rivera López, Walter Santa Ana and Marcos Zucker, among many other projects of excellence.


The Trojan Women, Maria Rosa Gallo in front of the cast, and English, with Pepe Soriano and the Quartet Zupay


La pucha by Oscar Viale

Kive's reign Staiff
In November 1971, during the de facto government of Alejandro Agustin Lanusse, Kive Staiff first assumed the general direction of the theater, to take up the post in 1976, a position he maintained throughout the period of military dictatorship and the presidency of Raul Alfonsin, inclusive. After passing through the Foreign Ministry and the direction of the Teatro Colón in 2000 returned to that office.
During that first address Staiff, worth mentioning assemblies An Enemy of the People, Ibsen, Ernesto Bianco, Hector Alterio and Alicia Berdaxagar; The Trojan Women , Maria Rosa Gallo, directed by Osvaldo Bonet, Yvonne, Princess of Burgundy , Gombrowicz, with Juana Hidalgo, Elsa Berenguer and Miguel Light, directed by Jorge Lavelli, Nothing to do , Griselda Gambaro, with Walter Vidal and Carlos Moreno; Macbeth, with Lautaro Murua, Inda Ledesma, and Jorge Luis Politti Mayor; Three hundred million, with Alejandra Boero, directed by José María Paolantonio; I have seen God, with a memorable work of Osvaldo Newfoundland and English, a historical work of Juan Carlos Gené, with Pepe Soriano and Zupay Quartet.
In the documentary that has just been launched commemorating 50 years of San Martín, many artists confess that this area was almost a refuge for many actors pursued or identified by the dictatorship. There, in 1976, opened Nothing like a rebellious part of Griselda Gambaro who led Jorge Petraglia. "We developed a great theatrical and ideological work, Kive said. Then in 1980, drove up to stage a Hamlet another libertarian approach, against the dictatorship of his uncle. The messages were subtle but intense at the time. There were María Rosa Gallo, Alejandra Boero, Jorge Petraglia, José María Gutiérrez, Ernesto Bianco and Alicia Berdaxagar. Between the lines between such a dark, hidden so much death, was a breath of life for the artist.
"I took the character of Bernarda Alba as a symbol of dictatorship. Without changing a single letter of the text, the audience realized we were talking of authoritarianism and terror produced by dictatorships, "he said Alejandra Boero time ago about your version of The House of Bernarda Alba , released in 1977 a cast made up of María Rosa Gallo, Maria Luisa Robledo, Elena Tasisto, Juana Hidalgo, Estela Molly, Graciela Araujo, Alicia Bell, Hilda Suarez, Lilian Riera, Alicia Rubi Berdaxagar and Montserrat.
"I was not pregobierno military. There were clear attempts to navigate, but I had good defenders. I always say that, fortunately, Brigadier Osvaldo Cacciatore, a mayor with a sense somewhat feudal in its handling of the city, I felt some of his people. So it was a good umbrella, a good protection, "said Kive Staiff to Nation.
One of the unforgettable sunsets that period was one that opened the second address Staiff: Six Characters in Search of an Author , by Luigi Pirandello, directed by Hugo Urquijo, with Gianni Lunadei, Enrique Fava, Luisina Brando, Lito Cruz , Adriana Aizenberg, Flora Steinberg and Nelly Prono. Paradoxically
with what happened in the country, the culture of San Martín ball was centered in the 70's. In the second half, Staiff created the three main bodies: the Contemporary Ballet, the Group of Puppeteers and the cast. While the latter body was removed in 1989, the others continue working. Contemporary Ballet, now directed by Mauricio Wainrot, has 33 years of uninterrupted life. Oscar Aráiz cast of dance began between 1968 and 1971, but continued stable company with the direction of Ana María Stekleman, until 1982. It also passed through the URL Norma Binaghi, Lisu Brodsky, Alejandro Cervera, Oscar Araiza and two periods, and Wainrot Stekelman.
In 1977, he summoned the great puppeteer Staiff Ariel Bufano to mount David and Goliath, Schwarz Sim. From this successful experience, both with Mangani Adelaide decided to create a cast of puppets that had the financial and technical support needed to develop this art. Mangani led the group since 1992, after the death of Ariel Bufano. The Group of Puppeteers of San Martin has already placed its credit unforgettable as Beauty and the Beast, The Big Circus Creole, Mariana Pineda, The Shoemaker's Prodigious Wife, Peer Gynt, The black Pierrot, Gaspar pm, The Blue Bird and Theodore on the Moon , among many others.

Adelaide Mangani and Mauricio Wainrot


Meanwhile, the cast of the San Martín was composed of thirty Tasisto very first players like Elena, Walter Santa Ana, Osvaldo Terranova, Graciela Araujo, Juan Hidalgo, Pachi Armas Fernando Labat, Jorge Mayor, Roberto Mosca, Roberto Carnaghi, Osvaldo Bonet, Ingrid Pelicori, Horacio Peña, Alfonso De Grazia, Jorge Petraglia, Horacio Roca, Roberto Castro, Aldo Braga, Mario Alarcon, Patricia Gilmour, Oscar Martínez, Alberto Segado, Hugo Soto and Leopoldo Verona, among many others.
In 1977, after a long absence, returned to the stage Ernesto Bianco Cyrano de Bergerac with by Edmond Rostand. It was a great start led by Osvaldo Bonet, unfortunately, lasted a very short time since the great actor died on October 2, at 55 years, a few functions. Other memorable
put regular cast were street scenes, Waiting for Godot , John Gabriel Borkman, The organ, The Inspector, The Wizard, The Bourgeois Gentleman, Santa Juana, Periphery, Don Gil of the green tights, All My Sons, The pillars of society and memorable version Hamlet (1980), who led Omar Grasso, with Alfredo Alcon, Elena Tasisto, Roberto Carnaghi, Graciela Araujo, Alfredo Duarte and Roberto Mosca, among many others. For its part, the implementation of Galileo Galilei , Brecht, directed by Jaime Kogan, became the most successful in the history of San Martín. A total of 150 000 spectators went to see memorable performance of Walter Santa Ana, leading a cast that includes, among others, Graciela Araujo, Hugo Soto, Monica Santibanez and Horacio Peña. Although the international
the cast of the San Martin was coming from a few years before giving in 1982, he toured the Soviet Union (another political paradox) with The pit of Sercia Cecco and The house Bernarda Alba of García Lorca. A curious fact: the unexpected star cast was the funeral of Leonid Brezhnev, former Soviet President, in Moscow. Mauricio
Pericones Khartoum released in 1987, one of the best seasons, with large assemblies Three sisters and Federico Paths with Alfredo Alcon.
Among the international visitors from the 80's fit to include Pina Bausch, Dario For, Tadeusz Kantor, Kazuo Ohno, Rufus, Dimitri, Bibi Anderson, Vittorio Gassman, Hans Peter Minetti, Marcel Marceau, the musical Is not Misbehavin , Rustavelli Theatre of Georgia, the Odin Teatret in Denmark, the Block Seville, the Stara Teatr in Cracow, the Gorky Theater in Leningrad, the Theatre The Warehouse and the Teatro Circular (Montevideo) and the group letter.
The 90's continued excellence and gave space to emerging groups like the Black Organization and new directors such as Ricardo Bartis, Rafael Spregelburd, Javier Daulte, Mauritius Khartoum and Claudio Hochman. Four unforgettable An untimely visit of Copi, with a superb performance from Jorge Mayor, the Peer Gynt of Alcon, and assemblies Bartís: Hamlet and the war theaters and sin no can name.
was a decade which also passed artistic direction by Emilio Alfaro, Eduardo Rovner, Juan Carlos Gené and Ernesto Schoo. The group also stepped Andalusian The Zaranda scenarios often Teatro San Martín.
In 2000 the Government of the City of Buenos Aires created the Theatre Complex of Buenos Aires, an organization that merged artistic and administrative theaters of the five official agency. That is, the San Martin joined the President Alvear, the Teatro de la Ribera, the Regio and Sarmiento.
Today, the CTBA is not just for excellence in their cultural offerings, but also publishes books, magazines, is a television and a radio, among many other endeavors. As lakeside housing, is supported so you will not reach the flood. Its makers try to hold all that great structure in the best shape. You can sometimes, sometimes not. Just a question of the authorities get the whole story summary on these lines can proceed. Because the locals and the rest of the Argentines will always be proud of his Teatro San Martín

TEN YEARS plummeted

Maybe the crisis is an opportunity for growth, but has a very strong in the San present Martin. The outgoing director himself, Kive Staiff, admits that there was downsizing of staff and the theater complex has lost in recent times more than one hundred members. It was not even possible to celebrate the half century of life as it should, since the entire budget was allocated to the reopening of the Teatro Colon. Scaffolding still wearing his facade, the leaks in the rooms do not stop, the dismantling of the workshops themselves are unsustainable and the money never comes. Meanwhile, the grief is evident in the building staff. "The shortage of the budget is our mark on the selvage. This restricts us to the core business prevents us from increasing the activity," says Staiff. We used to do tours abroad. We came to the Soviet Union and received proposals interetantísimas of great figures, as Tadeusz Kantor, Pina Bausch. You can do miracles, but to some extent. Eventually, if there are ten dollars in his pocket can not be changed even one bulb. The fall budget grew from early this century. Budgets are repeated without taking into account annual inflation. Today, the executive Buenos Aires Legislature expected to approve two projects that can help, one on the sale of properties to address the restoration of the building and another on the autarquía.Hay structural change: it can be encouraging. But slow responses and solutions are not realized. In Basically, what hurts the most is the indifference.


The dog in the manger, led by Daniel Suárez Marzal

Is Highlighting Hair On Men Gay ?

(Expanding the article published in the supplement to DNA, the daily La Nación, 26 November 2010)

LOOKING YOUNG PUBLIC

By Pablo Gorlero

Pampeano of origin, making Cordoba, Alberto Ligaluppi is one of the most respected names in theatrical federalism. Perhaps the locals have begun to become familiar with their shape since last year, took the joint direction of the International Festival Theatre, along with Ruben Szuchmacher. From a very young
served as a theater director, teacher and artist in San Luis. After many years lived in New York, which was consolidated as art curator and producer. In the 80's, he settled in Cordoba. There he served as director of the Goethe-Institut Culture and was the architect of the Latin American Theatre Festival. All this wealth of knowledge on the gear of the cultural industries led him to be the leading candidate to succeed Staiff Kive the artistic director of the Theatre Complex of Buenos Aires, a position he confirmed to the end of August (the general direction of Charles Elia).
He immediately began to assemble the programming for next year. "It will be mixed. Kive party's idea of \u200b\u200beither side, mine. But I would say that we have the entire schedule to be announced in mid-December. In that programming will become clear that we are two. I think the brand will remain for Kive many years. Even me and I will be. He was here for many years to make this structure work. We must thank you have given a form that, somehow, we will modify. It was very symbolic in this theater. I find it very interesting affection and respect they have for their employees, "explains Ligaluppi.
- What will be the imprint Ligaluppi? -
Theatre Complex must regain the public less than 40 years. That's one of the things I'm working. And we should very strongly to the international season. At the time, the San Martin international had a season where everyone learned a lot. No one had to wait two years for a festival to see Pina Bausch or Philippe Genty. There are many proposals that pass near Argentina and found no place to mount here. The San Martín have there. We have a better look at Latin America. Probably Guillermo Calderon, Chile, come to lead, and wove an interesting network with Brazil to exchange performances. Also strengthen the co-production with Spain and France.
- What are the most urgent things to change?
-The amendments will be very slow. Try to have a broader program. Many managers of all ages who had not been in San Martin will now. That may be a giroimportante. We will open the door to more directors. I am also interested in the educational profiles. There will be a traditional process where every month a group of creative processes will visit each start to build a final assembly group. The coordinator of that will be Luis Cano. The rest is going to compete, we will try to come inside many people.
- What will give the budget for that?
"I imagine it will not be easy, but I am quite a fighter. There are certain things that have value in themselves. Co-productions are essential. The arrival of the Rond Point, Paris, will be a major exchange. A week of French theater in the San Martín, in June, will be missed.
- Is joint programming?
"I've managed with a policy of gradual change. Much of the schedule next year is Kive Staiff and we have respected. Our relationship is very good.
- What happens to the gradual dismantling suffered costume workshops and scenery, for example?
"There also is where you will see big changes ...