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
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