The Cuban theater, in tune with the economic transformations taking place in the island, is in the middle of a reorganization stage.
On the subject OnCuba spoke with Julio Cesar Ramirez , director of the newly created Raquel Revuelta hall, one of the scenic areas that are part of the theatrical circuit of Linea Street, initiative designed to decentralize and more effectively visualize the functioning of the theater groups located in one of the most popular avenues of Havana .
“We cannot be oblivious to the situation. The theater has to be the vanguard both on its topics and on the way it is conceived, “Ramirez, who has spent four decades of his life dedicated to the performing arts, said.
“We are trying to survive theater and that theater people to feel better because it is an art of much sacrifice. The theater artists are always in disadvantage due to lack of promotion, management, and budgeting. Performing arts in Cuba should be more favored because having a solid theater movement as we have is a great privilege. “
“We need to understand all the effort that entails making a play to create better conditions for people and thus they can feel more comfortable. That is the greatest desire of those dreaming theater in Cuba, “he said
What are the main strategies planned to develop by the National Council for the Performing Arts (CNAE by its Spanish acronym)?
The first is that the theaters will be run by artists. That CNAE policy seems very positive because it gives another view to these scenic areas.
Moreover, it is planned to conceive more multidisciplinary theater spaces by converting them in to reflection sites through lectures, book presentations, exhibitions and concerts.
Since January I heard of the Circuit of Linea Street, what is it about?
Indeed, it began operating in January from the administrative and economic standpoint.
It comprises the Trianon Theater (home of El Publico Theater group), the Raquel Revuelta Hall (D’Dos Theater), and the seat of the National Folk Ensemble, the headquarters of the Ciervo Encantado Company and Bertolt Brecht cultural complex.
Its coordinating executive core is the Mella Theatre and has an artistic council to which belong the artistic directors of all the theaters that are part of the circuit.
What are the advantages of this project?
For me it is one of the possible solutions for Cuban theater because it responds to an economic strategy and to other more specialized and organized lines of work.
With its creation theater groups are decentralized and become more visible. We cannot afford that a theater troupe maintains a stable programming the twelve months of the year in the same hall.
Theater now may have several groups that will be responsible for the programming of that hall. Thus they will receive more direct attention from the coordinators of the circuit and that will encourage companies’ artwork.
So far the theaters have operated independently, each with its own identity. With the creation of circuit, theater groups will have a clear characterization of their lines of work. This project has been a discovery and we are betting that goes well.
We aim to become a starting point to contaminate the rest of the theater spaces in the capital, especially in municipalities like Central Havana, Cerro, and Old Havana. The National Theatre of Cuba can become another important circuit along with the headquarters of Argos Theater group.
The circuit of Linea Street is going to be activated for the upcoming Havana Theatre Festival (from October 25 to November 3). That will be the final push that we are expecting in terms of image, promotion, and in every way.
With the creation of the Circuit of Linea Street, what are the challenges facing the Havana Theatre Centre (CTH by its Spanish acronym)?
The CTH becomes unmanageable due to the huge number of groups it involves (about 200). The theater circuits will help the centre to outline itself on a methodological, professional and economical sense, with more specific lines of work. I am optimistic in that regard.
The CTH has a new director (Dagoberto Luaces) who is trying to change the panorama and is devoting much time analyzing the work of each group. We will see the results in a few months. Next year will be very good for Cuban theater. I’m sure of that.
Author
Maya Quiroga
