Galician theater claims to be an art that “includes diversity, that bears witness to injustice and that caresses our humanity”

Actress, playwright and director Clara Gayo defends the stage as an art that “includes diversity, that shows injustice and that cares for our humanity.” Therefore, present the Galician Manifesto of the World Theater Day, commissioned this year by the Association of Galician Actors (AAAG) to be celebrated on March 27. Gayo defends that the stage “must live within the limits of the abyss”, in a time that elevates or works two theater professionals and encourages all or sectors to continue working.

“We are having sex, but the voice is silent. Sexamos o corpo do which disappears. We have sex or think about what transforms. Let’s say the action is motionless,” he cries before launching another demand: “Let’s continue unavailable or disheartened” to complete “the theater that has created or that has always repaired: to follow, to question, to discover, to suffer; theater of existence”.

With his text, Gayo joins a long list of people of recognized prestige in the field of scene, cultural journalism and literature who every year, at the request of AAAG, assimilate or manifest themselves among those who meet the names of Evarista Calva, María Xosé Queizán, Xurxo Borrazás, Montse Dopico, Camilo Franco, Aldao&Lado, Carlos Santiago or Imma António.

The actress, playwright and director from Vigo will read or demonstrate at the awarding of the two María Casares awards, which will take place on March 30 at the Teatro Rosalía Castro da Coruña. A total of 15 plays are competing for 16 prizes in the jogo in the competition organized by the Association of Actors and Actresses of Galicia (AAAG) with the collaboration and sponsorship of entities and institutions such as Xunta, or Concello da Coruña, Deputación da Coruña, or the Padroado de Culture of the municipality of Narón, AISGE e Gadis Foundation.

Clara Gayo’s stage training (Vigo, 1971) began at the Escola de Teatro Danza Espazo Aberto and at the Specialization in Dramatic Art course at the University of Santiago de Compostela. She worked for two years in companies such as Chévere (she was a regular at Ultranoites) or Berrobambán, with the Centro Dramático Galego and in plays of her own production. Not listening to audiovisuals, I made small forays into series (Broom or or a lighthouse), short (Bilingual and with a clear conscience) or in movies (Arenal, prison visitor).

In recent years she has worked as a director with groups such as Pista Catro (Paxaros on the cape2022) or Mofa&Befa in pyrolytic, a show with texts by Lucía Aldao and María Lado, with which the duo of Evaristo Calvo and Víctor Mosqueira celebrated their 30th anniversary. Since 2002, Gayo has been directing and writing scripts for the amateur theater group FarandOleiras Cabaré.

Malia or his multifaceted profile, Gayo more zealously nurtures dramatic writing. In this sphere, I publish texts such as is moving and compelling reasons with Estaleiro Editor, Agoraphobia: paralysis or fear with redenaza or forbidden to suffer on Erregueté. But in 2015 he won the Xurado award no. 9th prize of the Radiophonic Theater Diario Cultural da Radio Galega s Avoid. Fai participates together with Carlos Santiago and Zé Paredes from the collective GOD Favia Antonia (Opportunist Drama Group) since 2017. Froito of this experiment of writing to three men xurdiron Hygiene act (2017), suicide poets (2018) and on the table! (2019).

This follows the text of his manifesto:

“We are celebrating a new return to Sol do Teatro Galego. And here we are, with each of the two days that survived, illuminated, not the corps…

What luck.

Let us leave behind the traces of our creations, thinking about things to come, in the spirit of an idea hidden in an anecdote… Calquera persoa, in any part, can be the trigger we are looking for, the story that we will finally tell. Or, perhaps, we prefer to explore the vast legacy of written history that constitutes our heritage and which, patiently, needs to be embodied and revived. Or, perhaps, we decide not to tell any story, but to offer some reflection, or the relationship of body and space, with light, with sound. Simply. It seems so easy… O Teatro allows as many codes as there are artists, just one condition: Someone expresses and someone receives.

Seeing is believing. Create to create.

Contemplate the constant convulsion of humanity, and convulse with it. Manage every desire, every need, every transformation without any residue. Poñer terra by way, terra inzazada of the seed that helps us pass to insignificance and to defend the degree of agitación. So much of it had a story that we wanted to tell, and gave and decided to tell it, both gave aesthetics and stage theories, none is truer than the other. They are options. Suggestions. Attempts. For.

Theater must live on the edge of the precipice and accept the risk of great failure, which, however, always deserves the opportunity to fail again. Let’s look further, expose and confront, embrace and demand. Let’s do something… Or the opposite.

We know that misery is no different from ordinary misery, so we offer it, without modesty, with the desperate awareness that any function could be misplaced. They feel overwhelmed that in every second created for the stage, in every action, in every word, in every pause, in every silence, there is a present in which we live, and we become a part of that present, not the one that fascinates us, but not the one either. which disgusts us. We sex the voice that is silent. Sexamos o corpo do which disappears. We have sex or think about what transforms. We gender action motionless. We follow this world in its drama and its comedy… Let us continue unapproachable to discouragement.

Let’s make room

This is meant to be a Manifesto of Gratitude, Generosity, Awareness, Review. Manifesto of the unnoticed, contradictory, said to be small and anecdotal, said to be modest and surprisingly full of love. About the manifesto of free theater, present, open. A theater that embraces and strives, that understands and sympathizes, that dances, that lives or does not live, that moves and that never stops learning. Theater that proclaims, that describes, that makes you uncomfortable or that you want. Theater that includes diversity, that shows injustice and that cares for our humanity. A theater that stands out, that dares, that goes against market trends because it insists that it is not a product.

A theater, finally, that was or always was fixed: To follow, to examine, to discover, to suffer… The theater of being».