From the 18th to the 24th of this month, the art of the stage will return to a city that, in the opinion of the event organizer, Freddy Núñez, “needs culture in difficult times.”
For the director of Teatro del Viento, “it may also be an act of pride to hold this event in the midst of so many difficulties, but out there there is a city that beats, there is an audience that waits,” he said at a press conference.
The Festival that will also reach the communities, and dedicated to figures such as René Alberto Fernández (National Theater Award) and Maribel López, returns to this town after its last celebration in 2018.
“It is the most important theater event that occurs in Cuba from the point of view of criticism to trace permanence, aesthetics and spaces are validated. It is a reference point and essential,” according to the president of the Organizing Committee.
In addition to the performances of works by groups such as La Proa, Teatro El Público, Teatro Andante, it will be the opportunity for both specialists and students to share with prominent artists such as Verónica Lynn, Fátima Patterson, or Fernando Echevarría.
For the children’s audience there will also be a section with works by the Guiñol Theater of Camagüey and the Grupo La Proa with the work: América dreams of butterflies; while lectures and facilities for entry to the facilities will be directed towards students of artistic education.
Several spaces will be enabled for presentations such as the Avellaneda Theater, Principal Theater, Tassende room, La Andariega Theater Room, and other public places in the Historic Center.
For Kenny Ortigas, head of the Culture Directorate in Camagüey, this Festival was achieved based on “force of thought due to its importance.”
In a press conference, Núñez himself spoke of the recently held Congress of the Union of Writers and Artists of Cuba, “where the issue of cultural colonization was a constant, and there are few more effective ways to combat it than with our own culture, and it is in this festival where there is criticism, where there is debate.”
In addition to the presentations, the theoretical section will revolve around the classics of theater “how we appropriate them, we will also debate the socialization of the cultural product, and the look at young people in creative processes,” Núñez pointed out.
More than 250 creators and artists will meet until the 24th in this city, whose artistic legacy makes it the cornerstone of Cuban theater, where this event has found its capital in Cuba for 30 years.
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