She still doesn’t believe it and, excited, picks up the phone: “It’s an immeasurable surprise. All of this is a little crazy, but well, what can I say, because I’m very grateful,” she celebrated for this newspaper, excited, shortly after learning the great news. . Ana Zamora came across the news mid-morning this Thursday that she has been awarded the 2023 National Theater Award. This recognition, which is awarded annually by the Ministry of Culture and Sports and is endowed with 30,000, has awarded throughout the years to names like Juan Diego Botto (in 2021), Julieta Serrano (2018), the Teatro Kamikaze (2017), or Concha Velasco (2016). It seeks, therefore, to reward and recognize the work of a person or entity in the theatrical field, preferably demonstrated through a work or performance made public or performed during the year in question. Well, the jury has proposed awarding the prize to Zamora “for his recovery of medieval, Renaissance and pre-baroque Spanish theatrical heritage for more than twenty years at the helm of Nao d’amores, with excellent results and bringing it closer to the general public.” Regarding her shows, the jury stressed that “they exude a spirituality that delves into the essence of theater.” Likewise, she has highlighted “her excellent research and teaching work, teaching courses and seminars around the world on said heritage and embracing musical research in her productions.”
It is an award that bears the name of the Madrid director, but which, she emphasizes, “also bears the name of Nao d’amores, which is the work structure with which I have done all my work. Perhaps we should not call it recovery, since It seems that we do theatrical archeology, but we do work from ancient texts, we make theater for the present and, by extension, this award is also for all the people who have spent years dedicating their lives to rescuing this beastly heritage that is the Spanish repertoire”. It was in 2001 when Zamora, with a degree in Dramatic Art, specializing in Stage Direction and Dramaturgy from the RESAD, founded Nao d’amores in Segovia, a collective of professionals from classical theater, puppets and early music, with the who has developed research and training work for the staging of pre-baroque theater. Starting in 2013, the company opens a new line of creation that also leads it to address repertoires linked to contemporary times. With Nao d’amores she has premiered fifteen shows, among which are productions that have become references in the contemporary production of classical theater in our country, establishing itself with today’s society.
Performance of ‘Numancia’ by Nao D’Amores and the National Classical Theater CompanyCYL THEATER FAIR.CYL THEATER FAIR.
“The Spanish classical repertoire is so barbaric, not only the Golden Age, but also the pre- and post-Golden Age, that every work remains small and every effort is short,” says the award-winner. For this reason, she encourages us to see this art “as a present one, that makes us think, share and live together in society.” Although she assumes that, “like any artistic career, this has its bumps, its ups and downs,” Zamora responds to this recognition as an impulse to continue her commitment “to bring the realm of the classic to the public.” A task, she reiterates, “that many people have been doing for decades, and as long as we can, we will continue.”
Between Valle-Inclán and Mayorga
Aside from her work in the company, as an independent director, Zamora has staged very diverse texts, among which stand out: “La fiesta de la libertad” (2020) for Radio Televisión Española produced by Fundación SGAE; “Carmen”, by Bizet, for the Teatro de la Zarzuela (2014); “Ligazón”, by Valle-Inclán, in the show Avaricia, “Lujuria y Muerte” produced by the National Dramatic Center (2009); “Tragicomedy of Don Duardos”, by Gil Vicente, for the National Classical Theater Company (2006). Likewise, she has held the positions of Assistant Director in the artistic teams of the National Classical Theater Company, under the direction of Eduardo Vasco (2005-2006) and at the Teatro de La Abadía, under the direction of José Luis Gómez ( 2002-2004).
In the field of cultural management, he was part of the organizing team of Titirimundi – Segovia International Puppet Theater Festival (1992-2000) and the Segovia International Folk Festival (1990-2000). In the informative and academic field, he has published in different magazines specialized in the theatrical and philological field, he has participated as a speaker in multiple seminars and conferences and he has given training workshops in Spain and abroad (Italy, Portugal, USA, Mexico , Colombia, Ecuador, Bolivia, Chile, Argentina, Uruguay, Brazil, Cuba…). Since 2015 she has also been part of the teaching team of the Master in Theater Creation directed by Juan Mayorga at the Carlos III University, in 2019 she was linked to the Master of Advanced Studies in Voice and Artistic Speech of the ITEM of the Complutense University and is a member Founder since 2013 of Fuentes de la Voz (Center for Research on Voice, Word and Verse), directed by Vicente Fuentes.
Throughout his professional career, he has received different awards and has enjoyed two MAEC-AECID scholarships for artistic residency at the Royal Academy of Spain in Rome with the projects: Italian influences on the birth of Spanish Renaissance comedy (2017/18) and Staging and popular tradition: the comings and goings of the puppet theater (2019/20). Likewise, she is a Corresponding Academician of the Royal Academy of History and Art of San Quirce, and has received throughout her professional career different awards such as the Critical Eye Award from Radio Nacional de España.
2023-09-21 14:15:16
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