CUA TEATRE

A queue performance, an EntreActe: the performers, as well as the Santa Mònica audience, are invited to be in the situation of a queue and in the different situations of this everyday device that is very present in the city: CUA TEATRE.

The theorist of performance studies, Richard Schechner, has the habit of saying in his talks that the most human and relational moments in a theatre play are the moments of the queue, before the start and after the end, but especially during the intermission. With this statement, the creator of the Environmental Theather, tries to defend performative practices made in other spaces, such as the street, based on other aesthetic and technical precepts that are not directly influenced by traditional theatre in the stage box, such as the queue situation for any artistic or bureaucratic event. CUA TEATRE tries to give importance to the moments of human contact and experimentation potentially possible in situational practices, intermissions and queues.

The CUA TEATRE is an EntreActe. In theatre, the intermission is defined in a dramatic performance as an intermission, an interruption between parts of a play. In the intermissions in theatres, more specifically in the old dramatic performances, the intermission (the dance, the comedy numbers, sainete, etc.) had to be a different action from the one that was performed on stage, both aesthetically and relationally, and especially without any technical and spatial necessity, because the technique was just preparing the stage for the next act. This entailed the fact that whatever was going to happen on stage took a secondary place (so to speak). This is interesting in that, in a way, the relationship of expression and listening between artist and space becomes more horizontal.

Pedro Bennaton (Gremio de Espacios), in collaboration with the Santa Mònica venue team and ERRO Grupo, proposes this prototype to give a unitary sense to a moment between exhibitions at Santa Mònica, followed by interventions and experimental actions that can be deployed between these periods and specific spaces, to try to organise the value of minor actions/devices, of simple and investigative qualities, and thus give them the same importance as the more spectacular activities of the centre, to experiment with other formats and looks within the same centre and period.

Links of interest:
https://linktr.ee/errogrupo
http://www.errogrupo.com.br/v4/pt/

Activity in the framework of EntreActes#2, the programme of proposals, prototypes and processes that emerge during the period between exhibitions, promoted by the Spaces Guild of Santa Mònica. 

By the Guild of Spaces 23/24.

With the participation of:

Performance: Clei Grött, Constanza Blanco, Santiago Bastidas and Tatiana da Silveira, as well as volunteer participants during the action.

Collaboration with the Santa Mònica theatre team and ERRO Grupo.

Conception, script and direction: Pedro Bennaton.

Pedro Bennaton: resident and worker in Barcelona since 2018, born in London, PhD in Theatre, co-founder of ERRO Grupo in 2001, in Florianópolis, Santa Catarina, Brazil. Bennaton is a director, researcher, playwright and actor, with experience in Arts and Theatre, and a focus on Urban Intervention and Performance, working mainly on the following themes: street theatre, urban space, participation, invasion, observation, invisibility and displacement. Since 2021, Bennaton has been a guest lecturer at the Jornades d'Investigació Artística de la Universitat de Fontys, and since 2022 he has been artist-in-residence at the Centre d'Arts Santa Mònica, Barcelona.

Clei Grött is an actor, performer, director and writer. He was born in Brazil where he started his theatrical career at the age of seventeen and where he graduated in Performing Arts. In 2009 his performance project ‘oferta.oferta’ won the Premio Artes Cênicas na Rua of the Brazilian National Foundation for the Arts. In 2020 he was one of the selected authors in the Scenes of Confinement Competition and had his first theatrical text published in the book from the competition. In 2019 he moved to Barcelona and since then he has been acting in audiovisual and theatre.

Tatiana da Silveira Minossi, Brazilian actress arrived in Barcelona in 2000, she trained as a clown and worked in the world of clowning until 2009, when she started working with the company Sienta la Cabeza until 2019. In 2020 she began to investigate interventions in public spaces, as well as rescuing the clown, performing for both children and adults.

Santiago Bastidas Grijalba is a Colombian actor, playwright and teacher. He holds a Master's degree in Performing Arts with an emphasis on acting from the Politécnico Grancolombiano University and the National Theatre. He holds a Master's degree in Theatre Studies from the Universidad Autónoma de Barcelona. His participation in the direction and dramaturgy of the play Intrusos with the Colectivo Artefacto, winner of the stimulus for the theatre sector of the Department of Culture of the Mayor's Office of Popayán-Colombia (2019), stands out among others.

Constanza Blanco Jessen is a creator, teacher and stage researcher. Script doctor. Professional actress (Dept. of Theatre-University of Chile) and Phd in Theatre Studies (UAB- Institut del Teatre) specialising in relational dramaturgy and scenes of interaction. In theatre she has worked as an actress, playwright, producer and director; and in the audiovisual sector she has worked mainly as a Script Doctor. Throughout her career, she has received various incentives and grants from governmental and private funds.

ERRO Grupo, born in 2001 in Florianópolis, Brazil, since 2018 also works in Barcelona from the aim of its members to experience art as an intervention in the daily life of people and their concepts and in interdisciplinary areas of language, exploring urban spaces as fields of action, through the creation of possible situations and relationships between people who walk the streets, looking for other ways of living and entering the city.

Language: multiple