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SATURATED MOVING THE THEATRE CELESTINA Gayumbo IN NATIONAL THEATRE FESTIVAL

BY GILDA MATOS

Gayumbo Theatre presented its version of La Celestina in the Dominican National Theater Festival in the line of interpreting classics of the English Golden Age dominicanizados, simply and for all age groups .

The group is one of the most representative companies of the theater craft in the trend of popular theater, with a distance of more than 30 years in an aesthetic that is characterized by originality in interpreting the classics of the English Golden Age as Don Quixote and Sancho Panza, Cervantes and Lazarillo, with which it has transcended international level by participating in major theater festivals in the world.

The success of their performance was marked by brilliance, simplicity and extraordinary ability to retain the essence of the works of classical authors, making our time more enjoyable and digestible to the Dominican Republic and Latin America.

The presentation of this assembly may notice some differences and similarities in the form of address Gayumbo classic English Golden Age in previous experiences.

METHOD:

The company is one of the most faithful exponents of the Theatre Brecht in the country, its mise en scene is based on the theory of alienation through reasoning expressed in the resources of stories, songs and expository mode of representing the characters in his shows. In the Celestina, presented at the festival, these elements were only partially.

narrative saw the characters of The Troubadour and Sempronius, played by Carlos and Manuel Chapuseaux, respectively.

However, the central character in the play, epitomized by Nives Santana, followed a different direction, closer to the truth, looking for the human side of La Celestina, bordering the circumstances inside a battered old and unprotected. Nives

plays a being justifies selfishness and greed are looking for financial security at any price, safety denied by society. This way of representing the character broke the harmony of logic Brecht's "reveal" instead of "being" the character.

TEXTUAL FITNESS

Gayumbo theater had got the better to adapt classical texts, because of cleverly has managed to transcend, or at least preserve the essence of them, however, this time, faces the choice of excluding from the scene some important characters to the plot or replace by puppets and voice-overs, as is the case Melibea and Callisto, an action that apparently limited understanding and strength scenic key dramatic event in the play.

also different from the Celestina tradition mythologizes as "a bearded old is dize Celestina, witch, cunning, shrewd in quantas evil and plenty of spells known, Gayumbo stage shows a sustained Celestina slow and lame that is diminished compared to the character of Sempronius, a wretched servant and accomplice of lying to trick fools in love. Contrast

therefore the concept of the character of La Celestina, Gayumbo conceived in relation to the original work. The central conflict of the lovers and Celestina becomes a secondary element, against which the director role at Sempronius, who with his magnificent gesture, agility and grace, seems to become the central character, as opposed to design intimate of La Celestina in this release.

The PUBLIC

The audience received with great care and without empathy history of the English author Fernando de Rojas in Gayumbo version for lovers of dramatic literature was a pleasure to hear a text has been understood, without further moments of interaction and play with the audience but with ease, expertise, and precision cleaning stage.

The great merit of Gayumbo Theatre in this production, is precisely to have fought in some way with their own tradition, to be faithful to the essence of the work, offering a new version that does not deny the author, but proposes to a new look, beyond the gaze of the audience.