CAMAGÜEY.- Professor Leonardo Leyva and his third-year students offered a special rehearsal for Adelante. Even without the lighting design that will be done by maestro Freddys Núñez, the scene already radiated magic. It was a preview of what we will see on January 22nd, when they will premiere "Insomnios en las profundidades del tanque".
It is a journey between reality and fantasy, dreams and deep waters, coming to celebrate Cuban Theater Day. The public will be able to purchase their tickets one hour before the performances on January 23rd, 24th, 25th, 30th, 31st, and February 1st.
They are the last children selected by the unforgettable Corina Mestre (1954-2024). Under the guidance of the Vicentina de la Torre Academy's Acting Chair, they face the challenge of theater in verse, the most arduous in acting training.
The stage of the José Luis Tasende Cultural Center will be transformed into a magical and poetic kingdom: the bottom of a pond, home of the underwater kingdom and the foam court. Under Leonardo's direction, they present an adaptation of the children's play The Fable of Insomnia by Cuban playwright Joel Cano.
With the aesthetics of arena theater, six actors will give life to various characters from this underwater kingdom, including the Sun Fish, the Jester Toad, the Sweet Potato Queen, the Baby Tilapio, Guajacón, Electra the Eel, Mamporro and the Carp King. Four performers take on the weight of the main characters, and almost all of them, in a display of skill and versatility, continually transform into the multiple figures.
The text offers multiple layers of interpretation and combines careful language with deep and universal themes. Before entering the room, the audience will be welcomed in the lobby by the Fairy of the Chest of Dreams, in an introductory performance that marks the beginning of a magical and symbolic journey.
The idea of the foam cut also opens doors to interpret insomnia as a metaphor: an intermediate state between the real and the unreal, between the surface of the water (wakefulness) and the depth of the pond (dreams).
The bottom of the pond is invaded by the waste that humans throw away: plastic bags, containers, and old dolls, a visual allegory of the environmental impact surrounding us. This environment reinforces the tension between the beauty of the dream realm and the crudeness of our actions in the real world.
On January 22nd, Cuban Theater Day, we will applaud their effort and their art. It will be a tribute performance. Don't miss this journey to the depths of dreams.
PROFESSOR LEONARDO
Professor Leonardo insists on the challenge of verse theatre: “It demands acting technique and a deep command of the Spanish language, its metrics, and rhythms. Here there are no psychological pauses as in prose theatre; the actor must convey the whole intention in a verse, sometimes in a single line. In addition, I have added other complexities: anthropological principles of the body, displacements, extra-daily energy, and the impermanence of the character, where each student plays multiple roles, sometimes with only one phrase to defend them.”
—What is the magnitude of an exercise beyond the result?
—For me, the important thing in art is sometimes not the result, but the process. And they have understood this rigor. As part of the exercise, they do not leave the stage during the entire play, facing the challenge of a spectator who surrounds them on all four sides. I am satisfied that the professional world is beginning to respect these pedagogical processes as valid sources of artistic thought.
—Corina Mestre's legacy stands out through them. What do you think about it?
—These students are the last ones selected by teacher Corina Mestre, who left an indelible mark on their education. They are 'children of the pandemic', they began their studies in 2021, in the midst of a difficult context, and during their first year they were barely able to enter the classroom. It is the first time they have stepped onto a stage, that they have a text and the responsibility of facing an audience. Despite everything, they have shown commitment, effort and a desire to learn.
—They also have the collaboration of Teatro del Viento…
—Freddys Núñez has been an invaluable support. Not only does he make his theater and resources available, but he will also design the lights for the play, dedicating himself with the humility and talent that characterize him. It is a beautiful gesture towards the students. In addition, we will extend the season with consecutive performances, so that young people can experience facing the public for several days in a row, because each performance is a unique exercise.
—On a personal level, we know that your artistic approach is not conventional. Are you satisfied with the students?
—This is not a narrative approach. nor linear. I want students to understand that art is an infinite territory of exploration. I have used neutral masks, which far from helping them, inhibit their interpretation, challenging them even more. It is a complex exercise, but they have navigated it with great pleasure and desire, and I am happy with what they have achieved.
THE VICENTINA STUDENTS
Lianet Pérez Piñeiro, from Camagüey
“We have worked from techniques such as those of Eugenio Barba and Theatrical Anthropology to achieve a more expressive body and adequate vocal quality. Emotions are not the starting point, but the result of a technical process; they come on their own and give the final shine to the characters. We will face a real audience for the first time, and we will assume criticism as opportunities to grow.”
Karen María Morell Fernández, from Camagüey
“The exchange of characters is an enriching process, in which one feeds off the other and fills the performance with nuances. As I come from a dance background, I contribute with acrobatics and expressive movements, while other colleagues contributed according to their abilities. In our training, great figures of the theater, such as Carlos Díaz and Verónica Lynn, have left a mark. Corina Mestre has also been among those memories, for awakening in me a lasting love for the theater.”
Alenna Santos Espino, from Camagüey
“I had already sung on stage, which helped me work on the mix of acting and singing. Although it is a challenge to maintain breathing and coordinate the body with the voice. The songs emerged from improvisations, which reflects the creativity of the theater. This year has been key to discovering skills that I thought were dormant. The teacher has illuminated our path.”
Claudio César Pérez Díaz, from Las Tunas
“Camagüey has become my home thanks to the theater and the school, which are now my family. Although I initially felt some pressure for being the son of actors, this has motivated me to improve. This show is dynamic, it prepares us to solve any unforeseen event on stage. The sand theater, with its proximity to the public, is a constant challenge that forces us to be alive and connected.”
Nathalí Medina de Armas, from Ciego de Ávila
“Being away from home is difficult, but it was my decision to pursue my dream of being an actress. Although I was sick for two months, I adapted and I love this city as my second home. I proposed my character of the Fairy to the teacher and although it is brief, it adds weight to the play. Performing in a large theater before a known audience generates emotion, but I trust in the work we have done.”
Mariana Elvírez Reyes, from Florida
“I have participated in acting workshops since I was 14 and I always knew I wanted to be an actress. Although being away from home is a sacrifice, it was worth the effort. The school taught me to see theater in a profound way, as a study of the human being. Acting has transformed me, while the teacher guides us with values such as humility on stage and off it.”
Translated by Linet Acuña Quilez