Currently, NPN and La RED are supporting tours of Latin American/Caribbean and U.S. artists throughout the hemisphere. Below is a listing of current and past touring activities and the pilot commissioning project supported by Performing Americas. For more information on how artists can participate in the touring program, or how presenters can be part of PAP tours, please visit the FAQ page or contact Performing Americas Program Coordinator Elizabeth Doud.
Current and Upcoming Tours
Lagartijas Tiradas al Sol (http://lagartijastiradasalsol.blogspot.com/)
Mexico-based performance company Lagartijas Tiradas al Sol will be touring El Rumor del Incendio (The Sound of Fire) to five cities in ’12-’13:
- PICA – TBA Festival 2012, Portland, OR – September 5-13, 2012
- Myrna Loy Center, Helena, MT – September 13-18, 2012
- MECA, Houston, TX – April 2013
- Flynn Center for Performing Arts – April 2013
- Fusebox Festival, Austin, TX – April 2013
ABOUT THE WORK: In Mexico in the 1960s, young revolutionaries took up arms in a desperate attempt to change society. In El rumor del incendio, they explore this shady piece of Mexican history involving guerrillas during the 1960s and ’70s, focusing in particular on the personal experience of one woman, Margarita Urías. Archeologists of meaning, performers and co-creators Luisa Pardo, Francisco Barreiro and Gabino Rodríguez furiously delve into the past, unearthing the tarnished artifacts of recent history bathed in blood, sweat and tears. At the heart of their excavation lie the remains of an unresolved conflict. Using documents, scale models and figurines, and working with a shoestring budget nourished by unbridled imagination and an extraordinary sense of narrative, they have concocted an epic documentary theatre that sheds light on their passionate craving for rebellion, a heritage of the utopian desires of their predecessors.
Maureen Fleming Company (http://www.maureenfleming.com/)
New York City based Maureen Fleming Co. will be touring Waters of Immortality to four cities in Latin America in Fall 2012
- Festival Internacional de Teatro de Manizales, Colombia – Sept. 2-6, 2012
- Teatro La Cochera, Cordoba, Argentina – Sept. 10-17, 2012
- La RED Nucleo Mendoza, Argentina – Sept. 18-22, 2012
- La RED Nucleo Montevideo, Uruguay – Sept. 23-28, 2012
DJ Rekha (USA) – May 2012
Mercado Cultural de Bolovia, La Paz, Bolivia
Mercado Cultural de Bolivia, Santa Cruz, Bolivia
Bill Young (USA) – April 2012
Associação de Amigos da Arte – Rio Preto, Brazil
VIVADANÇA Festival Internacional – Salvador, Brazil
Companhia de Danças Diadema – Sao Paulo, Brazil
Mariano Pensotti (Argentina) – January/February 2012
Performance Space 122, New York, NY
Wexner Center for the Arts, Colombus, OH
Walker Art Center, Minneapolis, MN
On the Boards, Seattle, WA
Yerba Buena Center for the Arts, San Francisco, CA
REDCAT, Los Angeles, CA
Mariano Pensotti El Pasado es un animal grotesco (The Past is a Grotesque Animal), January & February 2012
The National Performance Network’s Performing Americas Program welcomes Argentine writer/director Mariano Pensotti, a rising star in Latin American theater, in his first American tour, with his highly acclaimed El Pasado es un animal grotesco (The Past is a Grotesque Animal). Taking place over 10 years from 1999 to 2009, the piece is a funny yet moving portrait of a generation that follows the lives of four twenty-something characters through a decade of economic and personal turmoil in which their dreams collapse and the world around them changes in unexpected ways.
As in many of Pensotti’s pieces, the audiovisual elements are integral to the play’s structure, creating a cinematic dimension. The action deftly unfolds on a revolving circular platform that both conveys time’s ceaseless march and divides the action into four spaces in which vital moments in the characters’ lives play out.
A cast of four actors represent not only the four protagonists, but also take on an array of secondary roles in each other’s stories, often changing character with as little as the addition of a pair of glasses or a shift in pose. Through the carefully controlled, fast-paced, overlapping story lines, characters and action, Pensotti illustrates how quickly and easily real life can transform into fiction and back again. In Spanish with English subtitles.
Mariano Pensotti and company “The past is a grotesque animail” / “El pasado es un animal grotesco” 2012 Tour:
photos courtesy of Mariano Pensotti
- January 1 – 15 – *Performance Space 122, New York, NY
- January 16 – 23 – *Wexner Center for the Arts at The Ohio State University, Columbus, OH
- January 24 – 29 – *Walker Art Center, Minneapolis, MN
- January 30 – February 5 – PuSh Festival, Vancouver, BC, Canada
- February 6 – 13 – *On the Boards, Seattle, WA
- February 14 – 19 – Yerba Buena Center for the Arts, San Francisco, CA
- February 20 – 27 – *REDCAT/Roy and Edna Disney, CalArts Theater, Los Angeles, CA
*indicates NPN Partner site
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Women of Calypso (Trinidad) – January 2011
Miami Dade College, Miami, FL
El Centro Su Teatro, Denver, CO
Cultural Odyssey, San Francisco, CA
Cultural Arts Center, New Orleans, LA
Rudi Goblen (USA) – March 2011
Festival Transitarte, San Juan, Costa Rica
Torrealba, Costa Rica
Siquieres, Costa Rica
Miguel Gutierrez (USA) – May 2011
Universidad Autonoma de Mexico (UNAM), Division of Dance, Mexico City, DF
UNAM, Guadalajara, Mexico
Women of Calypso (Trinidad) – December 2009
Creative Residency at Carpetbag Theater, Knoxville, TX
Commissioned by Performing Americas Program (Pilot Project)
Teatro en el Blanco /Guillermo Calderón (Chile) – February 2010
El Centro Su Teatro, Denver
Miami Dade College, Miami
REDCAT, Los Angeles
Guardians of the Flame (USA) – March 2010
University of the West Indies, St. Augustine, Trinidad and Tobago
Nejla Yatkin (USA) – March 2010
Mujer en las Artes, Tegucicalpa, Honduras
Festival Centroamericano de Teatro, San Salvador, El Salvador
Festival Internacional de Artes Escenicas, Ciudad de Panama, Panama
Jennylin Duany (USA) – August-September 2007
Arteatro, San Salvador, El Salvador
Mujeres en la Artes, Tegucigalpa, Honduras
Compañia Imaginariius, Santa Rosa de Copan, Honduras
Jeremy Wade (USA) – October 2007
Teatro Victoria, Montevideo, Uruguay
Teatro Florencio Sanchez, Paysandu, Uruguay
Teatro Larrañga, Salto, Uruguay
Teatro del Cetro Cultural de la Cooperación, Buenos Aires, Argentina
Las Chicas/3.5 Floppies (Mexico) – February 2008
El Centro su Teatro, Denver, CO
Museum of Contemporary Art, Chicago, IL
7 Stages, Atlanta, GA
Diana Seiznblum (Argentina) – January-February 2008
PICA, Portland, OR
Dance Theater Workshop, New York City, NY
Tigertail Productions, Miami, Fl
REDCAT, Los Angeles, CA
Cristina Moura (Brazil) – Spring 2008
Cultural Odyssey, San Francisco, CA
NPN Supports Three Latin American Companies
The Performing Americas Project is supporting the tours of three Latin American companies that will be traveling to NPN Partner sites in 2008. The companies will be engaged in week-long residencies of performances, workshops and community outreach in each city. Check out the schedule below for opportunities to see this amazing work from Latin America.
Alaska, by Diana Szeinblum and Company / Buenos Aires, Argentina
Diana Szeinblum, a Pina Bausch trained choreographer from Buenos Aires, brings her new work Alaska to the United States. Performed to a pulsating live score, Alaska unfolds as two women and two men come together and fall apart, simultaneously pan-erotic, violent and coolly held-back. Argentine choreographer Diana Szeinblum’s new work explores the relationships between four characters and the concept of “interior space.” Raw, sexy, brainy, mysterious and darkly funny.
January 25 – February 1, 2008
Portland Institute of Contemporary Arts (PICA), Portland, OR
February 4 – 10, 2008
Dance Theater Workshop, New York, NY
February 11 – 17, 2008
Tigertail Productions, Miami, FL
February 18 – 24, 2008
Roy and Edna Disney/CalArts Theater (REDCAT), Los Angeles, CA
Las Chicas del” 3.5 Floppies
by Luis Enrique Gutierrez Ortiz Monasterio / Mexico City, Mexico
Life is tough. Choices have to be made. Pay little Joaquín´s school fees or blow the lot on coke and go clubbing to the 3.5″ floppies? Clean the apartment so your estranged kids can visit or let your penniless pal move back in and risk everything? And what about the irresistible offer from the men in Tijuana? Two semi-whores, semi-junkies, half-mad and half-baked, discover that they count for nothing as personalities, that they are hardly worth an empty gesture and they might as well be dead – but no – because there will always be another two semi-whores, semi-junkies, half-mad and half-baked to take their place, or they themselves with be cloned into the same empty space. As hard as we may look for it, our existence has no meaning, we represent the grimace of God who simply filled a space for the sake of filling it – like the god of Philip Gosse, who created a quantity of ancient fossils so that the world would look older – to avoid feeling lonely, like those who collect Hustlers or The Preacher. This work is performed in Spanish with supertitles in English.
About the Writer – Luis Enrique Gutiérrez Ortiz Monasterio
Amongst his principal Works are Diatriba rústica para faraones muertos (Rustic Diatribe for Dead Pharaohs), De bestias criaturas y perras (From Infant Beasts and Dogs), Los restos de la nectarina (The Remains of the Nectarine) and Portal (Doorway). He has published stories and poetry, with less frequency and success as his works for the theatre, for which he has received various awards. He also directs a literary workshop “Sentenced” in the San José el Alto Penitentiary in Querétaro.
Las Chicas Tour Dates:
Like an Idiot
by Cristina Moura / Rio de Janeiro, Brazil
Brazilian-born Cristina Moura delights with like an idiot, an exploration of dance performed to music ranging from Mozart to Lauryn Hill. Physical, concrete, subjective, Moura’s movement vocabulary is emotional and political, displaying the body as a storehouse of emotions. “Cristina Moura’s solo urban dance work like an idiot is an inner landscape of dancing with oneself — funny, physical, political, impulsive. Brazil’s Cristina Moura is . . . urban, engaged, and audience-friendly.” Staci Nevinski, CulturalAffairs.org
Confirmed Tour Dates:
May 18-25, 2008
762 Fulton Street
San Francisco, CA
Performing Americas Program Creation Fund (PAPCF) Pilot
Over the years, PAP staff and curators have come across hundreds of outstanding artists working in Latin America and the Caribbean that have a great desire to tour in the United States. Artists located in large urban centers such as Rio de Janeiro, Buenos Aires and Mexico City, to name a few, often have the production resources and access to media and management support that allows them to launch their work—provided their work is in demand and has a tour-ready production value—on their national and international tour circuits. Traditionally, PAP has sought out tour-ready artists that are emerging, or mid-career, and who have had little or no exposure in the United States.
PAP staff and curators have traveled to diverse regions in Latin America in order to see work from outside of these large urban centers, but find that many of the artists that interest the curatorial team—particularly those outside of these large cultural centers—are lacking support to finalize key aspects of the work. This is often an indicator of lack of access to infrastructure, not artistic quality, and it has narrowed the program’s ability to represent Latin America and the Caribbean, and its true regional, cultural and linguistic diversity. In acknowledging that the curatorial team often selects artists from these same urban centers, and gravitates towards work that is more “highly produced,” we wanted to explore ways to support emerging work so that curators could feel confident in programming it, while providing tangible resources for artists to raise the production level of what they do, so that touring is viable.
Renata Petroni, PAP director, asserts that, “Buenos Aires and Sao Paulo are the ‘New Yorks’ of Latin America. Artists coming from those centers will always have an advantage. If our program is about serving the full spectrum of the Americas, then we have to expand our idea of ‘tour-ready’ and implement additional support to make the work accessible for U.S. presenters and audiences alike.”
To explore how PAP can address this need and break some of the established programming patterns, we have chosen to focus on artists from Trinidad-Tobago for the pilot phase of the PAPCF to assist in the commissioning of a new work. The idea for this work, Women of Calypso, was conceived by former PAP curator and Creative Exchange artist Idris Ackamoor, and had been on the table for some time, but lacked the production resources to get it off of the ground. It is an ideal project to start with, as it features artists from a region that has never toured through PAP, (and also represents the English speaking Caribbean), and is the result of relationships forged through the PAP Creative Exchange. The pilot phase is supporting a week-long residency for the artists in Knoxville, hosted by Carpetbag Theatre, as a way to provide creative work time, leverage potential commissioning support from NPN Partners, and expose this aspect of Performing Americas’ work to the network.
The PAPCF will provide direct support to artists and commissioners by funding and acting as the liaison internationally for project activities. Following the NPN Creation Fund model, the PAPCF will start with $10,000 in commissioning support for artists and the project. Additionally, PAP will provide travel support in the creation-production phase.
Women of Calypso – About the Project
Calypso music is renowned throughout the world and rivals reggae music as one of the most versatile, political, entertaining, and uplifting musical genres to captivate an international audience. Calypso rhythms can be traced back to the arrival of the first African slaves brought to work the sugar plantations of Trinidad. Since the first Calypso recording in 1914, the music has been a male-dominated genre until the 1960s saw the arrival of Calypso Rose, who became the first “Queen of Calypso.” Through their songs, these women of Calypso sing about contemporary life in Trinidad. All three are seasoned performers and songwriters, and have won hosts of awards and regularly place in the finals of Calypso competitions during Carnival and year round. Calypso is a music of the people, and although the more popularly known Calypso singers have been male, such as The Mighty Sparrow, Shadow, and Lord Kitchener, “Women of Calypso” showcases the best of female Calypso singers from Trinidad who are now more than ever competing with and rivaling their male counter parts.
Women of Calypso will be an evening of music, theater, social commentary, and autobiographical musings in a concert setting. The music will be center stage with the addition of “singing narratives” taking the audience on a musical and spiritual journey into the lives of these three powerful women. The project will be produced in collaboration by Cultural Odyssey and the National Performance Network and directed by Cultural Odyssey’s Co-Artistic Directors Rhodessa Jones and Idris Ackamoor. Professor Rawle Gibbons of the University of the West Indies in Trinidad will act as a creative consultant.