The figure of María Isabel Matamala is the central character of the staging that tells and remembers an investigation that never saw the light of day. This Chilean doctor wrote, together with other activists, a manifesto feminist who spoke about the discriminatory reality of women within a revolutionary party while they were prisoners in Tres Álamos.
Full of data, dates, stories, reflections and questions, the document was taken from the center of detention and clandestinely sent to CIMADE, but upon arriving in France and being handed over to the MIR the document disappears.

What was it like to be a feminist within the MIR? What era changes do we see and what is there left to do? What happened to those texts? These are some of the questions that guide the project.

“The story of María Isabel represents that of many women, women who are no longer here, who They disappeared, were tortured, murdered, and others who survived. She very generously gave us his testimony, from which we tried to embody other voices; the history of the country, that of María Isabel, her neighbor, anonymous characters and many other identities,” comments the director, Ana Luz Ormazábal.

Pam Berry is a lesbian who, since she was a child, prefers to dream than to be awake. While he sleeps, can be herself and spend time with Sister Marina, a supposed cloister nun who becomes your only and most important companion. One day, Sister Marina gives him signs that it could exist in real life, but at the same time it announces that it will soon disappear.

Hoping to find her, Pam Berry goes to a witch, but things don’t work out. as expected and she will discover many dimensions about herself that she did not know.

Faced with the violence, trauma and loneliness that the patriarchal and cis-heteronormative system imposes on
lesbian identity, Pam Berry is a cry, or rather a song, for freedom. Written by Rae del Cerro and directed by Ana Luz Ormazábal, the work is constructed as a concert, where the Music and singing express with rhythm and cadence emotionality and sadness, but also tenderness and humor that emerges from this love story. In a gestural work that takes elements of the circus, the staging proposes a sensitive experience to talk about love in all its diversity and complexity.

In the pre-cinematographic era, there were a series of analogous experiments that transformed beings and objects through live procedures. Low-cost materials were used to generate optical and sound effects. Many of these experiments were named as the “philosophical toys” since they amplified the ways of perceiving the world and are considered as the founders of the cinematographic technique. From these explorations, Comedia de Magia arises a theatrical genre that took place in Chile, after the independence of the Spanish crown until today, without the same impact as in its beginnings.

AL PACINO, is the name of a live maneuver that investigates this theatrical genre, using its same precepts: light, shadow, bodies, sounds and the alchemy that emerges when opposing these elements, searching to return to an irrational and monstrous scene, from the clash of lights on a wall, just like in cinema.

In order to collaborate in new creative processes, Escénica en Movimiento dance company from the city of Concepción invites the creative core of Antimétodo (Ormazábal, Carvajal, Erazo) during the first half of 2019 at the Bío-Bío Theater.

The scenic research seeks to explore, through the practice of dance, in the imaginary and identities of Concepción under the concepts of rubble and ruin in order to embody and reflect upon a territorial and historiographic event.

The moment magnitude (Mw) is a scale that measures the size of seismic events from the amount of energy released. It refers to the number of rock movements and the surface of the fracture produced by the tectonic stresses that act in the crust.
The magnitude of the moment is a transdisciplinary scenic experience, which unites Antimétodo with Escénica en Movimiento, to explore the movements of a territory called Concepción, and the displacements produced by a ground that refuses to remain still. A land where the borders are exited and in dispute, one which is made of layers of other soils, full of ruins and ghosts of those who have settled and those who have left.

Historically, opera came to Chile at the end of the eighteen-hundreds as a consequence of the process of colonization through Italian companies financed by a growing oligarchy interested in the modern European process.
Based on real events of Chilean history, the fiction dwells on the opera “Lautaro” composed by Eliodoro Ortiz de Zárate, premiered in Teatro Municipal of Santiago in 1902 and performed by an Italian company. The show was premiered twenty years after the Araucania’s Occupation (1860-1883) the end of the territorial Mapuche autonomy with the Chilean State after Chile’s independence.

The Lyrical Italian Pantanelli Company comes back to Chile after more than a hundred years to try once again, as their ancestors did in 1902, to perform Ortiz de Zarate’s opera, through a scenic language that is today in crisis: opera. ÓPERA explores the impossibility and failure: of inhabiting a canonic art and of inhabiting a language that was exiled of our history, the Mapudungun.

Staging in which actors, dancers, musicians, and a designer decide to create a concert that explores the musicality within the body. Through the possibilities of sound, the concert emerges —a process that invites the audience to be part of a rich sensory experience.

The central goal is to achieve a concert, using the sonority of the body and the manipulation of musical instruments as a base for the staging to testificate the history of a generation. The set framework is the basic structure of a common concert: different openers every day (young musicians and bands), band format (guitar, bass and drums) and the fragmentation of the play, understanding every scene as a song.

The relation that the performer establishes with the styles, formats and musical elements of each scene shifts the focus to the performer as an instrument. From that musical locus, the concert is born—from the subjectivity of the music within each performer. This exercise develops a nonlinear story, where the visual and sound elements guide the senses to the simple desire of making music. The limits of dance, theatre, and music are all creatively questioned throughout this investigation. The songs, the rhythm, the dance, the instruments, and performers collectively yield a complete and beautifully textured musical experience.

CONCIERTO is the exhibition of a generation in which the diversity of musical references coalesces to reflect a hyper-connected and globalized sonic identity. In turn, by uniting distinct musical references and by exploring their implicit and connected identity, the work becomes a reflection on music as a universal language.