El movimiento social en las tablas

Por
Semanario Voz
-
347
746
Obra de teatro "Cancionero para señoritas". Foto Corporación Colombiana de Teatro.

El Festival de Mujeres en Escena por la Paz es el primero que se hizo en América Latina. El festival ha crecido no solo en número de grupos que quieren participar sino porque también ha aumentado el número de mujeres en los campos de la dramaturgia y la dirección de teatro, teniendo en cuenta que siempre ha sido un poco más difícil para ellas incursionar en el mundo de las tablas

Renata Cabrales
@RENATARELATA 

Aunque las mujeres sí han estado presentes desde siempre en la historia del teatro colombiano, no ha sido un trabajo fácil para ellas y una de las ideas del festival es incidir en el hecho de rescatar del olvido la aportación de las mujeres en el campo teatral y de la dramaturgia.

Según Patricia Ariza, directora del Teatro La Candelaria y promotora y directora del festival, en conversación con VOZ, “todavía no hay suficientes mujeres haciendo teatro en Colombia, pero digamos, las mujeres, hemos irrumpido en este espacio para quedarnos y también para cambiar al teatro, entonces, ele festival es importante, en ese aspecto…Acabamos de terminar el festival número 27, hemos hecho 27 ediciones en 30 años, con un esfuerzo gigante, luchando contra todas las adversidades, a veces con los propios compañeros, pero eso ha cambiado, hoy en día es algo, es respetado y muy querido por la gente… “Hacer algo” por las mujeres no debería ser algo que se naturalice, pues se vuelve como si fuera una cosa exótica y no lo es, pues es un ejercicio de la libertad en el arte y un ejercicio de los derechos de las mujeres y la política”.

–¿Qué tanto han cambiado las cosas para las mujeres a la hora de hacer teatro?

–Aún es más difícil para las mujeres hacer teatro que para los hombres; siempre ha sido así, aunque tampoco es fácil del todo para ellos, porque el teatro no es una profesión estimada lo suficiente, aunque se puede decir que eso también ha cambiado. Pero no ha cambiado en todo el país, el país es muy desigual y hay regiones donde no hay el más mínimo apoyo para la gente de teatro, entonces la gente tiene que luchar de muchas formas para poder trabajar. Los teatreros son casi considerados parias.

–¿Algún tema en especial que haya sido recurrente en las obras de este festival?

–Este año el tema de la guerra fue recurrente en casi todas las obras. Algo  muy interesante porque el teatro dirigido por mujeres combina de manera muy sutil, lo privado con lo público y con lo político. Los hombres son más épicos, digamos más relacionados con las cosas que se consideran grandes, pero, particularmente, las mujeres están en la búsqueda de la paz desde el teatro. Lo que es algo muy nuevo, yo creo, porque Colombia en todos estos años que han pasado ha perdido como las ganas de hablar de lo que pasa, por muchas razones, también por mucha persecución a los líderes y lideresas sociales y a las y los periodistas. Esas son razones válidas para callar a veces, pero también son más grandes las razones para estar en la resistencia.

En Colombia las mujeres han sido tan golpeadas que paradójicamente eso las ha o nos ha vuelto mucho más fuertes. Colombia es un país con un movimiento social y cultural de mujeres muy importante y por eso ahora están intentando hacerlo retroceder.

Patricia Ariza, directora del Teatro La Candelaria.

–¿Algún criterio en especial para escoger los grupos o las obras?

–Al festival no le ponemos un tema en específico, sino que se hace como una curaduría. Invitamos a las mujeres directoras y dramaturgas, en eso tenemos una actitud muy amplia. Eventualmente, hay hombres que participan, por supuesto, una minoría, pero nos cuidamos mucho de que no sean obras machistas. Por el contrario, algunos plantean las nuevas masculinidades, entonces, en esa lucha estamos.

Ya tenemos una práctica impresionante a la hora de hacer la selección, incluso ahora invitamos a un grupo de Corea y a la directora le llamó tanto la atención el evento que va a organizar un Festival de Mujeres en Escena en su país. Eso va a ser algo muy interesante porque Colombia ha estado muy unida en la guerra con su país, pues mandó muchos soldados a la guerra de Corea, ahora las mujeres artistas queremos estar unidas con Corea en la paz, en el arte  y en el teatro.

–¿Alguna obra en especial que haya llamado la atención?

–Han llamado la atención como siempre, las obras que hemos trabajado con víctimas del conflicto, como Antígona tribunal de mujeres, otra que hemos trabajado en especial con las jóvenes de la insurgencia en proceso de reincorporación al arte, no a la vida civil, sino al arte, que es otro estado que no es ni civil ni militar, es un estado muy particular: el estado de la creación permanente.

De otras regiones y otros grupos hay mujeres dramaturgas muy buenas como Carolina Vivas, Mérida Urquía, Victoria Valencia y muchas otras que no pudieron participar debido a los escasos recursos con los que contamos este año. Pero aquí ya hay un grupo importante de mujeres muy valiosas en el arte en general y en la literatura.

–¿Ha incidido la Cumbre de Arte y Cultura en el éxito de la edición 27 del festival?

–La Cumbre y el festival aún no están conectados, pero fue una revelación, es decir, sabíamos de proyectos culturales paradigmáticos, transformadores, en las regiones y en la periferia, pero verlos y escucharlos juntos ha sido para mí como volver a recuperar la esperanza. Saber de las condiciones más adversas en la selva, en los pueblos, en las regiones más apartadas, hay gente haciendo cultura, haciendo resistencia y no siempre artistas, también las comunidades, pero juntar eso, fue increíble.

Vamos a hacer una red con estos proyectos culturales paradigmáticos por la paz, para contarnos nuestras experiencias de manera más honda y permanente, porque el festival está hecho para crear espacios que inviten a la reflexión sobre la situación en la que se encuentra el Acuerdo de Paz, pero también la situación del movimiento de artistas independientes, que no cuenta con el apoyo de un gobierno que propone una economía naranja para beneficiar a los empresarios e invertir cada vez menos en el arte y la cultura, que son claves en la trasformación de un país.

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