LAB ESCÉNICO

Siguiendo los protocolos de salud correspondientes, LAB Escénico volvió a las actividades presenciales en 2022, y éstas se dividieron en seis áreas:

• Diálogos post función con artistas y público general.
• Foro público, una serie de conversatorios con artistas que se hicieron presentes en el festival.
• Escuela de verano, que incluyó ensayos abiertos, workshops y clases magistrales a cargo de los artistas que presentaron montajes de teatro, danza y performance, en el festival.
• Pequeñas audiencias, un programa de actividades lúdicas que ayudan en la profundización de la experiencia teatral de les niñes. Se realizó en las comunas de Nuñoa, San Joaquín, Pudahuel, Ukamau (Estación Central), Renca, Mejillones, Peine, San Pedro de Atacama y La Chimba, en Antofagasta.
• Apertura de proyectos del Programa de Dirección Escénica (PDE) 2021-2022, donde 16 jóvenes directoras y directores de Chile, Perú, Uruguay, mostraron las piezas en las que han trabajado.
• Actividades realizadas bajo el contexto de la 2ª Noche de las Ideas, un evento anual mundial que celebra la libre circulación de las ideas y del conocimiento entre países, culturas, disciplinas y generaciones.

En esta edición, la programación del LAB Escénico se dividió en tres ejes principales:

• Día del patrimonio: foco en Territorios Creativos con tres paneles de conversación en torno al programa del festival.
• Escuela de Verano: talleres artísticos teóricos y prácticos, clases magistrales, entrevistas abiertas, conversaciones, el programa Petrificaciones de Manuela Infante, el programa Diálogos en Movimiento, un programa de talleres para niñas y niños, y un ciclo de mediaciones en Antofagasta.
• Foro Público: diálogos con el público en la mayoría de las funciones programadas online, el programa “Diálogos para el acontecer”, encuentros con la comunidad, y mediaciones con niños y niñas en Antofagasta.

This year, Santiago a Mil’s free education and mediation program is inspired by reflection, action and transformation, promoting activities in diverse territories and creating opportunities for us to reflect on the transformation Chile is currently undergoing.

Among its activities, Mind the Gap - a workshop aimed at young people and seniors and run by the Director of Education of the New York Theater Workshop, Alexander Santiago-Jirau - particularly stands out. For the first time, Dialogues in Movement, a National Reading Plan program was held, as well as the Culture, Community and Territory Seminar, with the exclusive participation of North American actor, Tim Robbins. Cine Lab included the premiere of La Flor by Argentine Mariano Llinás and the pre-premiere of Medea by Alejandro Moreno, as well as other feature films. Different master classes with artists and the second version of the Theatrical Research Meeting were also part of its training and outreach activities.

In 2018, more than a thousand people took part in workshops, seminars, conversations and dialogues with the audience at the majority of the plays on the festival’s program. Among the most notable activities were the master class with Alfredo Castro and the debut of LAB Afternoons, an opportunity to talk to young Chilean artists. In addition, the first Theatrical Research Meeting and, for the second consecutive year, the International Arts and Education Seminar were held.

Thomas Ostermeier, Wim Vandekeybus, Stefan Kaegi, Lola Arias, Germaine Acogny and Mauricio Kartún were some of the creators who held workshops and master classes as part of LAB Escénico 2017. In addition, the first International Arts and Education Seminar, the National Stage discussion group, the Migración Hoy forum and Cine Lab - showing five films related to the theater and paying special homage to one of the masters of Chilean playwriting, Juan Radrigán – were held.

LAB Escénico 2016 involved different workshops, master classes and open dialogues, bringing artists and audiences together in the Metropolitan, Tarapacá and Antofagasta regions. Among its activities, the Shakespeare Hoy! seminar stands out, as well as multiple meetings and workshops, including one for young audiences. In addition, LAB Escénico included a new collaboration with the Chilean National Film Archive, an alliance involving a season of fiction films and documentaries, all related to the theater and for free.

In its second version, LAB Escénico ran a program involving 131 free activities, including dialogues with audiences, conversations about dance and contemporary Latin American and Chilean theater and master classes with important figures from the international scene, such as Lígia Roque, Steffan Kaegi and Herbert Fritsch.

In its first version, Laboratorio Escénico put together a well-rounded program of training and outreach activities, with more than 50 free events, including the City and Culture Seminar; master classes with two theater greats, Heinner Goebbels, director of Stifters Dinge and Emmanuele Demarcy-Mota, director of Rinoceronte and the Théâtre de la Ville; workshops for artists led by renowned special guests and the Young Audiences program. As a complementary program held in parallel, it brought together 2,200 people over 17 days.

This special edition included dialogues with the audience and different online activities such as Diálogos sin fronteras and Foro Teatro Hoy.

Like every year, each Teatro Hoy play included a dialogue with the audience afterwards, aimed at encouraging both reflection and dialogue with the artists.

More than 400 people took part in dialogues with audiences, an activity that involved the participation of outstanding moderators like Paula Miranda, an academic from the Faculty of Arts at the Catholic University; Gonzalo Winter, congressman for District 10 in the Metropolitan Region and supporter of the Autonomist Movement; María Luisa Sotomayor, Global Coordinator of UNICEF’s U-Report Project; Sebastián Pérez, an actor and theater critic and director of Hiedra magazine and Javier Ibacache, a critic and performing arts programmer and member of FIBA’s curatorial committee.

Once again, dialogues with the public and meetings with the stars of Teatro Hoy were held. For the first time, an Autumn School was organized, involving three training workshops bringing together more than 70 people , as well as a Theatrical Critique Workshop run by Javier Ibacache.

Eight dialogues with the audience were held (one per performance), attended by a total of 275 people. Among the most noteworthy activities were two forums on contemporary Chilean theater, held at the Catholic University and the University of Chile. Teatro Hoy expanded to include the Young Audiences theater access initiative, with 25 children from the La Granja neighborhood taking part.

Each Teatro Hoy play included a dialogue with the audience afterwards, aimed at encouraging both reflection and dialogue with the artists. As part of this season, a forum on Chilean theater was also held.

As part of this year’s season, the Teatro Hoy Forum: Contemporary Chilean Creators was held, an event that included the participation of renowned theater directors such as Álvaro Viguera; Felipe Olivares from the Los Contadores Auditores Company; Muriel Miranda; Hugo Covarrubias and Marco Layera from La Re-sentida, as well as the actors Ana Laura Racz, Pablo Díaz and Ítalo Gallardo from the outstanding production El año en que nací.

During this edition of FIBA Chile, LAB Escénico organized a playwriting event on current creation methods with Ariel Farace, director and writer of Constanza Muere, a play that was performed at the festival that year. In addition, there was an Open Conference on Updating Shakespeare’s Plays, an activity that was led by critic and performing arts programmer Javier Ibacache.

This year, there were dialogues with the audience and the workshops Acting as Something Longed-For: An Intensive Theatrical Creation Seminar, led by Silvio Lang (Argentina); Randomness and Error on the Contemporary Stage, led by Bruce Galdwin (Australia) and The Beyond as the Basis for Creation by Actors, led by Guillermo Cacace (Argentina).