I was born in Chile, and there I became an actor, theatre director and teacher. When I came to Canada in 1976 I already had a full theatrical career in my country of birth. The change to a new language, a completely new environment and culture was challenging. In this website you can find out how my theatre career continued and evolved in my adopted country. My personal experience with exile and immigration made me see theatre with new eyes, as an essential instrument for social and personal transformation. In 1988, I founded PUENTE THEATRE in Victoria BC, with the mandate to express through theatre the experiences of immigrants and diverse minorities. With PUENTE I had a rich, varied and profoundly life-affirming journey. In June 2011, I retired as PUENTE’s Artistic Director. I am ready for new projects where I can use my experience as director, workshop facilitator, dramaturge, storyteller, and actor.
Since I retired I have been very fortunate and I’ve been able to participate in several exciting projects . Please click in the next line to see a description of them!
Recent and ongoing projects.
Based mainly on the Theatre of the Oppressed method created by Brazilian director Augusto Boal, this course integrates various techniques- such as forum theatre, image creation, playback and improvisation-with the objective of achieving positive social and personal transformation through theatre. Transformational Theater is designed to be experiential and fun. It will be particularly useful for theatre workers, social workers, teachers, activists, community workers and anyone interested in using theatre to address societal issues-such as bullying, racism, family and work-related problems, youth and cross-cultural concerns, or community building.
Respect for privacy in a supportive, non-threatening atmosphere is assured. Please wear loose clothing suitable for movement and light shoes.
Starts :Sept. 13, 2017
To register go to Continungstudies.uvic.ca/calendar
||Face to face
||ASTH629 2017F C01
||Sept. 13 – Oct. 4, 2017
||6:30 – 9:00 pm
|Total instructional hours:
||Sept. 13, 2017
|Expected class size:
Storytelling as an Art form.
Story telling is one of the most ancient art forms. What makes a story truly artistic? After discussing the answers to this question the participants will tell their own stories and will be guided to discover and enhance the artistic values inherent in them.
A participatory workshop. Please come prepared to share a short story, no longer than five minutes.
Saturday, September 23 9AM to 1 PM
Congratulations to Editor Natalie Alvarez on this amazing achievement!
This book is the first to showcase the work of established and emerging Latina/o playwrights in Canada, charting the range and depth of Latina /o Canadian theatre—its radical experimentations with form; its unflinching forays into histories of conquest, political oppression, and exile as told from intimate first-person perspectives; its community activism; and its dark humour. Each play is preceded by a critical introduction written by Latina/o theatre studies scholars from Canada and the US. With its companion essay collection, Latina/o Canadian Theatre and Performance, this anthology provides a core curriculum for courses focusing on Latina/o theatre, theatre in the Americas, political performance, or intercultural theatre in Canada. There are eight authors featured, including Lina de Guevara’s “Journey to Mapu”, Beatriz Pizano’s award-winning Madre, and Carmen Aguirre’s “Refugee Hotel”.
CLICK HERE to find out more about FRONTERAS VIVIENTES
Featuring exciting and provocative new essays by leading and emerging scholars in Canada and the US, this foundational collection begins a conversation about Latina/o theatre and performance in Canada. The essays query the contours and characteristics of latinidad in Canada’s performance spaces within a complex network of hemispheric relations and transnational migrations. While the discipline has witnessed a “hemispheric turn” in the study of theatre and performance in the Americas, Canada has had limited inclusion in this body of scholarship. In their examinations of the groundbreaking work of companies and artists such as Aluna Theatre, Alberto Kurapel, Guillermo Verdecchia, Carmen Aguirre, and PUENTE Theatre, these essays invite us to think more inclusively about the hemisphere and the plurality of the Americas that lie beyond US borders. Includes an investigation into the place of empathy in Aluna’s “Nohayquiensepa”, and an excellent essay by Tamara Underiner: “Living between two or more cultures”, on the political Interventions of PUENTE Theatre’s community engaged theatre.
CLICK HERE to find out more about LATINA/O CANADIAN THEATRE AND PERFORMANCE