Teatro de la abadia programa

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Saltar al contenidoContenidosTeatro de la abadía programaTeatro de la abadía programa 2022En 1601, Francisco Sánchez, carpintero de profesión, recibió el encargo del Ayuntamiento de Alcalá de Henares de construir este corral de comedias en la llamada Plaza del Mercado.

Así, la nueva programación del Teatro de La Abadía deja espacio a lo imprevisible bajo una filosofía que lleva a trabajar desde la conciencia de que el teatro necesita flexibilidad para adaptarse una y otra vez a lo que la vida pone en su camino.

Asimismo, estos clásicos, transitados desde miradas disruptivas y transgresoras, convivirán con creaciones que ahondan en otros lenguajes escénicos. Y también inciden en la realidad y su complejidad, problematizando algunas de sus características.

the mariachis theater

The spectators will find at the Teatro de La Abadía a set of works of the universal repertoire in coexistence with pieces of contemporary creation, in which the word has the same presence as the plastic or corporeality. Because going to the theater is to be carried away by the unexpected, to discover different ways of doing and seeing.

A program that leaves room for the unpredictable under a philosophy that leads us to work from the awareness that the theater needs flexibility to adapt again and again to what life puts in its path. In the coming months, La Abadía awaits the spectators to offer a restless theater, with an unsettling activity.

Thus, in the season that will start in September, we will present re-readings of several great titles of Western theater: a reunion with Mio Cid, a show directed and performed by José Luis Gómez, an essential figure in the history of our theater, and that throughout this season we are closing has enjoyed a long tour; and with Nise, the tragedy of Inés de Castro, by Ana Zamora and Nao d’Amores, which returns to the Sala Juan de la Cruz with a different arrangement of the seats in search of a new experience.

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In the programming of the Teatro de La Abadía for the 2021-2022 Season, the spectators will find a set of works of the universal repertoire in coexistence with pieces of contemporary creation. And in all of them the word has the same presence as the plastic or corporeality.

Thus, the new programming of Teatro de La Abadía leaves room for the unpredictable under a philosophy that leads to work from the awareness that the theater needs flexibility to adapt again and again to what life puts in its path.

Likewise, these classics, transited from disruptive and transgressive looks, will coexist with creations that delve into other scenic languages. And they also have an impact on reality and its complexity, problematizing some of its characteristics.

In addition, in Every Atom of My Body is a Vibroscope, inspired by the life and work of the deaf-blind writer Helen Keller, Rakel Camacho directs Eva Rufo and Esther Ortega. And so she delves into diversity with a show that is an existential poem about the limits of the visible and the invisible.

neighborhood theater

Its origin dates back to 1876 when the Madrid City Council acquired a plot of land in the aforementioned district road to build an epidemic hospital on it. At the end of the Civil War, the school reopened under the new name of Sagrada Familia.

The first to perform theater in the present Abbey were the schoolchildren and the neighborhood associations.  On October 14, 1992, the Chapel and the assembly hall became the theater and study hall it has become today.

Its origin dates back to 1876 when the Madrid City Council acquired a plot of land in the aforementioned district road to build a hospital for epidemics. At the end of the Civil War, the school reopened under the new name of Sagrada Familia.

The first to perform theater in the present Abbey were the schoolchildren and the neighborhood associations.  On October 14, 1992, the Chapel and the assembly hall became the theater and study hall it has become today.

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