many years ago had not seen. Then, when he staged his work Heart of Fire, many knew that we were dealing with an amazing playwright. The poetic power of his dialogues, the dramatic and sudden irony of his characters, and the versatility and dynamism of their games time and place, and what we promised.
spent the time and distance made their beads of forgetting and remembering. But Maria Teresa Zúñiga, who had studied sociology at the University Center to dedicate the theater with the delivery of creative passion, made the master key word in the theater. It was the late eighties and early nineties. But then, the Peruvian theater was still suffering, as now, the lack of playwrights able to face reality to understand it, seduce or subvert it. So María Teresa Zúñiga, with teammate Jorge Miranda Silva, made the group home expression of art and its own laboratory.
This time we traveled by train to Huancayo to Julio Villanueva. Upon arrival, we entered a restaurant and ask trout. Amid the joy, a sudden explosion, and then others, we suddenly plunged into the night. Those were the times of war and several police stations had been dynamited. But the same: in art as in life, continued to function. A theater shows encouraged us to see the works Huanuco to Huancayo and then represented, and there was Maria Teresa, dressed to show their words and lives of others. Heart of Fire highlighted the swirl of people huanca, contradictions and dignity despite the vagaries of time. It was beautiful hear the words on stage, feeling full of hope metaphors, images that touch these gently fingered the rebellion of the poor. At night, we went home. Rocío Julio Villanueva Marinovich and heard her talk about their experiences and challenges. Yes, he said, had decided to pursue Jorge Miranda theater, that they act and even her infant son also act. It was the decision of his life.
Almost ten years later go back to Huancayo. Jorge Luis Roncal we visited the Andean school where he works. Manuel Baquerizo, literary critic and restless cultural promoter, we had talked about his fucking disease, its work painful, desperate creations against time. Yes, doctors had already given up, because the bone cancer and its consequences are deadly.
She greets us with a smile on his lips. His eyes shine. He's young and their cheeks red serrano heat. Do you remember me?, I say. But then, laugh. We hugged, and then turn to talk and remember the friends, theater, irrepressible life that is overwhelming. "But
Heart of Fire was not always understood, says Maria Teresa. The theater people told me it was a work for intellectuals, and they did not understand. But notice that we put on stage in the little communities and districts, and local people enjoyed the work itself. It was also the most requested. We put 333 times, a record that works and many would like to have.
almost no pause, because she speaks with enthusiasm and energy. Envy had also beaten, as everyone. And the strange friendship of friends, too.
"I do not understand the zeal of some artists. Many spoke plagues me. And when I dropped the disease, no one came to see me, ask me. Feliciano Mejia, when I was sad and listless, he said, if you want to die, die. Sure, I understood his message of resistance, to move forward, however. Very few friends remembered that I existed. When I was in bed, only my friend George gave me the strength to endure. If I even write Mades-Medus for my husband and son to represent him, as a testament. Fortunately, herbal medicine saved me. I'm better now. And keep writing.
Expression In also acts Jorge Miranda Zúñiga, eldest son of the couple. And Maria Teresa remembers when, as a child, he went to theater of the hand of his grandmother. And without meaning, without knowing and as played, admired the magic of lights and tables and the audience spellbound, declared:
"Grandma, I'm going to marry him, and said the actor, Jorge Miranda, whom fate or life or chance or luck really became her life partner.
His works are staged the drama groups from various schools and colleges in the center. All-over 30 - have been represented, although very few have been published. Manuel Baquerizo advised to take care of copyright, and she thinks that at least modestly are spreading. For example, once went to Arequipa and there were a part thereof, with entrances and large audience. But received no compensation. And in a Lima magazine promised to pay for the publication of one of his works. But it was the same. Not paid and received only a copy of the magazine.
with cancer at his heels, Chicho Durant called for filming Mother Courage, which represented the character Pauline, the enemy. Cuban cameraman was fond of her and offered her a job in Los Angeles. But could not. Or would not. Preferred to stay in Huancayo to face the disease and continue to write pieces for the theater. Won awards and received accolades from universities and public and private. He traveled to Venezuela, Bolivia, Denmark. His works were admired and loved.
"But I've stayed in Huancayo for subsistence. I have decided do theater here to show that not only produce good art Lima, but also in provinces, and of very good quality.
Suddenly, the look, and she comes out with an apology on his lips. I took some pictures, but I get the recorder to justify the confidence to memory. Store?, I ask Jorge Roncal, and he says maybe not, not to form barriers, because Maria Teresa is spontaneously releasing images of their memory alive.
"There are artists who are as old," she continued, feeling tired, bored. Some friends do not know what to do with his political ideals. Not only are traitors to the ideas. Also there are traitors themselves.
We take the issue and asked how she has taken her own political commitment. She looks strong, safe, rare synthesis of conviction and creativity.
"I've been a member, I have ideas and commitment to my people. If many have been betrayed, that's their problem. Have not been consistent or had principles. I do, I have principles. And if no one could speak of the same ideas of Marx, yes you can argue about the conditions that gave rise to a Marx. Many thought I was subversive theater, and even spoke to me like a subversive. I had to raise the distance, and show that my work was critical, but creative. Posed the problem, and let the problem exploded into the consciousness of viewers. There was no happy ending. So once the Alcazar Salazar said, "I fucked up, Maria Teresa, I fucked up." Why? Simply because he argued that the popular and provincial theater was pure pamphlet. And no, then.
His sincerity disarms us. Several of his works will be published by a German foundation to support children. And is that Maria Teresa has focused its attention on children. For them make plays, rehearse with them and they have set, in Huancayo and around half a dozen of his plays. Not many but will suffice those who spend more forward to the theater. So Maria Teresa continues. His gaze so tender appears to break with the excitement of memory.
Mades-Medus premiered at the National Theatre Festival organized by the Peruvian American Cultural Institute in 1999, where it opened in October of that year, and in Huancayo this year. In this play, two characters, Mades and Medusa, and a young adult, prepare to welcome the audience. Meanwhile, immersed in a dialogue that is an existential turmoil of the human condition. "Did you know that when a man is confused right and wrong," asks Mades. The sentences are sharp and ironic at the same time. A playful atmosphere ago Medusa said: "And you suffer from any damage?". And Mades says: "Apart from hunger, only constipation." There is a pessimistic view shore of loneliness and a sense of finishing. There is no rational logic in the talks because the company has resigned itself to be rational. And that feeling of being in a different world while we wait for the other, the public, that never arrive, no more intimate opaque hope: "If I die, the dreams continue, dreams were never owned one, dreams are collective, "says Medusa, the young man, who finally dies in silence and amazement of his companion. "You were born in a boat paper with premature wrinkles, "he said Mades. And he concludes:" Never were the protagonists of any history, our art and our lives are for those who have not yet arrived, those who are just going to be born in their colorful boats, those who born in a premeditated fashion, those who collect our thin corneas and swell our souls. "
If we consider that this work was a kind of testament ahead of Maria Theresa, see in it a sense of misunderstanding and loneliness, however, finds its channel in the hope of others, the group that opens our eyes to the solidarity and affection. Mades-Medus is a celebration of hope, but also registration of pain and a struggle that still burns us with his words broken and convincing logic. But Teresa is back on the sand, standing with his heart in his hands, submerged or raised on that extraordinary passion called theater, also known as literature.
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