Con mucha tristeza comunico a toda la gente que ama y admira a Carlos Giménez en todo el mundo, que hemos tenido que cancelar el Homenaje que le estábamos preparando para el día de su cumpleaños, 13 de abril, para celebrar su vida y su obra a 30 años de su partida, en el Teatro Real de Córdoba, en la sala que lleva su nombre.
El motivo es que no encontramos reemplazo para el director al que habíamos convocado para que dirigiera el homenaje, el Sr. Ángel Fernández Mateu, a quien agradecemos profundamente que nos haya conseguido el Teatro Real y haya aceptado trabajar sin cobrar honorarios, quien renunció "por motivos personales".
Agradecemos también al director del Teatro Real, el Sr. Raúl Sansica.
El homenaje, que no contaba con ningún apoyo económico del estado ni privado, y en el que trabajamos más de un año, estaba organizado por Roberto Magurno (quien tuvo la idea) y Amelia Almada, amigo y amiga respectivamente de Carlos e integrantes del grupo teatral que Carlos creó en su infancia: El Club de los Corazones Unidos. Y por mí, autora del libro ¡Bravo, Carlos Giménez! y creadora del canal de you tube Carlos Giménez Creador Teatral, de la página de Facebook con el mismo nombre y del blog Carlos Giménez, dedicados a rescatar el legado de Carlos.
El Homenaje "CARLOS GIMÉNEZ 30 AÑOS DE AUSENTE PRESENCIA" iba a ser muy sencillo:
30)Ángel Fernández Mateu : anécdotas. El Coronel no tiene quien le escribe. ElCampo. El Juglaro.
31) Texto El Caballo de Troya , de Carlos Giménez, leído por todas las personas participantes del homenaje.
32) Coro cantando, a capela, Te quiero , la canción favorita de Carlos. Se le dará la letra al público para que cante junto con el coro.
En el hall del teatro, si se acaba la pandemia del COVID, se proyectarán los siguientes videos durante todo el día y de ser posible, desde el 28 de marzo, día de la muerte de Carlos, hasta el 13 de abril.
Carlos Giménez (born in Córdoba, Argentina, on April 13, 1946, Aries) is the founder and director of the Caracas International Theater Festival, together with María Teresa Castillo, one of the major drivers of culture in
Venezuela, who has not hesitated to support him since 1971, when the first
festival was held, and who then hired him as Art Director for the Caracas
Athenaeum, an institution she has helped create and of which she is the
president.Carlos is also the founder and director of the Rajatabla
Group, with which he has traveled around the world, winning hundreds of
awards, and which put Venezuelan theater at the center of the global theatrical
stage.
Working
as a director since he was a teen, in 1965 he participated in the First
Nancy Theater Festival with his group El Juglar. He was
19 years old and he achieved something impossible at the time: without any
previous performances in Buenos Aires, he gained international exposure
directly from Córdoba to Europe. After that, they traveled to Poland, where the
group shared the Honorable Mention with East Germany in Warsaw
and received the First Prize in Krakow. Back in Argentina he
faced the indifference of the capital's theatrical world towards his
achievements in Europe. In response, Carlos created in Córdoba the First
National Theater Festival, but was excluded from its organization in 1967,
when political repression was starting in his country. This event decided him
to abandon his home country.
This
interview took place in the context of the Pirandello Festival, which is held in every auditorium and every
space within the Caracas Athenaeum, and which he is in charge of organizing.
According to Carlos Giménez, the “main idea for organizing the Festival
comes from the need to connect theater as a social event within the community
it is inserted in”—in this case, the significant Italian immigrant
population—, to involve private business in cultural activities, to take
culture to all social classes, all aspects in which Venezuelan theater has
stayed a bit on the sidelines. With this purpose, the Caracas Athenaeum plans
to organize annual festivals about other important figures in world
theater.
If you
had to create a minimal autobiography, what aspects of your life would you
choose?
My
arrival to Venezuela in November 1969. Because this defines a lot, not only
professional aspects in my life, but also personal aspects, that is, what I was
going to do with my life and my career.
Then, as
this event divided my life in two, going back to my experiences in Argentina,
one of the most important moments was my high school graduation in 1964 and my
departure to Europe. There I discovered a world that was completely unknown to
me and I was dazzled by it, which meant, at least for me, that I was not going
to stay locked within the parameters set by the city or the country I was born
in. I realized there was a mismatch between what I wanted and what my
environment, my habitat, gave me.
During
that time, I met Jack Lang, who is the director of the World Theater Festival
in Nancy, and now Minister of Culture in France, so that was how in 1964 I came
into contact with international festivals, which was going to be really
important, because Jack Lang invited us to participate in 1965 in the First
World Festival in Nancy. This invitation also extended to the group of people
who at that time were in Europe without having constituted the El Juglar group
yet - the creation of which is another important moment in my life, even though
El Juglar never had neither the influence nor the impact that Rajatabla has had
in Latin America. This participation was extremely important if we consider
that this group that went to the Nancy World Festival and to festivals in
Warsaw and Krakow, Poland, in 1965, was a provincial theatrical group that had
not left Córdoba to go to Buenos Aires, but to participate in these really
important events.
Moreover,
1965 was the year when all the movements which would have a huge impact in the
theatrical world started all at the same time, like Nancy, Grotowski, Eugenio
Barba, Jack Lang, Els Joglars from Barcelona and La Comuna from Portugal. In
Poland, we presented a play which won one of the awards of the International
Theatre Institute (ITI-UNESCO), called “El Otro Judas” (The Other Judas) from
Abelardo Castillo, one of the most eminent Argentine intellectuals from that
time and director of “El Escarabajo de Oro”. With this play that I directed we
won the Honorable Mention together with East Germany in Warsaw and, in Krakow,
we received the First Prize.
How important
was your success in Europe for your career?
It was
crucial. That moment and then the cold reception we had in Argentina when we
presented the same play decided me to leave my country.
And did
you come directly to Venezuela?
No, I
started in 1968 with what would be another fundamental event in my life: a tour
by land from Córdoba to Caracas, which took us 3 months. We went to the
main mining centers in Bolivia, where we presented our shows. I vividly
remember the experience we had in Chorolque, a peak that is 5,000 meters
above sea level and has the highest tin mine in the world. There, since there
was no electricity, we performed using the miners' lights - that is, surrounded
by 40 miners who provided us light with their helmets while we performed a
children's play. This tour meant a terrifying discovery of Latin America, not
just skin-deep. We came into contact with utter poverty in Latin America. We
also performed in fishing centers in Peru, we did a wonderful tour around Peru,
we performed in Colombia and in 1968 we arrived at the Manizales Festival. In
this festival, we presented a play called “La Querida Familia” (The Dear
Family), a baroque anthology by Ionesco, and the jury formed by Ernesto Sábato,
Pablo Neruda, Jack Lang, Miguel Ángel Asturias, awarded us the prize. However,
we still couldn't get to Venezuela - we only managed to do that after
participating in the Second Manizales Theater Festival in 1969, where we met
Omar Arrieche, Director of the Barquisimeto Educational Experimental Theater,
who got us a visa to enter by land.
When was
Rajatabla founded?
On
February 28, 1971, when “Tu país está feliz” (Your country is happy) was
premiered. At that moment we expressed our desire to form a group with a
regular cast, a permanent producer, our own auditorium for the long-term, which
would allow us to evolve our aesthetics and have a very unique repertoire based
on the needs of the group. All of these expectations were surpassed by the
reality of our work. At that time, some important things happened, like the
Caracas International Theater Festival.
Was
Rajatabla already part of the Athenaeum at that time?
Rajatabla
has always been dependent on the Athenaeum in a rather informal way, but with
the success we achieved with our performances—“Tu país está feliz”, “Don Mendo”
(Mr. Mendo)—and finally after presenting the first show we prepared with the
name of Rajatabla, which was “Venezuela tuya” (Your Venezuela) by Luis Britto
García, we became the regular cast in the Caracas Athenaeum.
How
important is the Caracas International Theater Festival considered in
Venezuela?
I
personally believe it is of critical importance, because it consolidates a
whole perspective and a philosophy regarding theater. However, this is a relatively
misunderstood fact in the Venezuelan context, because of the investment it
implies. It's true that it would be really beneficial for the country if the
government invested that money in other important priorities, such as creating
a National Theater School, a National Theater Company, but we know that's not
going to happen. Our country is the empire of consummated facts, of de facto
culture. Furthermore, I believe that this Festival projects and creates an
international relationship for Venezuelan theater, it opens up new structures,
it raises the level of reflection, it powers and qualifies the work of our
creators and it means opening up to incorporate an enormous class to theatrical
activity, especially young people.
We
remember that in 1979 you suffered a serious accident. What did it mean for
you?
That was
another fundamental event in my life. Because through that accident and through
the response and support I got, people's emotional attachment, I established an
important connection with the country.
This year
you're going to direct “Chuo Gil” in the United States. How are you preparing
for this new experience?
With
great enthusiasm, because it means entering the United States professional
theater, with a very important cast, within a different framework and with a
huge production team and an almost mechanical production. It means entering a
state in my profession that is perhaps less human but very interesting to go
through.
What do
you think are the most important values in your theatrical work?
Firstly,
I'm getting more and more terrified of formulas. I find it hard to rationalize
my work method. I can use 4 or 5 of Stanislavsky's concepts, introduce elements
from Brecht's technique, but I'm not an educator, I'm not a teacher.
But are there
specific formulas you reject?
No,
that's something I did at the beginning, but I'm rejecting less and less.
There's an already trodden path that you need to travel sooner or later. What's
wonderful about theater is that inapprehensible sense that you never know
what's going to happen, that intangible element for which an actor might
perform in a completely different way than on the previous day. There are some
topics that I'm invariably interested in, such as timelessness - theater is not
a video, it's not a movie, it's something absolutely temporary in essence. When
the curtain comes down, we know that we've seen a performance that will not be
repeated ever again. Another fundamental topic is that of space and time, and
the reaction to these two elements from the director, the actor and the
spectator. That is why I have paid special attention to staging and to keeping
away, as I believe great creators have done, from acting mechanically, from
reading the text in a literal way. For example, Stanislavski, who made a
comprehensive analysis of actors, did not dissociate the work of the actor
himself from external elements, for example smell - he said he wished smell
would come from the stage. And that is what I call paying attention to reading
plays non-literally.
Why have
you decided to set up “Tu país está feliz” again?
Because
my aesthetical proposition is not dissociated from my ideological proposition.
I want to set up not only that play but also the 20 shows I did there once
again. To perform a kind of live dive to see what happened with everything that
has been done before. Reflecting from a long distance allows you to see things
much more deeply, and personally it allows me to discover what hidden territory
I can tread on to make a new recreation. I've been accused of being reiterative
and it's true - I am a kind of Manichaean who has enclosed himself within a
series of personal codes and I will not be free until I have exhausted them.
They are like the ghosts I accept I'll have until I get free of them.
Note by VMI:
Although all articles about Carlos Giménez say he was born in Rosario, which is
true, when we interviewed him Carlos was very busy organizing the Pirandello
Festival, so he asked us to leave him the questions saying he would answer them
in writing. He loved writing and he did it very well. And he wrote:
“Carlos Giménez (born in Córdoba, Argentina, on April
13, 1946, Aries).”
People are not from where they were born but
from where they feel they were born. And he
is as Cordovan as he is Venezuelan.
