Puppet Theater
Directed by: Alejandra Rojas Pinto | Written by: Amarilis Rojas and Alejandra Rojas | Music and narration: Teatro de Ocasión | Cast: Valentina Escorza, Verónica Torres, María Fernanda Carrasco, César Espinoza | Puppet design and creation: Tomas O‘Ryan | Wardrobe: Daniel Bagnara | Lighting: Franne Goic | Technical producer: Romina Roa.
Alejandra Rojas Pinto
Director
At the height of consulting
This actress and cultural consultant has more than 20 years’ experience linked to the Big North. Not only is she director of La Huella Teatro, but she also organizes the Identidades Festival, an international performing arts event in the Atacama Desert. Her creative work has been marked by anthropological research, which has guided her career, and her participation in international festivals and events has made it possible for Chilean artists to tour abroad, as well as for foreign artists to come to the Big North.
Compañía La Huella Teatro
Memories from the Big North
Formed more than 16 years ago, this company’s hallmark is the search for identity-based theater connected to the human and geographical landscape of Chile’s north. Their creations are based on long periods of field research, gathering stories in their original languages from the inhabitants of ancestral villages. They have performed on Easter Island and in Visviri, Ollagüe and Puntas Arenas, as well as touring and carrying out international residencies in countries such as Argentina, Italy and Denmark.
Compañía Teatro de Ocasión
Shows for early childhood
Founded in 2010, this company’s style fuses theater, culture and pop music, with shows created especially for early childhood. Their plays Una mañanita partí, El viaje redondo and TUM have seen them visit all of Chile, as well as countries like Brazil, Mexico, Canada, Spain, Switzerland, Bosnia Herzegovina, South Korea, China, Japan, Malta, Bolivia, the U.S.A. and Taiwan. In 2016, they released their first record, Canciones de Ocasión, winner of the Pulsar Award for Best Music Album for Early Childhood.
—The play was developed in Ollagüe, a location 3,600 meters above sea level, after a period of rehearsals and physical training lasting more than three months. It included fieldwork based on the ancestral customs of the Big North’s inhabitants.
—It is a multidisciplinary piece that incorporates puppets, objects and live music, as well as using different theatrical resources.
—Its anthropological and theatrical work has led La Huella Teatro to share its knowledge with and learn from international groups and platforms, such as the Yuyachkani Cultural Group, the Teatret du Centauro, Ikarus Stage Arts and the Odin Teatret, with whom they have carried out mutually beneficial residencies in Denmark and Antofagasta.
Andean villages: These are what remain of pre-Colombian civilizations in western South America. In Chile, they are small and disperse, located in the Tarapacá region at the foot of the Andes and in the altiplano. They can be divided into Aymara and Quechua speakers, who earn their living from cattle, agriculture and arts and crafts, particularly selling llama wool weavings. They worship Pachamama, the Incan religion’s Mother Earth, in the Catholic festivities imposed on them by Spanish rule.
Theatrical anthropology: A treaty on the pre-expressive conditions of acting was written in 1993 by Italian author and director Eugenio Barba, director of the Odin Teatret and an expert on Asian theater, having lived for long periods in Japan, India, Indonesia, China and Taiwan. In it, he compares oriental theater to its western counterpart and suggests the existence of the ‘bio-theatrical essence’ of equilibrium and movements, which creates a coherent theatrical reality. These principles precede any kind of theatrical will.
- Watch an interview with Alejandra Rojas, director of La Huella Teatro, on teatroamil.tv.
-Find out more about the work of La Huella Teatro on their Vimeo channel.
On Instagram, @lahuellateatro
On Twitter, @lahuellateatro1
On Facebook, La-Huella-Teatro
Website, http://www.lahuellateatro.cl/web/
COLABORA
Allqu Yana, porque los perros negros son más buenos
By La Huella Teatro | With the collaboration of Teatro de Ocasión
- Chile
- Spanish
- 40 minutes
- Todo público
An entertaining and moving family-orientated show based on the Andean world’s oral tradition of myths and rituals surrounding death.
This show by La Huella Teatro is the result of research carried out in 2005 on the Andean world’s oral storytelling tradition of rituals surrounding death. According to these tales, the only way of crossing the Dead Sea is on the nose of a black dog.
When one of Sunquyuq’s dearest inhabitants dies, the town turns to Justina, the owner of Allqu Yana, the only black dog in the area. Justine is not willing to give him up, not even for Gerta Gillin, the woman who is apparently going to be the next to pass away. Allqu Yana has to make a difficult decision: either stay with his mistress, Justina, who has looked after him for years or accompany Gerta Gillin on her final journey.
Allqu Yana (black dog in Quechua) is a Teatro a Mil Foundation coproduction and the result of a 2021 collaboration with Teatro de Ocasión in the middle of the pandemic to rethink how Chilean companies create and interact.
Allqu Yana, porque los perros negros son más buenos
By La Huella Teatro | With the collaboration of Teatro de Ocasión
- Chile
- Spanish
- 40 minutes
- Todo público
An entertaining and moving family-orientated show based on the Andean world’s oral tradition of myths and rituals surrounding death.
This show by La Huella Teatro is the result of research carried out in 2005 on the Andean world’s oral storytelling tradition of rituals surrounding death. According to these tales, the only way of crossing the Dead Sea is on the nose of a black dog.
When one of Sunquyuq’s dearest inhabitants dies, the town turns to Justina, the owner of Allqu Yana, the only black dog in the area. Justine is not willing to give him up, not even for Gerta Gillin, the woman who is apparently going to be the next to pass away. Allqu Yana has to make a difficult decision: either stay with his mistress, Justina, who has looked after him for years or accompany Gerta Gillin on her final journey.
Allqu Yana (black dog in Quechua) is a Teatro a Mil Foundation coproduction and the result of a 2021 collaboration with Teatro de Ocasión in the middle of the pandemic to rethink how Chilean companies create and interact.
Directed by: Alejandra Rojas Pinto | Written by: Amarilis Rojas and Alejandra Rojas | Music and narration: Teatro de Ocasión | Cast: Valentina Escorza, Verónica Torres, María Fernanda Carrasco, César Espinoza | Puppet design and creation: Tomas O‘Ryan | Wardrobe: Daniel Bagnara | Lighting: Franne Goic | Technical producer: Romina Roa.
Alejandra Rojas Pinto
Director
At the height of consulting
This actress and cultural consultant has more than 20 years’ experience linked to the Big North. Not only is she director of La Huella Teatro, but she also organizes the Identidades Festival, an international performing arts event in the Atacama Desert. Her creative work has been marked by anthropological research, which has guided her career, and her participation in international festivals and events has made it possible for Chilean artists to tour abroad, as well as for foreign artists to come to the Big North.
Compañía La Huella Teatro
Memories from the Big North
Formed more than 16 years ago, this company’s hallmark is the search for identity-based theater connected to the human and geographical landscape of Chile’s north. Their creations are based on long periods of field research, gathering stories in their original languages from the inhabitants of ancestral villages. They have performed on Easter Island and in Visviri, Ollagüe and Puntas Arenas, as well as touring and carrying out international residencies in countries such as Argentina, Italy and Denmark.
Compañía Teatro de Ocasión
Shows for early childhood
Founded in 2010, this company’s style fuses theater, culture and pop music, with shows created especially for early childhood. Their plays Una mañanita partí, El viaje redondo and TUM have seen them visit all of Chile, as well as countries like Brazil, Mexico, Canada, Spain, Switzerland, Bosnia Herzegovina, South Korea, China, Japan, Malta, Bolivia, the U.S.A. and Taiwan. In 2016, they released their first record, Canciones de Ocasión, winner of the Pulsar Award for Best Music Album for Early Childhood.
—The play was developed in Ollagüe, a location 3,600 meters above sea level, after a period of rehearsals and physical training lasting more than three months. It included fieldwork based on the ancestral customs of the Big North’s inhabitants.
—It is a multidisciplinary piece that incorporates puppets, objects and live music, as well as using different theatrical resources.
—Its anthropological and theatrical work has led La Huella Teatro to share its knowledge with and learn from international groups and platforms, such as the Yuyachkani Cultural Group, the Teatret du Centauro, Ikarus Stage Arts and the Odin Teatret, with whom they have carried out mutually beneficial residencies in Denmark and Antofagasta.
Andean villages: These are what remain of pre-Colombian civilizations in western South America. In Chile, they are small and disperse, located in the Tarapacá region at the foot of the Andes and in the altiplano. They can be divided into Aymara and Quechua speakers, who earn their living from cattle, agriculture and arts and crafts, particularly selling llama wool weavings. They worship Pachamama, the Incan religion’s Mother Earth, in the Catholic festivities imposed on them by Spanish rule.
Theatrical anthropology: A treaty on the pre-expressive conditions of acting was written in 1993 by Italian author and director Eugenio Barba, director of the Odin Teatret and an expert on Asian theater, having lived for long periods in Japan, India, Indonesia, China and Taiwan. In it, he compares oriental theater to its western counterpart and suggests the existence of the ‘bio-theatrical essence’ of equilibrium and movements, which creates a coherent theatrical reality. These principles precede any kind of theatrical will.
- Watch an interview with Alejandra Rojas, director of La Huella Teatro, on teatroamil.tv.
-Find out more about the work of La Huella Teatro on their Vimeo channel.
On Instagram, @lahuellateatro
On Twitter, @lahuellateatro1
On Facebook, La-Huella-Teatro
Website, http://www.lahuellateatro.cl/web/
COLABORA