During the Santiago Off festival there will be readings in which La Casa Rodante, Fedam, Lápiz de Mina 3 and OTI participate.
On January 20, the selection of readings from La Casa Rodante will be presented with The Spells, by Roberto Contador, a work inspired by the events surrounding Yolanda Pascucci, a woman born in Rome in the 1920s, who at night believed that the spirit of a wolf took over her, leading her to commit all kinds of dastardly and violent acts; SobreMesa, by Marcia Césped, a text that stages a family drama-comedy crossed by secrecy, guilt, fear and oblivion; and Frío, by Pierre Sauré, where Freddy Araya tells the end of the story in solitude of a man who has been abandoned by humanity, disappeared without clues, without culprits, without memory.
On January 21, the selection is from FEDAM with Los caracoles, by Joanna Mellado, which narrates the harsh coexistence of a young woman with her mother and grandmother upon returning to her childhood home, which makes her remember abuse and drives her revenge; and Hospital de Trueno, by Daniel Acuña, inspired by real stories from the Talca Hospital, the work challenges the journalistic events of recent times.
On January 22, the women's drama theater platform Lápiz de Mina 3 will present Cera Caliente, by Carmen de Marta, a play where five women transition between leisure and work in a hair removal center while waiting for a World Cup match in France; Toma, by Begoña Ugalde, tells the story of a group of young people who decide to live within their university to demand a free, quality education; and Brian Molko and the television show, by Nizra Martínez, a compilation album by the group Placebo will be the excuse to make a phone call full of memories.
On January 23, La Casa Rodante returns with Oveja Negra, by David Arancibia, a monologue that takes the death of Pinochet to narrate the personal and psychedelic journey of a marginalized middle class; The Dogs of the Constitution, by Jonathan Aravena, a work that reveals the slaughter of dogs near La Moneda and how a group of them revolt to obtain a new fundamental charter; and Cold.
Finally, on January 24, the selection is in charge of OTI, with the work Everyone has gone, by the Valencian Víctor Sánchez, calling on ten Chilean directors to put into space the ten monologues that make up this piece that reflects on the loneliness of contemporary man and the need to evoke the past.
On January 21, the selection is from FEDAM with Los caracoles, by Joanna Mellado, which narrates the harsh coexistence of a young woman with her mother and grandmother upon returning to her childhood home, which makes her remember abuse and drives her revenge; and Hospital de Trueno, by Daniel Acuña, inspired by real stories from the Talca Hospital, the work challenges the journalistic events of recent times.
On January 22, the women's drama theater platform Lápiz de Mina 3 will present Cera Caliente, by Carmen de Marta, a play where five women transition between leisure and work in a hair removal center while waiting for a World Cup match in France; Toma, by Begoña Ugalde, tells the story of a group of young people who decide to live within their university to demand a free, quality education; and Brian Molko and the television show, by Nizra Martínez, a compilation album by the group Placebo will be the excuse to make a phone call full of memories.
On January 23, La Casa Rodante returns with Oveja Negra, by David Arancibia, a monologue that takes the death of Pinochet to narrate the personal and psychedelic journey of a marginalized middle class; The Dogs of the Constitution, by Jonathan Aravena, a work that reveals the slaughter of dogs near La Moneda and how a group of them revolt to obtain a new fundamental charter; and Cold.
Finally, on January 24, the selection is in charge of OTI, with the work Everyone has gone, by the Valencian Víctor Sánchez, calling on ten Chilean directors to put into space the ten monologues that make up this piece that reflects on the loneliness of contemporary man and the need to evoke the past.