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- From October 26 to November 11, you can see this production, by La Mona Ilustre Company, in the Teatro Principal of the Cultural Center.
- This one-man show, starring actor Diego Hinojosa, premiered in Chile in 2012 and has been performed on stages in the United States, Belgium, France, Norway, Spain, Brazil and Argentina.
Tuesday 24 October 2023.- “Words must emerge when they are able to overcome the silence,” says Miguel Bregante, director of “Juan Salvador Tramoya” by La Mona Illustrious Company. The premise under which they have worked for the 11 years this production has been presented around the world and that on October 26 it will arrive at Matucana 100. “The language of gestures, the language of the body is universal, we are afraid of the same. here as in Kathmandu, and we are also moved in the same way,” says Bregante.
In the play, starring Diego Hinojosa, Juan Salvador works as a stage manager in a theater in charge of cleaning up. He organizes a dressing room, handkerchiefs, cotton balls, brushes and gets confused: he imagines that the handkerchiefs are pigeons and the cotton balls turn into bombs in his hands. Juan Salvador lives in his imagination wonderfully absurd adventures that almost always end up causing some kind of disaster when he returns to reality.
“Juan Salvador Tramoya” premiered in Chile in 2012, and since then it hasn’t stopped. On national territory, it has been performed from Arica to Puerto Williams, and has also been in the United States, Belgium, France, Norway, Spain, Brazil and Argentina, with varied audiences, speakers of different languages, which has not been an obstacle to this production , because the story of Juan Salvador is universal. “People feel very identified with this character who strives to be somebody, to have a space, but doesn’t achieve it, or doesn’t achieve it in the way he hopes, and in that attempt he shows his values and virtues. This montage speaks of the essence of man, of his frailties, of his clumsiness, which in itself is a current topic and allows us to also know ourselves,” reflects Bregante.
A montage that, by the way, only has 30 words in its almost sixty minute duration. “Diego Hinojosa’s virtuosity, his gestures, vocal and physical abilities are frankly impressive and it does not leave the public indifferent. It is the surprise of telling without the need for words and the great virtuosity when it comes to creating worlds and expressing emotions, feelings and interiority that Diego presents,” says the director. For his part, actor Diego Hinojosa states: “This work has a format that is not very common in Chile and even in other parts of the world, and that makes it striking: mixing gestural work – like mime – with the ability to make random and atmospheric sounds with the mouth because we don’t use external sound effects.”
“Presenting this show for 11 years has been incredible. We’ve grown with the character and I’ve understood the depth of Juan Salvador over time and my own frustrations. It’s also been a lot of learning, we’ve done many shows like has given me the opportunity to try many things on stage,” he says.
The character has grown as I have; I have understood the depth of character through age. And maintaining the character over time has also been a learning experience because it has crossed many audiences, allowing us to try out techniques on stage and understand different aspects of comedy,” he says.
The company responsible for the production, La Mona Ilustre, already has 15 years of experience, almost 700 performances, 14 international awards and mentions and 7 shows to its credit, among which “Mocha Dick”, “Los Peche No Volan” stand out. and “The Canterville Girl,” which has been presented on stages in France, Spain, Norway, Brazil, Argentina, New York, Belgium and Taiwan.
And after touring the world, this week they return to Chile to perform at Matucana 100. This is what Bregante says: “After so much time abroad, it seems like an interesting finishing touch to everyone this year’s tour to perform again here at home, where this work was created and where it premiered. Matucana 100 is a theater that we have gone to a lot and which has conditioned our poetics, so this return home, to the source of creation, makes a lot of sense to me.” “This play has gone through a generational change and new viewers are coming. If it can be presented for 30 years, we will continue with it,” concludes Hinojosa.
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