For March 27--World Theatre Day--critic Santiago Rivadeneira discusses the local performing arts scene:

The stage is in some ways the crib of the actor. From there, they move on to other platforms such as film or television. How rigorous do you consider today’s Ecuadorian stage actors?

“It would be folly to attempt to compare how film and theatre actors prepare for their roles. There will always be different technical requirements and sensibilities needed in the two disciplines. Rigorousness in their respective preparations defines the actor both in theatre and on film, and although there may be border crossings, the two countries are very different. Pasolini said film is film and theatre is theatre. And to put a stop to the discussion, he’d add that there is no difference between the man of reality and the man of film or the stage. It’s an interesting definition that actors take into account when they create a character and perform it. In Ecuadorian theatre, the actors are capable of being creative and sound, despite their lack of training or technical skills.”

What do you think the strengths and weaknesses of the prototypical Ecuadorian actor is?

“I think it would be more revealing to point out the role that women have in the theatre here. For many years they’ve been pushing their processes, pointing out new paths, coordinating festivals and gatherings. The female actors are capable of making theatre consider itself, question itself, confront its own principles, points of view, and be self-critical. The women have taken on fundamental roles in the industry. They are actors, promoters, managers, designers, directors, and playwrights. They are persistent in their insistence to broaden the understanding of what theatre tries to communicate to us every day. The viewing public can now feel that they have advocates."

Original story