At a recent meeting organized by the Ministry of Culture of the City of Buenos Aires (“FIBA thinks FIBA”), we exchanged reflections on Ibero-American performance systems with colleagues from various countries in the region. The last day took place in the magnificent renovation of the La Prensa newspaper building, now the House of Culture, in its emblematic Golden Hall. There I asked the members of the final table what they thought about the possibility of restoring the stable theater casts that had a memorable and fruitful presence in different countries. In this context, I have mentioned in particular the commendable and uninterrupted work of the stable occupation of the Teatro San Martín, in force between 1968 and 1990.
Speakers agreed that for various reasons it is difficult to establish work systems of this type in countries where they are not consolidated. I do not deny these reasons, but I can confirm – as a spectator and for a year as general and artistic director – that the Uruguayan national comedy is a living example of how a stable cast can sustain a wide, diverse and high-quality theater project, consistent with the public policies of a democratic state.
This year, the ensemble – consisting of thirty permanent actors and four interns who work for one season – presented ten works with very different themes, languages and formats. He also took part in children’s shows and dramatized readings by national and international authors. In total, his activities included 287 functions.
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The action of the national comedy is not limited to its dormitories, the Teatro Solís and the Sala Verdi: it travels throughout the city and performs in public and civic spaces throughout the territory. This circulation is an essential part of the associated cultural service.
Only a stable line-up can maintain a repertoire that includes works by Tennessee Williams, Arthur Miller, Florencio Sánchez or Elena Garro; contemporary dramaturgy such as that of Wajdi Mouawad, Denise Despeyroux, Lucía Carballal or Jimena Márquez; and collective creation experiences such as that developed by Florencia Lindner from the book of essays They say, coordinated by the academic Karen Wild, in which actors and actresses were also involved in the writing process.
Maintaining this work intensity requires the discipline of a highly competent team: rehearsals in the afternoon, performances in the evening, continuous training of the body and emotions, as well as deep knowledge of the work of the other cast members. This professional coexistence allows us to maintain such diverse and demanding proposals.
Since its inception, the Uruguayan national comedy has been open to dialogue with artists from all over the world, be it through direction, playwrights or various design roles. In keeping with the country’s cultural identity, the company practices an open, receptive and pluralistic practice that is unique in South America today.
Just as Uruguay is known for the solidity of its republican system, it is also known for its model of organizing theater work. A stable workforce with 78 years of continuous work shows that this system is possible, enriching the performance ecosystem and providing career security in a world where precarity is increasingly the norm. I hope it will be seen as an example that can be taken into account in other areas.
*Cultural manager
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