DRAMÁTICA, no. 5

DRAMÁTICA magazine comes out every six months, and seeks to broaden the range of themes dealt with in discussion of the performing arts, opening up theatrical discourse to other fields of knowledge such as philosophy, architecture, politics, science and art. The aim is to open a forum of thought – from and towards the stage – anchored in the present of our ever-changing reality.

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Chiara Guidi, one of the founders of the legendary Italian company Societas Raffaello Sanzio, says that childhood is not only the stage in human life that precedes the use of language, but is, above all, a predisposition to see things by suspending the immediate use of reason. When we contemplate art, when we see theatre, we should all be children again in this sense, leaving aside words and everyday logic to suspend reason. Is it possible? Is it possible to create radically imaginative art for children and young people, a non-didactic theatre, without a moral (the orthopaedics of the story, according to Santiago Alba Rico)? This is the discussion we are looking at in this issue of Dramática, considering various views of the drama that we think about and perform, aimed at a certain age group, an approach that may be limiting. From the moment children learn to speak until they have control of themselves in adolescence, what can art achieve, what can the theatre do, faced with the stimuli of our prevalent screen-oriented culture?

IN THIS ISSUE: María Acaso, Laura Bañuelos, María José Cifuentes, María Teresa Donstrup, Michael Ende, Mateo Feijóo, Ana Gallego, Ernesto Gasco Gonzalo, Isol, Kiné Circus, Lola Lara, Suzanne Lebeau, Eva Llergo, Nando López, Sophie Merceron, Lucía Miranda, Unax Ortiz Illán, Oriol Puig Grau, Carla Rovira, Ana Salazar Tórrez, Thalia Schoeller, Rafael Spregelburd, Marta Torres, Beatriz de Torres, José Troncoso, Álvaro Vicente, Xirou Xiao and Estitxu Zaldua Domingo