Teatro Estudio
With the opening in 1958 of Eugene O`Neill's Long Day's Journey into Night, siblings Raquel and Vicente Revuelta, leading figures in Cuba's performing arts, would found what was to become the most emblematic of Cuban theatre companies: Teatro Estudio, heart of the Cuban stage for several decades, having nurtured some of the most notable actors, writers and directors in Cuban culture. A respectful approach to tradition, a permanent link with avant-garde theatre, a commitment to research and teaching, and the deliberate purpose of creating a public is the foundation of the work of this company, which has throughout its existence presented a diverse repertoire from the whole of world drama, embracing plays by authors such as Cervantes, Shakespeare, Lope de Vega, Molière, Chejov, Ibsen, Miller, Williams, Brecht, Albee, as well as the best of Cuban classics—Avellaneda, Luaces, Milanés—and most of the Cuban playwrights of the second half of the 20th century, including Piñera, Estorino, Brene, and Quintero. Although immersed in an inexplicable impasse since 2003, the Sala Adolfo Llauradó of the Casona de Línea (Calle Línea No, 505, El Vedado) continues being home to Teatro Estudio.
With the opening in 1958 of Eugene O`Neill's Long Day's Journey into Night, siblings Raquel and Vicente Revuelta, leading figures in Cuba's performing arts, would found what was to become the most emblematic of Cuban theatre companies: Teatro Estudio, heart of the Cuban stage for several decades, having nurtured some of the most notable actors, writers and directors in Cuban culture. A respectful approach to tradition, a permanent link with avant-garde theatre, a commitment to research and teaching, and the deliberate purpose of creating a public is the foundation of the work of this company, which has throughout its existence presented a diverse repertoire from the whole of world drama, embracing plays by authors such as Cervantes, Shakespeare, Lope de Vega, Molière, Chejov, Ibsen, Miller, Williams, Brecht, Albee, as well as the best of Cuban classics—Avellaneda, Luaces, Milanés—and most of the Cuban playwrights of the second half of the 20th century, including Piñera, Estorino, Brene, and Quintero. Although immersed in an inexplicable impasse since 2003, the Sala Adolfo Llauradó of the Casona de Línea (Calle Línea No, 505, El Vedado) continues being home to Teatro Estudio.
Compañia Teatral
"RITA MONTANER"Created in 1962 and directed at present by the distinguished playwright Gerardo Fulleda León, it focuses mainly on staging plays by national and international authors. The company's players is a combination of experienced actors and young talents who assume plays of proven effectiveness—such as Shakespeare's The Comedy of Errors, while imbuing an undeniable modern feel to it—or the first play of a brand new playwright. For some time now, the company has been engaged in giving voice to young and unknown authors and directors. Since 1968, the company is located at El Sótano Theatre, Calle K, entre 25 y 27, El Vedado.
"RITA MONTANER"Created in 1962 and directed at present by the distinguished playwright Gerardo Fulleda León, it focuses mainly on staging plays by national and international authors. The company's players is a combination of experienced actors and young talents who assume plays of proven effectiveness—such as Shakespeare's The Comedy of Errors, while imbuing an undeniable modern feel to it—or the first play of a brand new playwright. For some time now, the company has been engaged in giving voice to young and unknown authors and directors. Since 1968, the company is located at El Sótano Theatre, Calle K, entre 25 y 27, El Vedado.
El Mirón Cubano
Formed in 1963 as a traditional indoor theatre company, during the last thirteen years it has been experimenting in street theatre, gaining international recognition after successful world tours. Directed by actor Francisco García and made up of graduates from the National School of Art, these young actors have undertaken the medieval tradition of street performances, achieving a festive and enriching communication with a diversified audience, especially children, to whom the company has dedicated many of its plays. One example of the company's application of its own codes to the legacy of universal culture is the successful spectacle De la extraña y anacrónica aventura de Don Quijote en una ínsula del Caribe y otros sucesos dignos de saberse y representarse, adapted by actor and director Albio Paz and based on Cervantes's most important novel. Since 2002, El Mirón holds the Street Theatre Workshop aimed at encouraging the creation and research on this type of theatre. Based at Sala Milanés, Matanzas.
Formed in 1963 as a traditional indoor theatre company, during the last thirteen years it has been experimenting in street theatre, gaining international recognition after successful world tours. Directed by actor Francisco García and made up of graduates from the National School of Art, these young actors have undertaken the medieval tradition of street performances, achieving a festive and enriching communication with a diversified audience, especially children, to whom the company has dedicated many of its plays. One example of the company's application of its own codes to the legacy of universal culture is the successful spectacle De la extraña y anacrónica aventura de Don Quijote en una ínsula del Caribe y otros sucesos dignos de saberse y representarse, adapted by actor and director Albio Paz and based on Cervantes's most important novel. Since 2002, El Mirón holds the Street Theatre Workshop aimed at encouraging the creation and research on this type of theatre. Based at Sala Milanés, Matanzas.
Teatro Escambray
Founded in 1968 by actors Sergio Corrieri and Gilda Hernández, in its early years, its repertoire (La Vitrina, El paraíso recobrado, Ramona, La emboscada.) drew from the dynamics between the actors and the peasant community of the Escambray Mountains, based on sociological, cultural and linguistic studies carried out by both students and professors from the University of Havana, and the actors themselves. By the 1980s, the company made way to new themes—in line with the many changes in the area—requiring new methods of dealing with productions. The profound economic and social changes experienced in Cuba since the 1990s have raised issues which Teatro Escambray—a permament research and debate unit—shares with an also different audience with productions such as Fábula de un país de cera, Los equívocos morales, Curso general teórico-práctico de animación turística por el metodólogo Liborio Hurtado.). Although it is based in La Macagua, in the heart of the Escambray Mountains, it frequently tours the country.
Founded in 1968 by actors Sergio Corrieri and Gilda Hernández, in its early years, its repertoire (La Vitrina, El paraíso recobrado, Ramona, La emboscada.) drew from the dynamics between the actors and the peasant community of the Escambray Mountains, based on sociological, cultural and linguistic studies carried out by both students and professors from the University of Havana, and the actors themselves. By the 1980s, the company made way to new themes—in line with the many changes in the area—requiring new methods of dealing with productions. The profound economic and social changes experienced in Cuba since the 1990s have raised issues which Teatro Escambray—a permament research and debate unit—shares with an also different audience with productions such as Fábula de un país de cera, Los equívocos morales, Curso general teórico-práctico de animación turística por el metodólogo Liborio Hurtado.). Although it is based in La Macagua, in the heart of the Escambray Mountains, it frequently tours the country.
Teatro Buendia
Directed by actress, teacher and artistic director Flora Lauten, the company was founded in 1986 with graduates from the Instituto Superior de Arte, with two basic approaches to its work: the production of plays that combine song, dance and acting; and the research into Latin American and Caribbean cultural traditions, the actor's means of expression and new stage languages. Top-notch performances, a meticulously-chosen repertoire, workshops, lectures and seminars, and the unique acting methods of the company have captured the interest of audiences and critics alike both in Cuba and internationally. Its most successful productions include Innocent Eréndira, which toured the world for five years, Another Tempest, The Bacchae and Charenton. Based at Calle 39, entre Loma y Bellavista, Nuevo Vedado.
Directed by actress, teacher and artistic director Flora Lauten, the company was founded in 1986 with graduates from the Instituto Superior de Arte, with two basic approaches to its work: the production of plays that combine song, dance and acting; and the research into Latin American and Caribbean cultural traditions, the actor's means of expression and new stage languages. Top-notch performances, a meticulously-chosen repertoire, workshops, lectures and seminars, and the unique acting methods of the company have captured the interest of audiences and critics alike both in Cuba and internationally. Its most successful productions include Innocent Eréndira, which toured the world for five years, Another Tempest, The Bacchae and Charenton. Based at Calle 39, entre Loma y Bellavista, Nuevo Vedado.
Colmenita
When back in 1990, Carlos Alberto Cremata made his dream come true of creating a theatre group of children for children, he chose the name La Colmenita (The Little Beehive) because for him, the company was like "a group of bees building their own home, having the same worker caste and going out everyday searching for and producing sweet nectar. " And Cremata and his child actors have done just that: produce the sweetest of nectars with talent, dedication, naturalness, competence, making use of song, dance, games to convey their messages. Their performances have been widely acclaimed at home and abroad. La Colmenita has found a new home, especially designed by the City Historian's Office for the group, at the Sala de la Orden Tercera at the Saint Francis of Assisi Convent in Old Havana.
When back in 1990, Carlos Alberto Cremata made his dream come true of creating a theatre group of children for children, he chose the name La Colmenita (The Little Beehive) because for him, the company was like "a group of bees building their own home, having the same worker caste and going out everyday searching for and producing sweet nectar. " And Cremata and his child actors have done just that: produce the sweetest of nectars with talent, dedication, naturalness, competence, making use of song, dance, games to convey their messages. Their performances have been widely acclaimed at home and abroad. La Colmenita has found a new home, especially designed by the City Historian's Office for the group, at the Sala de la Orden Tercera at the Saint Francis of Assisi Convent in Old Havana.
Compañia Teatral Humbert de Blanck
Created in 1991, and managed today by Orietta Medina, this theatre group is formed by outstanding actors, directors and designers, including Bertha Martínez and Abelardo Estorino, winners of the 2000 and 2002 National Theatre Award, respectively. Although its productions of both Cuban and international plays may seem a bit conventional, they are always well received by audiences which follow the company's openings, thanks to a meticulous making, excellent performances, and the bold combination of productions which include classics (Don Juan Tenorio, of Spanish Romantic poet José Zorrilla), newer plays (Vientos huracanados, by Cuban Julio Cid) and a significant work aimed at children. The company is based at Sala Hubert de Blanck, Calle Calzada entre A y B, El Vedado.
Created in 1991, and managed today by Orietta Medina, this theatre group is formed by outstanding actors, directors and designers, including Bertha Martínez and Abelardo Estorino, winners of the 2000 and 2002 National Theatre Award, respectively. Although its productions of both Cuban and international plays may seem a bit conventional, they are always well received by audiences which follow the company's openings, thanks to a meticulous making, excellent performances, and the bold combination of productions which include classics (Don Juan Tenorio, of Spanish Romantic poet José Zorrilla), newer plays (Vientos huracanados, by Cuban Julio Cid) and a significant work aimed at children. The company is based at Sala Hubert de Blanck, Calle Calzada entre A y B, El Vedado.
Teatro de los Elementos
Director José Oriol has been involved since 1992 in community theatre with experiences in different localities of Havana, Santiago de Cuba and the Isle of Youth, among others. The group has a dual approach to its work: collective productions performed by the people of the community where the actors are inserted harmoniously, and plays performed entirely by the company's professional actors, aimed at keeping the history and the culture of the region alive, reaffirming the identity of the people of the Escambray Mountains. At present, the group is based in Cumanayagua, a mountain town in the southern province of Cienfuegos, whose natural setting is most appropriate for their projections.
Director José Oriol has been involved since 1992 in community theatre with experiences in different localities of Havana, Santiago de Cuba and the Isle of Youth, among others. The group has a dual approach to its work: collective productions performed by the people of the community where the actors are inserted harmoniously, and plays performed entirely by the company's professional actors, aimed at keeping the history and the culture of the region alive, reaffirming the identity of the people of the Escambray Mountains. At present, the group is based in Cumanayagua, a mountain town in the southern province of Cienfuegos, whose natural setting is most appropriate for their projections.
Teatro El Publico
A leader of post-modern theatre in Cuba, provocative, inordinate, irreverent, El Público, founded by Carlos Díaz in 1992, has accomplished something quite rare: an immediate rapport—in spite of its totally unconventional productions—with dissimilar audiences who fill the theatres with every staging, plus critical acclaim. From the performance of The Glass Menagerie, A Streetcar Named Desire and Tea and Sympathy, which shook the Cuban theatrical scene with its sense of integrating spectacle, to the controversial Celestina, with 150 presentations, a rare event for Cuban theater, Díaz has sought to confront hypocrisy and conventionalisms with imagination, irony, parody, spectacularity, innovation, and above all, good performances. El Público is based at the Trianón Theatre, Calle Línea entre Paseo y A.
A leader of post-modern theatre in Cuba, provocative, inordinate, irreverent, El Público, founded by Carlos Díaz in 1992, has accomplished something quite rare: an immediate rapport—in spite of its totally unconventional productions—with dissimilar audiences who fill the theatres with every staging, plus critical acclaim. From the performance of The Glass Menagerie, A Streetcar Named Desire and Tea and Sympathy, which shook the Cuban theatrical scene with its sense of integrating spectacle, to the controversial Celestina, with 150 presentations, a rare event for Cuban theater, Díaz has sought to confront hypocrisy and conventionalisms with imagination, irony, parody, spectacularity, innovation, and above all, good performances. El Público is based at the Trianón Theatre, Calle Línea entre Paseo y A.
Argos Teatro
Founded by director Carlos Celdrán in 1996 with school of arts graduates, he has been engaged from the start in creating a permanent laboratory for actors and students looking for a common language that may achieve a balance between word and the actor's physical work, always considered the core of any production, so that the actor may assume all types of stage representations. This explains the polished work by the actors, whose varied repertoire ranges from Aeschylus to Jean Paul Sartre, from Calderón de la Barca to Bertolt Brecht, from August Strindberg to Bernard-Marie Koltès, from Henrik Ibsen to Abel González Melo. The production of Michel Azama's Life and Death of Paolo Pasolini by Argos Theatre was considered by many critics as the most stunning theatrical event in the Cuban stage during 2004. At present, the company is based at Ayestarán and 20 de Mayo, El Cerro.
Founded by director Carlos Celdrán in 1996 with school of arts graduates, he has been engaged from the start in creating a permanent laboratory for actors and students looking for a common language that may achieve a balance between word and the actor's physical work, always considered the core of any production, so that the actor may assume all types of stage representations. This explains the polished work by the actors, whose varied repertoire ranges from Aeschylus to Jean Paul Sartre, from Calderón de la Barca to Bertolt Brecht, from August Strindberg to Bernard-Marie Koltès, from Henrik Ibsen to Abel González Melo. The production of Michel Azama's Life and Death of Paolo Pasolini by Argos Theatre was considered by many critics as the most stunning theatrical event in the Cuban stage during 2004. At present, the company is based at Ayestarán and 20 de Mayo, El Cerro.
