Program for Jardín de Pulpos, 1996 Program for Jardín de Pulpos, 1996 Photo/Foto: Antonio Martorell
  • Title: Jardín de pulpos
  • Alternate Title: Octopus' Garden
  • Holdings: program, video (HIDVL)
  • Duration: varies
  • Language: Spanish
  • Date: 1992, 1996
  • Location: San Juan, Puerto Rico.
  • Type-Format: play, performance
  • Cast: 1992: Grupo de Teatro Malayerba, producer ; Arístides Vargas, director, writer. 1996: Jessica Gaspar, Thaimy Reyes, Ricardo Álvarez, Israel Lugo (protagonists) ; Karina Casiano, Myrna Cuevas, Pablo Cunqueiro, Tania Cruz, Yovanska Duarte, Frances Rivera, Heriberto Ramírez, Beliza Torres, Daileen Rodríguez, Glorymar Carrión, Mayra Pappaterra, Mayda Grano de Oro (cast) ; Javier Rodríguez Curet (musician), Omar Silva (cast & musician), José Cotté (cast & musician), Jorge González (cast & musician).
  • Credits: 1992: Grupo de Teatro Malayerba. 1996: University of Puerto Rico, producer ; Rosa Luisa Márquez, producer, director ; Arístides Vargas, writer ; Mayda Grano de Oro, Marisol Cuevas, Pedro López, assistant directors ; Elodián Barbosa, Rosanna Álamo, production assistants ; Checo Cuevas, set design ; Gloria Sáez, costume design ; Toni Fernández, lighting design ; Rosanna Álamo, props ; Antonio Martorell, sets, poster & program ; Rafael Trelles, 'El Velorio' figures ; Pedro López, program ; Mayda Grano de Oro, music coordinator.

Jardín de pulpos (1996)

For more information, see Jardín de pulpos (1992, 1996) under Malayerba.

Adaptation of Jardín de Pulpos, renowned play by Argentinean writer Arístides Vargas (of the Ecuadorian theater group Malayerba), directed by Rosa Luisa Márquez and collectively created with her students of the Teatro Rodante (Traveling Theater) of the University of Puerto Rico, Río Piedras Campus. A theater piece on memory, atrocity, affect and resistance, "Pulpos" bridges time (from a mythical time to the "Baby Boomers" to the "Generation X"), and place (with an Andean text rendered Caribbean, adapted to the Puerto Rican reality) in order to denounce political repression, police brutality, ideological persecution and political assassination, and to evoke and pay homage to our dead and disappeared. An organizing image is that of the "velorio" (alluding to the canonical Puerto Rican painting of a "baquiné" -- a wake for a child -- by Francisco Oller and to a contemporary rendition by Rafael Trelles), in an exploration of memories of loss and a sense of community, of a broader Puerto Rican family. The recurring motif of the seashore opens productive layers of signification, rhythm and spatial organization: it hints to the waters where Argentineans were "disappeared" during the dictatorship, the island of Puerto Rico's (geographic and political) borders, and to the Beatles' song "Octopus' Garden," which inspires the piece's title. The resulting performance is an open call to rescue and safeguard collective memories of political and historical events that have shaped our present Latin American societies. It is also an artistic attempt to capture and evoke the sensorial complexities of past events, claiming them as genealogical landmarks in our current collective life.

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