Tazas Rosas de Té
Mitómana Artes Escénicas. 2016
Winner of the price "Francisco Toba Garcíar" for best theater production in 2016 Quito-Ecuador
Space and Object Design: Israel López, María Terán, María Viteri
Light Design: Israel López
Costume: María Terán
Dirección: Gabriela Ponce, Pamela Jijón
Acting: María Viteri, María Ortiz, Martha Lasso
Production: Ana María Hidalgo
The play develops across two parallel stories; the one of a woman who longs to exhume the body of her brother, his memory, and the world that his death fractured, and the forgotten (bureaucratized) story of a mass murder in Ecuador in 1977, the 'Aztra massacre'.
Departing with a (re)writing of ‘Antigone’ the play engages the confrontation between a woman and her father who is responsible for the oblivion and impunity related to the massacre. The tension in this relationship weaves the personal story with the political one and reveals the arrogance with which violence pierces through both worlds. The parallel presence of two bureaucrats set to resonate that casualness of death that is hidden in its always-extraordinary character
Our intention has been to create a dramaturgy that incorporates the fiction within our national history (the one that was left uncovered), the public with the intimate, through a stage research that explores how to create a dialog between the poetic and the historiographical.
Though a fragmented narrative, reality, and fiction coexist in a place taken by spectral presences and documentary records (visual and sonorous), in a mutual reconfiguration that searches for the extraordinary in each life and the devastating in each death.
Aztra massacre (historical context)
In 1977, when the military dictatorship governed Ecuador, hundreds of workers (mostly indigenous) took the sugar mill 'Aztra'. They did so in order to claim their labor rights and the compliance with the collective agreement, which included raising their salaries due to the increasing the value of sugar in the market. They were brutally repressed by the police who closed the doors of the mill and outraged not only to the workers but also to their relatives who were accompanying.
The estate legitimated the event with a discourse who blamed foreign forces and political leaders who have had “manipulated the workers”, creating with this a media discourse that operated as a correlate that victimized the workers and erased politically the fact.
Through the time of the massacre until now the number of deaths increased from a few to hundreds of workers.