In the Iberoamerican Theater Festival Bogotá 1990 began to emerge many idylls for Slovenian director Tomaz Pandur. The first and most intense was with Fanny Mikey, creator of the theater biennial along with Ramiro Osorio , who opened the doors to a young man of 26 years to submit in Bogota his first professional work, Scheherazade.
We also began a special relationship with the Latin American, where he appeared in seven editions, and of course, with the Colombian public, that somehow grew up with it. “Perhaps the best audience I ever had, because it has been growing with me in the theater and over the years established a beautiful relationship, almost love,” Pandur told tIME only two weeks ago, when he presented Faust at the festival .
his vision of the classic Goethe would be his last appearance in Bogota, since yesterday, and in the trial of his latest project, king Lear, died at 53 years because of a heart attack in Skopje, capital of Macedonia.
the general reaction to the news of his death was surprised by his sudden death. “It’s a very large theater loss,” says Daniel Alvarez Mikey, executive director of the National Theatre, the son of his friend Fanny and who Pandur maintained a close relationship, he always kept abreast of all its projects.
Perhaps the most important is paradoxically that can not handle. Amid Fausto presentations in Bogotá, the Slovenian proudly showed a black handle that read “One Hundred Years of Solitude ‘. His dream was to bring the theater the novel summit of Gabriel García Márquez, and even the University of Guadalajara had already started a project in which also participate the Mayor Teatro Julio Mario Santo Domingo, the Latin American Festival, the theaters of the Madrid and Colombia’s National Theater.
“Since last year we were working on this idea, obviously following the Guadalajara International Book Fair, which had as one of its major employers Garcia Marquez. It seems that Bogota and Medellin are sister cities of Guadalajara, we felt that this project was the most appropriate Toma¿ to realize this great bond of love and friendship that unites us; was the right person to take us out to achieve it in a stage event, “says from Mexico Angel Igor Lozada Rivera, secretary of Linking and Cultural Dissemination, University of Guadalajara.
On that occasion Pandur confessed that the novel Gabo changed her life when she read for the first time at age 17. “I think it is right to discuss these landscapes of solitude moment and the words which become flesh,” he added .
it was not a simple work, it was a life project. “Every time he came to the festival, every time he saw Fanny would say ‘I have it’ and I left something written. There is one thing that had happened in the last year or so, it was a thing that had worked for a long time, “says Anamarta Pizarro, acting director of the Latin American.
Lozada Rivera says what you can not yet determine what will be the project because it had already been working for a year and even had contacts to obtain the rights to the office of the deceased Carmen Balcells, Gabo literary agent. “Mexico City was very involved, also the National Coordination of Theater of Mexico and the Cervantino Festival, and in Madrid the people were very interested. The expectation was very high; in addition to his legacy, Toma¿ leaves a door open because it was a year of very intense work in conceptualizing, and that moves universes. I think going mourning, giving your space, define what to do with this big door that opened Toma¿. I will not shut down yet, “he added.
Osorio and Anamarta Pizarro agree that Pandur was the man to do theater that masterful tale of magical realism that created Gabo. “He was the person to do it, I think he had the sensitivity and theatrical intelligence to have mounted” she says.
Citizen of the World
Pandur told that one of the deeper connections he had with Colombia was to have lived in a context marked by political and social conflicts, since the director grew up in the Balkans, which also suffered a bloody violence.
“we come from lands where wars are repeated almost every 50 years to this newspaper he said. I recognize similarities with Colombia; have much in common by the environment in which we grew up and live, which of course marks us as artists, and therefore speak in a language that we can understand Colombians. “
That provenance marked his style. Just seeing a photograph, regular follower could recognize that this was a work of Pandur, by putting them into refined scene, this monochromatic aesthetics and the recurrent use of elements such as water.
“Water it is an element that derives from all mythologies, including Colombia. Water is the perfect mirror of the human soul … He used the water in all my performances: sometimes as ice, sometimes in tears. I used it as an archetype of birth or purification “for the visual approach said when he presented Caligula in 2010.
According to Alvarez, his shows did not leave indifferent to any spectator, as there were who could document their theater creations as gimmicky or also those who felt that really was a deep theater, that behind all those images caused certain feelings of human beings. “I always achieved its goal, that people out talking about their work, talking about their lives, their experiences, always gave to talk,” he said.
As noted by the director of the Teatro Colon, Manuel José Alvarez, Pandur was a citizen of the world, as they usually rode his works in different countries. With his group, Pandur Theaters, produced shows in Croatia, Slovenia, Spain, Germany and Austria, among many others.
“He said he was from the city or the country where he was working, he was a man of world, was a man with a very open mind … it was endearing, it was a very close, with an excellent sense of humor guy, “adds Alvarez.
it was just Ramiro Osorio who opened the horizon Latin American market by inviting him to Mexico City in 1989 with his debut. Account Osorio, who is currently the director of the Teatro Mayor, who always seemed a very sophisticated artist, who had a very strong not only theatrical, but general cultural training. That was one of the reasons why he was born his love for the classics and that led to scene great works of literature and theater, as Medea, Hamlet, The Divine Comedy and Faust.
“The they stagings of Toma¿ were fascinating because they were so attached to the classical texts, but with a whole new look and with all that capacity building he had, but did not touch a comma of the text, all the essentials of classical texts was present in his productions, “said Osorio
that view could be seen in the pieces presented at the Ibero. Scheherazade, Inferno, One hundred minutes, Baroque, Caligula, Medea and Fausto. In Inferno, which was in 2002, he reserved a role for his great friend Fanny Mikey, who only interpreted by a function, and then was replaced by Marcela Carvajal. “It was a journalist as a devil, he played one dressed as black and representation was a bit like the celebrity reporters -… says Carvajal was wonderful to be in the clubhouse with all these actors, dancers, this assembly water, fire. It was a very confident man assembly, its equipment, everything worked like clockwork. “
And that dream of One Hundred Years of Solitude that was reflected in hundreds of handcuffs and previous librettos, Pandur also he wanted to build a kind of great artistic training center. “It was these beings that make him one in life, which is not common to find” concludes Osorio.
yhonatan Loaiza GRISALES CULTURE AND ENTERTAINMENT
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