Vampyr
Satyre
Activist
There are rumours. There was an incident Friday morning. An incident which prompted the report. The impact report. The environmental impact report. It is important to talk to everyone. The night workers. The wind turbine company directors. And do not forget the bats. Discover the incredible physical play of actors David Gaete and Marcela Salinas in this ecogothic satire. The Chilean Manuela Infante revisits with cutting humour the myth of the vampire in its South American version. But isn’t insatiability and purely human characteristic ?
Credits
A production of Manuela Infante
Script, Directing and Sound Design Manuela Infante
Interpretation David Gaete et Marcela Salinas
Set Design, Lights, Props and Costumes Rocio Hernández
Assistant Director and Technical Director Pablo Mois
Choreography and Training Dian C. Guevara
Sound Víctor Muñoz
Research and Dramaturgy Camila Valladares
Costume Confection Elizabeth Pérez
Production Manager Carmina Infante Güell
Coproduction Centro Cultural Matucana 100, Espacio Checoeslovaquia, Centro Cultural de España, NAVE (Santiago), Beykoz Kundura (Istanbul)
With the support of the Universidad Academia Humanismo Cristiano, Oxiluz Iluminación, Cultura Violeta (Santiago)
Presented in collaboration with Maison Théâtre et le Festival TransAmérique
Création au Centro Cultural M100, Santiago, le 22 août 2024
Traduction David Dalgleish
About Manuela Infante
Director, playwright, and musician Manuela Infante Güell is considered one of the most influential voices in contemporary Latin American theatre, thanks to her revolutionary, non-anthropocentric approach that challenges the binary division of nature and culture. Her work has been presented in almost twenty countries across the Americas, Europe, and Asia. In 2019, she became the first Chilean director to be invited to Venice’s Biennale Teatro with Realismo and Estado Vegetal. As a scriptwriter, she has worked with renowned Chilean filmmakers such as Francisca Alegria, Marialy Rivas, and Sebastián Lelio.
Vampyr pursues the exploration of post-human theatre that she began in Estado Vegetal (FTA 2020) and Cómo convertirse en Piedra, which focused on the vegetable and mineral worlds. In her latest work, South American vampires become agents of resistance in the fight against extractivism and green neocolonialism. Her critique of the European vampire legend targets the colonial mindset, which creates artificial boundaries between the human and non-human worlds. This distinction offers a pretext for the exploitative practices that are now ravaging the nations of the Global South.