Lácides In an interview with the teacher Detjen García Emilio Carballido (1925-2008) in the city of Villahermosa, Tabasco, in 1984, with regard to assembly Bodas de Sangre Federico García Lorca's (1898-1936), made by the Laboratory of Teatro Campesino e Indígena (LTCI) under the direction of Maria Alicia Martinez Medrano, playwright, author of Rosalba and keychains said the LTCI showed "a very rich work proposal. It is a symphony of an immense force that will produce changes and manifestations of a new consciousness stage we can not foresee at the moment, the truth is that with the coming LTCI is something new, something of a very clean and very pure. The intent of this theatrical event is not new, since there is already experience of Guanajuato, with the work of Entremeses . But the big difference and importance in relation to the work of LTCI, in this case the work Blood Wedding, which is what I've seen, "is because it is stronger, is very accomplished, very beautiful. The work is the essence of the tragedy and what amounts to a condition that is an indigenous theatrical ceremony, with all the features and authenticity. But all that is necessary for the encounter of a talented director (Maria Alicia Martinez Medrano) and latent talents of actors who to blend the purest tradition and peasant and indigenous roots of a tragedy fail to English customs and it recreated itself a work of customs Tabasco. "
not a mistake to say this, but the fact is that anyone who is staging the LTCI, apart from the praise expressed by the impression of the work, because he always admired the strength and mystique of the group work. In this connection the late playwright said: "It seems a very nice, capable and full of virtues. The people who formed is very beautiful, with an unspeakable force projection. All have a supernatural dignity, displacement, the performance of each of them has a very eerie. A group of tall, with many creative and imaginative resources. They all denote personal identity and the role they perform. This group is promising fruits worth waiting for the Mexican theater.
I am no prophet. The LTCI is only that there is some great future and a contribution of capital value which is coming to the theater. Throughout the Festival of Xalapa, Veracruz, was the big event. Observers, from Montreal to Buenos Aires, were impressed, for many, with whom I spoke, it was something sensational, even described the work as a stream of great natural and fresh air for the Latin American theater. The president of the Ateneo de Caracas, the former director of the Colombian Institute of Culture, Gloria Zea Hernandez and the Argentine critic, were Luis Molina, who were at the festival, agreed that it was a phenomenon of continental importance.
A Detjen Garcia's question about whether write something for the LTCI, the teacher immediately Carballido said: "I've thought of this I have been talking with Mary Alice (Martínez Medrano). You always write about what you like and love. LTCI write something for my second theatrical life satisfaction. "
Later in the interview, would praise the work of Martínez Medrano: "The first mark of a good manager is knowing where you are and with whom she works. Mary Alice knows where so his message is of great wisdom and great beauty. "
Finally, Carballido considered not believe in the existence of a renewal in working methods. "Art is not a straight road to infinity. Is a renewed spiral turning in on itself. All work innovative, invigorating, is a renewal of a method that is exhausted. For me the LTCI is a sample of the rescue of the peasantry. Is a return to theater festival collective. It is a return to parties which are always the people. "
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