Arthaus promotes the young theater scene with the Reuniones series

Arthaus is once again committed to risk, experimentation, and encounter. The second edition of the Reuniones series, which takes place in July and August at the cultural space at Bartolomé Mitre 434, brings together six plays by young creators of the contemporary scene. It is a diverse and intense program aimed at revisiting forms, dismantling structures, and seeking new ways of speaking, from a sensibility that seems to unite them.

Organized by the Performing Arts Department of Arthaus, under the curatorial direction of Felicitas Lunas and Mónica Paixao , the series aims to provide a platform for creation, production, and circulation for a new generation of artists. "We are interested in their particular perspective on certain themes and their rethinking of ways of doing things," the curators note. The selection process did not respond to fixed precepts, but rather to the connection with the materials, with open criteria that prioritized diversity and dialogue between poetics.

The lineup includes works already premiered and others emerging from creative and research residencies launched earlier this year at the Arthaus itself. These six performances , though heterogeneous in their methods and styles, share a common sensibility, a kind of restless, often overwhelming lyricism that borders on the intimate, the political, and the poetic.

The cycle opened with Chayka , from the Labrusca Company, a free retelling of Chekhov 's The Seagull that takes as its starting point the dream shared by a group of actors the night before the premiere. Premiered on July 15, 16, and 17, the play moves between the dreamlike and the metatheatrical, and—like its creators themselves—examines the possible spaces for experimentation in a context where commercialism seems to dominate the scene: "We applaud the great enthusiasm and appreciation of these experiments that still oscillate between form and formlessness," the company stated.

This was followed by Canciones del tiempo (Songs of Time ), directed by Carolina Saade and Verónica Gerez, which was shown from July 18 to 20. In a staged concert format, three voices and a guitar revive Maricastaña's album Canciones del tiempo ( Songs of Time), that pioneering gesture by María Elena Walsh and Leda Valladares in the 1950s who decided to pay homage to a popular repertoire that resists oblivion. The work is also an exercise in sound memory and a revisiting of cultural heritage.

Sofía Palomino's Cine Herida will be presented on the 22nd, 23rd, and 24th. A visual and sensorial proposal, where Elías—its protagonist—engages with a film and, through it, with his own trauma. The dreamlike, the performative, and the symbolic intersect in a production that has toured festivals and received awards from the FNA and the Fondo Metropolitano.

From the 25th to the 27th, Partida arrives, directed by Gonzalo San Millán, the winning work of the 2022 Buenos Aires Young Art Biennial. With a fragmented narrative and questions that resonate strongly –“How do you reunite the broken with the whole?”–, the work proposes an emotional and existential journey that also dialogues with the biographical and the political.

On the 29th, 30th, and 31st, Luciano Suardi presents Workbook I: Sleepless and Humiliated , the first opening of an acting laboratory conceived at Arthaus. With six performers on stage, the work proposes a scenic fresco without a closed narrative, where film fragments, photographs, minimal actions, and a shared space: a bed, are intertwined. The stage as a testing ground, as a permanent draft.

The closing performance will be on August 1 and 2 with Maldito desierto , directed by Bernardita Epelbaum, a poetic work that condenses, perhaps like no other, the desperation of wanting to transform the sterile into the fertile: “We would have loved to make it rain. But sometimes desire isn't enough,” reads its final line, leaving a trail of harsh beauty and uncertain hope.