“Los días afuera” is a musical, variety show, documentary and theatre all in one. Six people who spent years in Argentinian women’s prisons act out scenes from their lives, turning them into fiction. Now, after their release, they are confronted with the question of how to look towards the future. Even though the past haunts them. Nacho becomes a taxi driver, Paula starts working in an illegal textile workshop, Noelia becomes a sex worker again and campaigns for the rights of trans people. On stage, they share their most intimate desires and in doing so reclaim their future. The globally acclaimed Argentinian theatre and film director Lola Arias received the International Ibsen Prize in 2024.
This theatre project was preceded by the film project “Reas”, which captures the story of the former Caseros prison, a panopticon prison in Buenos Aires, in impressive images. The film, which premiered at the 2024 Berlinale, will be presented on 2 April at the Deutsches Filmmuseum in cooperation with Mousonturm.
Infos
- Dauer: 100 Min.
- Sprache: Spanisch mit deutschen und englischen Übertiteln
- 03.04. Gespräch im Anschluss
- Braver Space Klassenraum geöffnet vor den Vorstellungen
- Hinweis: es wird Stroboskop eingesetzt
- Mousonturm-Koproduktion
Accessibility
Accessibility of Location
Sponsors and Supporters
Text und Regie: Lola Arias
Mit: Yoseli Marlene Arias, Ignacio Amador Rodriguez, Estefania del Lujan Hardcastle, Noelia Luciana Perez, Paulita Veronica Asturayme, Carla Romina Canteros
Dramaturgie: Bibiana Mendes
Set Design: Mariana Tirantte
Kostüm: Andy Piffer
Video: Martin Borini
Technische Leitung und Lichtdesign: David Seldes
Musik, Komposition: Ulises Conti, Inés Copertino
Musik auf der Bühne: Inés Copertino
Sound Design: Ernesto Fara
Choreografie: Andrea Servera
Regieassistenz: Pablo Arias Garcia
Produktion und Vertrieb: Emmanuelle Ossena & Lison Bellanger – EPOC productions
Künstlerische Produktion: Luz Algranti & Sofia Medici
Produktion, Administration: Lola Arias Company Mara Martínez
Tour-Management: Lucila Piffer
Technische Produktion: Ezequiel Paredes
Produktionsassistenz: Juan Manuel Zuluaga Bolivar
Set-Assistenz: Lara Stilstein
Assistenz technische Leitung: Facundo David
Casting: Talata Rodriguez (GEMA Films)
Juristische Beratung: Felix Helou
Sozialarbeit: Soledad Ballesteros & Matias Coria
Bühnenbild: Werkstätten des Théâtre National Wallonie Bruxelle
Production: Lola Arias Company
Associated producer: Gema Films
Coproducción: Complejo Teatral de Buenos Aires, Festival d’Avignon (France), Festival d’Automne à Paris, Théâtre de la Ville Paris (France), Théâtre National Wallonie-Bruxelles (Belgium), Festival Tangente St Pölten, Festival für Gegenwartskultur (Austria), Theaterfestival Basel, Kaserne Basel (Switzerland), Comédie de Genève (Switzerland), Maxim Gorki Theater Berlin (Germany), Nationaltheatret Oslo (Norway), Scène nationale du Sud-Aquitain (Bayonne, France), Le Parvis Scène nationale Tarbes-Pyrénées (France), La Rose des vents Scène nationale Lille Métropole Villeneuve-d’Ascq (France), NEXT Festival (France), Théâtre National de Strasbourg (France), International Sommerfestival Kampnagel (Germany), Théâtre national de Bordeaux en Aquitaine (France), Zürcher Theater Spektakel (Switzerland), Künstler*innenhaus Mousonturm (Germany), The Brighton Festival (England)
With the support of the Franco-German Cultural Fund
Supported within the framework of the Alliance of International Production Houses by the Federal Government Commissioner for Culture and the Media as well as the Kulturfonds Frankfurt RheinMain. Funded by the Hessian Ministry of Science and Research, Art and Culture as part of All In - Theater von allen für alle. Supported by Freunde und Förderer des Mousonturs e.V.
Hinweis zu sensorischen Reizen
- es kommt Stroboskop zum Einsatz
Información en español
Los días afuera es musical, espectáculo de variedades, documental y teatro a la vez. Mujeres cis y trans, antiguas presas en cárceles argentinas interpretan escenas de sus vidas, que se convierten en ficción. Una vez en libertad, sus biografías se entrecruzan: Nacho se convierte en taxista, Paula empieza a trabajar en un taller ilegal, Noelia milita por los derechos de las personas trans. Todos ellos comparten con nosotros sus deseos más íntimos y hacen suyo el futuro. La directora argentina de teatro y cine Lola Arias recibió en 2024 el Premio Internacional Ibsen.
Biografie
Lola Arias, 1976 in Buenos Aires geboren, ist Autorin, Theater- und Filmregisseurin, die mit ihren Produktionen immer wieder neue Wege geht, um die Geschichten von Menschen, ihren Erinnerungen und Identitäten zu erzählen. Ihre Arbeiten werden weltweit gefeiert und wurden neben zahlreichen anderen Auszeichnungen am 2024 mit dem internationalen Ibsen-Preis ausgezeichnet. Geprägt durch ihre Arbeit als Autorin, konstruiert Lola Arias auf der Bühne Geschichten, geschrieben mit und durch das Leben, dokumentarische Texte und Spuren realer und spekulativer Vergangenheiten, Gegenwarten und Zukünfte.Ihre Produktionen bewegen sich zwischen Wahrheit und einem gewissen Grad an Fiktionalisierung. Statt mit fiktiven Charakteren arbeitet Lola Arias mit „echten“ Menschen. Auf der Bühne sehen wir die Darsteller*innen in einem ständigen Feedbackloop zwischen ihrer „erlebten“ Wirklichkeit und ihrer Repräsentation auf der Bühne.
Interview Extracts
Diario (AR): Quiese hacer un musical vulnerable y imperfecto (by Laura Gómez, may 2024)
Diario: It is an ambitious work in creative terms but also logistically. What difficulties did the process entail? (Interview by Laura Gómez, may 2024)
Lola Arias: The other day someone asked me if I felt that the projects were becoming more political. I believe that the political aspect doesn’t reside only in the content that is presented but in everything that is involved in ensuring, for example, that these people can be on stage. In practice, I assumed that this is also an essential part of the work. That the song is beautiful, that they sing well, that they perform well, and that the text works are just as important as having social security, being able to open a bank account, or having access to a babysitter for their children.
El País (ES): Lola Arias. La cultura genera redes, genera comunidad y genera conciencia (by Federico Bianchini, june 2024)
Lola Arias: Over the years, I have learned that documentary work can change people’s lives. I am not only interested in that person’s story, but also in ensuring that they have a place on stage to tell it themselves, with no one representing them. Because that generates empowerment, a distance that allows them to live with that story in a different way.
Le Terrasse: Los días afuera (by Anaïs Heluin july 2024)
Le Terrasse: This experience is not the first you have conducted with people from different backgrounds than theater. For each adventure, you imagine a different setup. Here, why did you choose the musical theater genre?
Lola Arias: Incarcerated people have a great need for means of expression to free their bodies and emotions. Music, singing, and dancing are of fundamental importance in the daily life of the prison. Two of the six performers were part of a music group in prison. So I naturally turned to this genre, where marginal worlds are generally represented in a stylized and romanticized way, by virtuous and virtuoso performers. Here, however, we really start from who these people are, from their lives, from their musical tastes, to build the piece.