In Person | Music
General Direction: Martín Erazo | Soundtrack: Joe Vasconcellos, Aldo "Macha" Asenjo | Visual artist: Norton Maza | Musicians: Alejandra Muñoz, Jaime Molina, Claudio "Pajarito" Araya | Cast: Antonio Sepúlveda, Cael Orrego, Eduardo Moya, Laura Maldonado, Matías Burgos, Pilar Salinas, Sandra Figueroa, Victoria González, Adrián Muñoz | Set Design: Taller La Patogallina | Costumes: Antonio Sepúlveda | Sound: Pablo Contreras, Jorge "Pluto" Abarca, José Aguilo, Pablo Riveros | Lighting: Erasmo Cubillos | Visuals: Gabriela Lazcano | Executive Production: Daniela Valenzuela, Guillermo Migrik | General Production: Lorena Ojeda S., César Monrroy R. | A Co-production of Matucana 100- and Fundación Teatro a Mil
Martín Erazo
Director
A Multidisciplinary Talent
Martín is founder and artistic director of Colectivo La Patogallina, co-director and co-founder of the company Teatro del Sonido, and worked as the artistic director of FITKA and Festine de Isla Negra. He has directed national and international shows including circus, dance, massive concerts and large-format theater for public spaces.
Joe Vasconcello
Director
Music and Multiculturalism
Joe is one of the most popular and transcendent artists in Chilean music over the last thirty years. Ecological awareness and multiculturalism are explicit in his music. Based on Latin American fusion, his art has managed to connect with the masses and patent its own sound.
Aldo Macha Asenjo
Creator
Master of Chilean Cumbia
Aldo Asenjo, "El Macha", is a Chilean singer, songwriter and guitarist, leader of the bands Chico Trujillo, La Floripondio, and Bloque Depresivo. A specialist in Latin genres such as cumbia and bolero, he has become one of the most important referents of the new Chilean cumbia.
Norton Maza
Creator
Reality Portrait Painter
Norton is a visual artist born in the Chilean commune of Lautaro. He holds a degree from the National School of Art ENA (Bordeaux, France). His work covers the crude reality with which he must interact in an ironic way, full of unparalleled sensibility. He has participated in several national and international exhibitions and biennials.
La Patogallina
The company
Unmistakable Language
The company is one of the fundamental artistic groups of the Chilean theater scene, with 24 years of experience, dedicated to the rescue of popular and street theater. Over the course of these years, they have developed a vibrant language of acting, sound and visual energy. They usually deal with current issues, mostly related to Chilean history. They have participated in festivals in Europe, America and Asia, staging unforgettable shows such as A sangre e’ pato (1996), El húsar de la muerte (2001) and Paloma ausente (2017), among others.
- Because it is a super-production by La Patogallina, which linked its already well-known methodology two other production companies - La Raíz and Tercer Mundo - and the talent of renowned artists from different disciplines: Joe Vasconcellos, Claudio Araya and Aldo "Macha" Asenjo (musicians), as well as Norton Maza (visual artist). As a result, in the midst of the pandemic, an innovative creative cooperative has emerged, whose performance combines theater, music and visual aspects.
- Because it approaches the audience to the history of pre-Hispanic Chile, and specifically of the Inca culture, present in the territory we know today as Santiago. "This is a complex, deep, painful, magical story, which has many components that take us back to our roots. The very fact that Santiago was founded on an Inca city is painful, and so is the sacrifice of the boy. We feel what it must have felt. The celebration of this ceremony is special; all of a sudden it seduces you, and it also saddens you. It seduces you because it is magical, and it saddens you because of the underlying situation, because one looks at it from a much more westernized way, similarly to the colonizers", says Norton Maza.
Niño de El Plomo: Name given to the naturally freeze-dried body of an Inca child of approximately eight years of age, who was buried alive at an altitude of 5,400 meters, over 500 years ago, on top of the Cerro El Plomo (Santiago, Metropolitan Region), as an offering in honor of the Inca god Inti (Sun) in the Capacocha ceremony, a religious ritual of the Tawantinsuyu, or Inca Empire.
In Teatroamil.tv with Martín Erazo, the director reviews the milestones of his career with La Patogallina.
COLABORA
Cauri Pacsa, los niños y El Plomo
By La Patogallina, Joe Vasconcellos, Norton Maza and Aldo "Macha" Asenjo | Directed by Martín Erazo
- Chile
- Spanish
- 75 minutes
- Todo público
A journey across the story of “El Niño de El Plomo”, an Inca mummy found in Santiago in 1954 – where words, music and theatricality converge.
Cauri Pacsa, los niños y El Plomo tells the story of the burial ceremony, discovery and scientific studies of the “Niño del Cerro el Plomo” (the Boy of El Plomo Mountain), a small Inca mummy discovered in 1954 at an altitude of more than 5,000 meters above sea level by three “pirquineros” (small scale miners). The play intertwines three separate experiences: the boy and his journey, the pirquineros and the discovery, as well as the anthropologist and her research. Over the course of the plot, characters from different time periods appear, all related to the ceremony carried out in the extreme south of Tahuantinsuyu.
This play is a multidisciplinary scenic project with the participation of La Patogallina, Joe Vasconcellos, Aldo "Macha" Asenjo and the visual artist Norton Maza. Directed by Martín Erazo (La Patogallina), the show is conceived as a tribute to and a re-interpretation of radio theater, in a format in which words, music and theatricality converge.
Cauri Pacsa, los niños y El Plomo
By La Patogallina, Joe Vasconcellos, Norton Maza and Aldo "Macha" Asenjo | Directed by Martín Erazo
- Chile
- Spanish
- 75 minutes
- Todo público
A journey across the story of “El Niño de El Plomo”, an Inca mummy found in Santiago in 1954 – where words, music and theatricality converge.
Cauri Pacsa, los niños y El Plomo tells the story of the burial ceremony, discovery and scientific studies of the “Niño del Cerro el Plomo” (the Boy of El Plomo Mountain), a small Inca mummy discovered in 1954 at an altitude of more than 5,000 meters above sea level by three “pirquineros” (small scale miners). The play intertwines three separate experiences: the boy and his journey, the pirquineros and the discovery, as well as the anthropologist and her research. Over the course of the plot, characters from different time periods appear, all related to the ceremony carried out in the extreme south of Tahuantinsuyu.
This play is a multidisciplinary scenic project with the participation of La Patogallina, Joe Vasconcellos, Aldo "Macha" Asenjo and the visual artist Norton Maza. Directed by Martín Erazo (La Patogallina), the show is conceived as a tribute to and a re-interpretation of radio theater, in a format in which words, music and theatricality converge.
General Direction: Martín Erazo | Soundtrack: Joe Vasconcellos, Aldo "Macha" Asenjo | Visual artist: Norton Maza | Musicians: Alejandra Muñoz, Jaime Molina, Claudio "Pajarito" Araya | Cast: Antonio Sepúlveda, Cael Orrego, Eduardo Moya, Laura Maldonado, Matías Burgos, Pilar Salinas, Sandra Figueroa, Victoria González, Adrián Muñoz | Set Design: Taller La Patogallina | Costumes: Antonio Sepúlveda | Sound: Pablo Contreras, Jorge "Pluto" Abarca, José Aguilo, Pablo Riveros | Lighting: Erasmo Cubillos | Visuals: Gabriela Lazcano | Executive Production: Daniela Valenzuela, Guillermo Migrik | General Production: Lorena Ojeda S., César Monrroy R. | A Co-production of Matucana 100- and Fundación Teatro a Mil
Martín Erazo
Director
A Multidisciplinary Talent
Martín is founder and artistic director of Colectivo La Patogallina, co-director and co-founder of the company Teatro del Sonido, and worked as the artistic director of FITKA and Festine de Isla Negra. He has directed national and international shows including circus, dance, massive concerts and large-format theater for public spaces.
Joe Vasconcello
Director
Music and Multiculturalism
Joe is one of the most popular and transcendent artists in Chilean music over the last thirty years. Ecological awareness and multiculturalism are explicit in his music. Based on Latin American fusion, his art has managed to connect with the masses and patent its own sound.
Aldo Macha Asenjo
Creator
Master of Chilean Cumbia
Aldo Asenjo, "El Macha", is a Chilean singer, songwriter and guitarist, leader of the bands Chico Trujillo, La Floripondio, and Bloque Depresivo. A specialist in Latin genres such as cumbia and bolero, he has become one of the most important referents of the new Chilean cumbia.
Norton Maza
Creator
Reality Portrait Painter
Norton is a visual artist born in the Chilean commune of Lautaro. He holds a degree from the National School of Art ENA (Bordeaux, France). His work covers the crude reality with which he must interact in an ironic way, full of unparalleled sensibility. He has participated in several national and international exhibitions and biennials.
La Patogallina
The company
Unmistakable Language
The company is one of the fundamental artistic groups of the Chilean theater scene, with 24 years of experience, dedicated to the rescue of popular and street theater. Over the course of these years, they have developed a vibrant language of acting, sound and visual energy. They usually deal with current issues, mostly related to Chilean history. They have participated in festivals in Europe, America and Asia, staging unforgettable shows such as A sangre e’ pato (1996), El húsar de la muerte (2001) and Paloma ausente (2017), among others.
- Because it is a super-production by La Patogallina, which linked its already well-known methodology two other production companies - La Raíz and Tercer Mundo - and the talent of renowned artists from different disciplines: Joe Vasconcellos, Claudio Araya and Aldo "Macha" Asenjo (musicians), as well as Norton Maza (visual artist). As a result, in the midst of the pandemic, an innovative creative cooperative has emerged, whose performance combines theater, music and visual aspects.
- Because it approaches the audience to the history of pre-Hispanic Chile, and specifically of the Inca culture, present in the territory we know today as Santiago. "This is a complex, deep, painful, magical story, which has many components that take us back to our roots. The very fact that Santiago was founded on an Inca city is painful, and so is the sacrifice of the boy. We feel what it must have felt. The celebration of this ceremony is special; all of a sudden it seduces you, and it also saddens you. It seduces you because it is magical, and it saddens you because of the underlying situation, because one looks at it from a much more westernized way, similarly to the colonizers", says Norton Maza.
Niño de El Plomo: Name given to the naturally freeze-dried body of an Inca child of approximately eight years of age, who was buried alive at an altitude of 5,400 meters, over 500 years ago, on top of the Cerro El Plomo (Santiago, Metropolitan Region), as an offering in honor of the Inca god Inti (Sun) in the Capacocha ceremony, a religious ritual of the Tawantinsuyu, or Inca Empire.
In Teatroamil.tv with Martín Erazo, the director reviews the milestones of his career with La Patogallina.
COLABORA