{"id":7736,"date":"2023-03-03T18:55:08","date_gmt":"2023-03-03T17:55:08","guid":{"rendered":"https:\/\/edu.xestioncultural.com\/?p=7736"},"modified":"2023-06-21T19:15:41","modified_gmt":"2023-06-21T17:15:41","slug":"artes-escenicas-e-letras-e-oralidade-con-paulo-rodriguez-e-sole-felloza","status":"publish","type":"post","link":"https:\/\/edu.xestioncultural.com\/es\/2023\/03\/artes-escenicas-e-letras-e-oralidade-con-paulo-rodriguez-e-sole-felloza\/","title":{"rendered":"Mediaci\u00f3n e programaci\u00f3n cultural: artes esc\u00e9nicas e letras e oralidade. Con Paulo Rodr\u00edguez e Sole Felloza"},"content":{"rendered":"

Por Xandre Mar\u00edn<\/strong><\/p>\n

Xa perdida por completo a pouca palabra que ti\u00f1a, m\u00e1is de dous meses despois de comprometerme a redactar esta entrada para o blog do curso, e un mes despois de xurarlle a Ruth Sousa polo m\u00e1is sagrado (os meus gatos) que o far\u00eda, aqu\u00ed van as mi\u00f1as impresi\u00f3ns sobre a sesi\u00f3n do d\u00eda 03\/03\/23, que, dentro do bloque sobre mediaci\u00f3n e programaci\u00f3n cultural, se centrou nas artes esc\u00e9nicas e na oralidade (no teatro e na narraci\u00f3n), para o que tivemos a fortuna de contar coa testemu\u00f1a experiencial de Xos\u00e9 Paulo Rodr\u00edguez<\/a> (do Teatro Rosal\u00eda de Castro) e Sole Felloza<\/a> (do Festival Atl\u00e1ntica).<\/p>\n

En realidade, eu pretend\u00eda contar aqu\u00ed que cando cheguei \u00e1 Coru\u00f1a a comezos de s\u00e9culo, o Rosal\u00eda de Castro era un dos s\u00edmbolos do coru\u00f1esismo m\u00e1is\u2026 coru\u00f1\u00e9s. Ti\u00f1a daquela unha compa\u00f1eira de traballo que sacaba abono cada tempada para non ir nunca, s\u00f3 porque telo implicaba unha certa distinci\u00f3n. Logo ca\u00edn en que este blog \u00e9 p\u00fablico e, ademais, vai asinado, e non \u00e9 a mi\u00f1a pretensi\u00f3n meterme nos xard\u00edns de M\u00e9ndez N\u00fa\u00f1ez, as\u00ed que pecharei este tema agradecendo infinito a todas esas persoas que mercan o abono para non ir (ou pasar polo teatro s\u00f3 cando v\u00e9n Juan Diego Botto) e emprestan a entrada \u00e1s s\u00faas amizades para ver teatro menos convencional, por chamalo dalgunha maneira, ou, a\u00ednda peor, en galego. Isto cont\u00e1ronmo, que eu pago entrada sempre.<\/p>\n

O teatro Rosal\u00eda de Castro dende dentro<\/h4>\n

Xos\u00e9 Paulo Rodr\u00edguez accedeu \u00e1 praza de director do teatro Rosal\u00eda de Castro<\/a> no 2011. Non quixera eu verme nese traballo herc\u00faleo que ten que ser conxugar a li\u00f1a de programaci\u00f3n que trae de anos atr\u00e1s o Rosal\u00eda cun orzamento cada vez m\u00e1is axustado (sendo optimistas), cunha situaci\u00f3n pol\u00edtica municipal en constante cambio (tres gobernos diferentes desde que est\u00e1 no cargo), cun p\u00fablico cada d\u00eda m\u00e1is esixente e cunha oferta art\u00edstica cada vez m\u00e1is ampla e diversa. E podemos sumar a\u00ed moitas outras variables que complican o labor: o prezo das entradas e a competencia directa, sobre todo no caso de teatro galego, con salas e auditorios municipais da contorna que ofrecen as mesmas obras a prezos simb\u00f3licos, cando non mante\u00f1en esa idea rancia do gratis para todas que se instaurou coa democratizaci\u00f3n cultural e que tan pouco axuda a valorar o traballo das profesionais do teatro.<\/p>\n

Xos\u00e9 Paulo falou de moitas outras cousas: da historia do Rosal\u00eda, das presi\u00f3ns \u00e1 hora de programar, da familia que conforman xunto aos habituais do teatro, da renovaci\u00f3n de p\u00fablico que se est\u00e1 a vivir tras a pandemia, da xente que marcha contrariada cando hai funci\u00f3n de Matarile Teatro (non dixo que fosen Matarile Teatro, pero tampouco creo que ande eu desencami\u00f1ado) e tam\u00e9n do programa de mediaci\u00f3n do TRC Danza, do que xa nos falara Caterina Varela unhas sesi\u00f3ns antes e que, como a estas alturas xa saberedes, foi motivo de pol\u00e9mica pouco despois.<\/p>\n

A arte da narraci\u00f3n e Sole Felloza<\/h4>\n

Na segunda parte da sesi\u00f3n, Sole Felloza fixo a que recordo como mellor ponencia de todo o curso. Xogaba, claro, coa vantaxe de ser contadora e ter unha bagaxe inigualable en dominar todo tipo de situaci\u00f3ns. E n\u00f3s tampouco somos un p\u00fablico complicado<\/strong>, a\u00ednda que a clase dese d\u00eda comezara coas nosas queixas pola falta de aprendizaxe de metodolox\u00edas durante o curso, \u00e1s que, por cerro, Xos\u00e9 Paulo respondeu que na xesti\u00f3n cultural, cando algu\u00e9n chega a conformar algo parecido a unha metodolox\u00eda, xa non serve e hai que buscar outra.<\/p>\n

Te\u00f1o que confesar que, a pesar de saber do Festival Atl\u00e1ntica<\/a> desde hai anos, desco\u00f1ec\u00eda a magnitude e as implicaci\u00f3ns que ti\u00f1a, probablemente porque viv\u00eda instalado no prexu\u00edzo de que as contadas son, a nivel organizativo, un que se pon a contar e marcha cando acaba.<\/p>\n

Sole Felloza falou da forma en que o festival foi crecendo desde as orixes ata a actualidade, sen perder nunca de vista o compromiso co patrimonio e coas asociaci\u00f3ns culturais (para as que poden chegar a programar actuaci\u00f3ns de balde se as\u00ed se lles presta), trufando o cami\u00f1o con an\u00e9cdotas e historias de encontr\u00f3ns, problemas resoltos con creatividade, eivas que se converten en oportunidades e improvisaci\u00f3ns varias. Unha metodolox\u00eda, efectivamente, en constante cambio, pero, por fin, explicada paso a paso, con detalle, con gana, con paix\u00f3n e con graza.<\/p>\n

Que non \u00e9 por safar de escribir m\u00e1is, pero realmente a intervenci\u00f3n de Sole Felloza \u00e9 das que tedes que ver se non estivestes na clase ese d\u00eda e nada do que eu poida engadir aqu\u00ed vai aproximarse o m\u00e1is m\u00ednimo a escoitala a ela contalo.<\/p>\n

As\u00ed que, xa para rematar, vai aqu\u00ed outra valiosa aprendizaxe que saquei desta sesi\u00f3n<\/strong> grazas a compartir co\u00f1ecementos e saberes coas marabillosas compa\u00f1eiras coas que tiven a sorte de compartir curso: Sara Baras \u00e9 pal\u00edndroma.<\/strong><\/p>","protected":false},"excerpt":{"rendered":"

Por Xandre Mar\u00edn Xa perdida por completo a pouca palabra que ti\u00f1a, m\u00e1is de dous meses despois de comprometerme a redactar esta entrada para o blog do curso, e un mes despois de xurarlle a Ruth Sousa polo m\u00e1is sagrado (os meus gatos) que o far\u00eda, aqu\u00ed van as mi\u00f1as impresi\u00f3ns sobre a sesi\u00f3n do […]<\/p>\n","protected":false},"author":8,"featured_media":7738,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"categories":[18],"tags":[],"class_list":["post-7736","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-7a-edicion-2022-23"],"yoast_head":"\nProgramar nos teatro e a narraci\u00f3n - USC Xesti\u00f3n Cultural<\/title>\n<meta name=\"description\" content=\"Teatro e narraci\u00f3n son dous \u00e1mbitos con peculiaridades que definen o traballo de mediaci\u00f3n e programaci\u00f3n que se fai neles. 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