Open spaces to the native peoples on the theatrical billboard, a commitment

Revitalize the Forest Cultural Center (CCB), strengthen scenic art in Mexico and promote the inclusion of indigenous peoples are some of the main challenges that Luis Mario Moncada faces at the head of the National Theater Coordination (CNT) of the National Institute of Fine Arts and Literature (Inbal).

With a trajectory that covers from dramaturgy to theatrical research, Moncada (Hermosillo, 1963) assumed the commitment to recover The lost muscles of the institution.

In an interview with The day, The director stressed that the CCB “is the most important cultural center in the country, with 10 spaces of representation and more than 3,500 seats. There is no other place with this infrastructure and potential.

Beyond the number of scenarios, the real task is to give life to the whole. It is not just about programming works, but also generating a sense of belonging in spectators at local and national scale.

One of the projects that Moncada seeks to reinforce is scenic prologues. In the context of the year of the indigenous woman, before each function a theatrical fragment will be presented with a cast from native peoples. We want the country’s cultural diversity to have a space in our billboard, and that its voices are part of the national scenic dialoguethe official added.

This effort to integrate and make visible historically marginalized communities also translates into the programming of works that address themes about their rights and gender equity.

Dramaturg, actor and critic, Luis Mario Moncada studied dramatic literature and theater at the National Autonomous University of Mexico. From 1993 and 1997 he led the Rodolfo Usigli Theater Research Center. Throughout his career, he has held other positions, such as the direction of the Hellenic Cultural Center and that of the Theater Company of the Veracruz University.

For Moncada, “the theater has the ability to generate empathy and reflection. We seek that our staging are much more than an entertainment space, which become a platform for social dialogue.

With that purpose in mind, financial strengthening becomes key. The CNT budget went from 29 to 38 million pesos. This allows us to expand our offer and improve infrastructure. However, the challenge is not just economic. We need people to return to the theater, that the new generations feel it close.

Hearing formation, essential

The National Theater Coordinator plans to promote audience training strategies, with activities that include didactic functions for students, workshops for children and youth, and the generation of dialogue spaces between creators and spectators.

We want this scenic expression to be considered a cultural right, not an exclusive luxury of a few. As for human sensitivity on stage, he commented: The theater reflects society. It must be a space to discuss our conflicts, passions and hopes, without losing sight of its human dimension.

Decentralization is also a priority for Moncada, who stressed that it is essential to “take the assemblies to open spaces and approach audiences that do not usually attend the traditional theater. The scenic garden, as part of the Chapultepec project: nature and culture, is a clear example of this vision. Not everything should happen in closed rooms: the potential of the outdoor areas must be used.

There is good communication with President Claudia Sheinbaum and with the headlines of the Federal and Local Culture Secretariats, Claudia Curiel de Icaza and Ana Francis López, respectively. They understand the importance of an accessible and plural theater. The relevant thing is now to materialize the projects and consolidate a long -term theatrical policy.

Another of the fundamental axes of the management of Luis Mario Moncada is to improve the working conditions of those who make possible the theater. This cannot flourish if those who believe it live in precariousnesshe stressed.

For that reason, the price of tickets will be adjusted, more just hiring schemes will be adopted and supporting support will be expanded, with the purpose of guaranteeing decent working conditions for artists, the playwright explained.

He emphasized that the theater should be a space for reflection and enjoyment of a broader audience. If we get more people to find in him an opportunity to think and enjoy, we will have taken a fundamental step. It is not enough to fill seats: we must generate community. A successful work should not settle for less than 50 functions to really fulfill its purpose.

Moncada considered that it is not only about reviewing shows, but also generating critical thinking about what happens on stage and its impact on the social context. He also acknowledged that the pandemic left a valuable lesson: the need to diversify the cultural offer.

Theater is a social transformation tool. It is crucial to open more spaces for young creators. We want the CNT to be a seedbed of new voices and aesthetics. The future of Mexican theater depends on experimentation and risk.