Ever since it was founded, the CAYC (Centro de Arte y Comunicación), helmed by the cultural promoter, artist, and businessman Jorge Glusberg, was intended as an interdisciplinary space where an experimental art movement could flourish. The establishment of collaborative networks connecting local and international artists and critics played an important role in this process. As part of the interdisciplinary approach it had championed from its earliest days, the CAYC promoted experimental practices, appropriating a variety of examples of Argentine art from the 1960s.
In addition to the shows that were staged at the openings of some of the exhibitions (GT-21; doc. no. 1477966, GT-158; doc. no. 1476342, GT-161; doc. no. 1478696, GT-162; doc. no. 1478697, GT-180; doc. no. 1477992, GT-196; doc. no. 1478750), the Center also scheduled performances and programs that showcased a variety of performance and experimental practices.
These events became more prevalent in mid-1973, leading to the development of a program of experimental theater. (GT-301; doc. no. 1478985">1478985, GT-302; doc. no. 1478986">1478986, GT-317; doc. no. 1478987">1478987, GT-321; doc. no. 1478841">1478841, GT-369; doc. no. 1478868, GT-382; doc. no. 1478870, GT-389; doc. no. 1478874). Participating groups shared a common aesthetic that was based on an interaction between actor and audience and a minimalist approach to stage sets, as pioneered by Jerzy Grotowski (1933-99) and his “poor theater.”
This newsletter announces a performance of a new show starring the actress Oralia Gronner and directed by Osvaldo Moro, both of them Argentines, in October 1975, at the CAYC. Gronner started her career at the Teatro Municipal de Merlo, in the province of Buenos Aires, in the early 1970s, appearing in a minimalist production inspired by works by Federico García Lorca.
After being part of the program of experimental theater organized in 1973 [GT-297; doc. no. 1478830, GT-301; doc. no. 1478985">1478985, GT-302; doc. no. 1478986">1478986, GT-308; doc. no. 1478837, GT-317; doc. no. 1478987">1478987, GT-321; doc. no. 1478841">1478841,GT-326; doc. no. 1478843, GT-410; doc. no. 1478893, GT-416; doc. no. 1478894, GT-418; doc. no. 1478895], the Center presented a production of this piece that takes its name from a letter that García Lorca wrote to a friend, the Spanish poet Jorge Guillén, in which he considers time and silence as additional values of a text. The performance takes place on an almost bare stage.
