THE PROJECT
THE PROJECT
SANCHEZ AGUILAR FOUNDATION Aware of how important it is to give back to the community the benefits received, the promotion of education and cultural activities became from the beginning one of the clearest objectives of the civic commitment of Carlos Sanchez Aguilar, an entrepreneur from Zaruma, Ecuador. That is why in 1989 he decided to present formally his personal contribution to the community through the creation of the Sánchez Aguilar Foundation with its motto “To teach is to liberate”. Even though the initial purpose of this foundation was to benefit primary, secondary and university students in vulnerable situations through scholarships and academic excellence awards, the success of these programs allowed its entrance into the field of counseling an adult audience. Having as a target group mainly a feminine population, who was not in condition to economically support their families, the Foundation resolved to empower
women who seek to improve their quality of life through training and courses that would allow their successful insertion in different labor markets. Considering that an approach to the performing arts leads to reflection and introspection, that encourages personal growth and conscience emancipation, from the Foundation’s optic, it was clear that the next contribution to a liberating education laid on the promotion of the arts. Thereon the bases of a new project were set; to build a space that allowed the consolidation of Guayaquil´s cultural identity so many times absent from the educational structure, through the performing arts. We know that if there is a consolidated cultural identity, societies´ growth will rest upon a stronger foundation.
As an instrumental entity of the Sanchez Aguilar Foundation, oriented to cultural development, on May 16th, 2012, we opened the Sanchez Aguilar Theater (TSA – Teatro Sanchez Aguilar in Spanish). It was formed with the purpose of supporting cultural creation and education in our country through the orientation towards production, promotion and diffusion of performing arts. Within this framework in our institutional mission we seek to configure ourselves as a platform that drives professional artistic movements and encourage access to culture in diverse audiences. Our particularity is that we seek to achieve this not only through a varied and constant programming, but also through a series of social, educational and artistic projects directed to all our community. In Theater Sanchez Aguilar we believe in
the consolidation of cultural identity through art. That is why we propose teaching to value and enjoy performing arts; to conceive them as artistic manifestations that become part the common cultural heritage of the people. This notion is a key piece to foment contact and approach of the audiences to our spaces. We want to cover all possible audiences, from children to senior citizens, not only in Samborondon, but all surrounding territories. For that purpose it has become indispensable to look for the best possible way to reach the different audiences that make the whole community, and share their spaces in order to familiarize ourselves with their dynamics, and understand how we can contribute to their growth.
THE PROJECT
THE BIRTH OF THE PROJECT
SANCHEZ AGUILAR THEATER
Our mission
Our vision
To become an innovative cultural institution that becomes the main tool that drives professional artistic movement, and encourages access to artistic culture through constant programming, and the creation of socio-educational projects that build new public spaces, always on the lookout for equilibrium between excellence and social and economic profitability.
Consolidate ourselves as the infrastructure of the Ecuadorian performing arts movement, and the showcase of international performing arts, to present the most varied cultural manifestations, aiming for artistic excellence, therefore taking care of our commitment of fulfilling diverse audiences’ demands and the construction of a new democratic and tolerant society.
SANCHEZ AGUILAR THEATER
Our objectives Main objective: Researching the local cultural base from recovering indigenous traditions and generating an opening to other sensible and comprehensible cultures, to nourishing a symbolic cultural identity that constitutes the bases of personal and humane growth. Secondary objectives: •Consolidating ourselves as the Ecuadorian stage space that supports national creators, not only in theater but in music, and fine arts, photography and audiovisuals. •Contributing to the development and strengthening of all stage activities that happen in the Samborondon and Guayaquil cantons, as well as all others that form the Guayas province. •Organizing exchange activities with groups and educational and/or cultural institutions from the community directed to stimulate and confront the educational labor. •Promoting through awards and competitions, an
interest in participating in creative processes, and developing talent that aims towards excellence. These are directed to professional as well as inexperienced profiles through an approach to institutions and schools, this way opening the door to new talents. •Promoting all its activities at local and national level, seeking to eventually going into international circles.
Budget
USD $1’800.000
FINANCING AMOUNT
%
SPONSOR
42% 40%
OTHER
7%
11%
TICKETS
RENT
SANCHEZ AGUILAR THEATER
Sponsor (private company) $ 752.321,42 42% Tickets (income) $ 726.428,72 40% Rent $ 203.809,05 11% Other $ 117.440,81 7%
Work team Through the years our team has built up gradually as a multidisciplinary professional group, trained and aware of their “youth”. These qualities make them continuously research new techniques to build internal processes each time more efficiently focus on the strengthening of a newborn industry both
internally and externally. Passionate about this quest for excellence, ideal, but attainable, their dedication to the institution is full time.
Marion Ecalle
WORK TEAM
General Director
With a master’s degree in International Cultural Cooperation and a post graduate degree in Cultural Administration and Cultural Policies, Marion Ecalle counts among her main influences the theories of Pierre Rabhi, whose main objective is the growth of human welfare. This has marked her job as a permanent search of alternate forms to give specific solutions to global predicaments. Therefore her projects always aim to reach a “live better” to a “live happier”, through constant sensibility towards what humanizes people. This projection made her decide to choose to perform in the cultural management field, which is the ideal field to put into practice the ideas that set up the growth of social bonds that awaken in people a search for finding themselves
and discovering their humanity. The performing arts as a field in which everything spins around the human nature, from the artists to the audience, was the ideal place built to revert with optimism a bleak outlook through this work methodology. Under this mechanics Ecalle performs designing and implementing cultural projects in the area of strategic writing, budget creation and elaboration of communication plans.
Ramón Barranco Artistic director
Three years after concentrating in musical education, in 1995 he decides in an absolutely professional manner to dedicate to producing
performing arts, creating his own production and distribution company of theater, dance, and music, which places emphasis in street theater and circus production. Since 2001 he starts working in Latin America helping in the search for new companies to work with, and the distribution of his shows. His passing through the region makes him get to know the performing arts panorama of countries such as Brazil, Argentina, Mexico, Colombia, Venezuela, Chile, Dominican Republic, Guatemala, Panama, Uruguay, Peru and Ecuador. In 2011 he creates the Kiblos Company with Marion Ecalle, which carries out the writing of TSA’s strategic project. With this project, Barranco becomes the Artistic Director of the Theater, position he fulfills to the present date.
WORK TEAM
His university years coincided with the end of the Spanish dictatorship, in which a new period of cultural and intellectual opening, where a great amount of cultural collectives and performances of conceptual arts started. Having nourished from this rich cultural context, in the early 80’s he began with Cultural Management, when this term did not even exist. He took his first steps in this field directing contemporary music festivals and producing multidisciplinary plays where visual arts, performing arts and music combined. In these years he also directed a meeting of street musicians, a theater festival and a series of choir festivals in three different cities.
Department Heads
Shirley Toala Administrative and Financial Chief
Luly Ossa
Holds a degree in Public Accounting (CPA), specialized in Taxation, with vast experience in Finance and Cost accounting, budgeting and auditing, with a mention in areas of security and health as an Auditor in Work Risk Management Systems (SART in Spanish). Presently she is Administrative and Financial Head for Sanchez Aguilar Foundation.
Always committed to acting, and her cultural work in the city, including stage and fine arts, she dedicated later to the management of sponsorships for cultural and artistic events and plays. Today she is in charge of the Event planning area in the Sanchez Aguilar Theater.
WORK TEAM
Communications Director
Javier Aguirre Technical Chief
Events Chief
Arturo ZĂśller
Audiovisual Communication graduate. After a few years in advertising, her self-motivation to project herself to the world and work with people who contribute with a new vision, moved her to get involved in the stage ambiance and study management and production of theater projects (CELCIT Denisse Melgarejo in Spanish), performing several years as a Executive Producer production assistant. Her excellent skills and her constant determination, gave her the necessary experience to perform as Executive Producer.
With more than 20 years of experience in marketing and advertising, he has worked for marketing agencies such as Ogilvy, D’Arcy and JWT. He studied in Universidad Casa Grande, where later he worked as a teacher for 8 years in subjects such as: Advertising, Creative Thinking, and Critical Thinking. Lover of performing arts, movies and music, since 2014 he is the Communications Director of the Sanchez Aguilar Theater.
Through his job in the sound projection area, he met the world of lighting. Since there were no technical careers in the field of show business, he decided to prepare himself, studying, investigating and reading about the techniques and methodology of this field of work. At 18 he had become a reference in the field, freelancing for three renting companies. That is how he was invited to participate in the team.
OUTLOOK
OUTLOOK
How was it? The present outlook of the cultural industries in Guayaquil’s metropolitan area projects itself in a complex form, counterpoising a search to maximize quantity and quality of the artistic and cultural supply, against a traditional sleepy industry whose incipient state has been perpetuated for several decades. It is clear that the cultural production in Guayaquil is at a moment in which apart from securing their spaces and content, there is a focus on surviving, since a moment of ignition supported by new physical assets and cultural actors has not existed.
How do we want it to be?
•Training and creation of audiences: We want to promote the approach and sensitization of different audiences to guarantee the survival of the new artistic proposals that are produced in the city, since a consolidated audience will provide critical financial support to solve their existence. For that, an artistic content within the family, and school education is necessary, or if this is not the case, that learning spaces in public and private cultural instances reinforce them.
•The Artistic supply: We want to make the audiences gradually become familiarized with new formats and artistic contents in a critical manner. This implies diversification and empowerment of stage supply from the artists, betting on creative and innovative proposals that at the same time, take into account the profile of society’s expectations in which they are inserted. This way a dialogue can be created with the means to transcend from the stage to the conscience of the audience.
•The financing: We want the cultural industry to be prioritized as an element of social investment in the country, demonstrating to the public and private circles that it constitutes a viable and productive enterprise. This requires rethinking the ways in which financial policies are configured in both sectors allowing the development of new cultural spaces and audiences related to them.
OUTLOOK
The lack of ignition of Guayaquil’s cultural production can be solved addressing three issues that form a new creative panorama for artists, managers and cultural institutions of the zone.
OUTLOOK
How do we do it? We start from the need to be a self-funded entity, which implies taking decisions that focus our energies constantly in the quest for specific and efficient strategies to reach this ideal outlook. We conceived it as a way to reverse the descending spiral of shortages towards an ascending spiral of development. For that purpose we are aware that we need to dream to uncork an infinite potential number of solutions to our problem, since dreaming provides us the creative independence that we need to have; stops us from alienating and constraining ourselves. Besides, we know we need to systematize ways to transfer the dream into a viable project; giving it an investigation rigor that makes it materialize. Under these strategies a variety of projects are born that mold and constantly configure our way.
OUR PROJECTS
OUR PROJECTS
Our projects Through our projects we look for ways to get to audiences that live in our community, to share their spaces as a way to familiarize with their life dynamics and understand how we can grow together. We know that working towards the community is working hand in hand with it, opening doors to dialogue and exchange where all parts are enriched.
Positioning and promotion of performing arts Being the main activity of our institution and therefore that in which it has more contact with the different social and institutional actors in it, we seek to benefit in first instance all the artistic community (stage and musical arts) of the Guayas province. With the projects we develop in this circle of action, we aspire to support their professionalization, diversification and training. Within this framework, we have two work instances that function towards the creation of spaces – both physical and virtual- of dialogue, reflection and study of the problems that attain the performing arts.
DO
ENCUENTRO NACIONAL DE LAS ARTES ESCÉNICAS Y MUSICALES
INVITADO
Annual Meeting of Performing and Musical Arts Carried out for the first time in 2013, we are preparing the third edition of this meeting. The event has a format of roundtables about various topics concerning the performing arts, with the purpose of elaborating action strategies that feed the creation of new opportunities and space for artists. Both editions have had an excellent acceptance from the public, composed of actors, cultural agents, producers, among many other social actors related to the performing arts.
Confluencias Magazine (Conjunction Magazine) In the month of September 2014, we presented the first magazine dedicated to the performing and musical arts in the country entitled Confluencias (meaning conjunction or convergence). The global proposal of this publication is unique in its type, since it presents for the very first time, the results of a market study that maps the current state of the performing arts in the city, displaying not only statistical material about producers and consumers of the arts, but an analysis of them. The purpose of this study is to make readers obtain eloquent information about the performing arts field, which will allow them to plan effectively for future projects or cultural enterprises.
OUR PROJECTS
2
OUR PROJECTS
Educational We decided to offer the student audience an approach to the theater to try to build an exchange relationship, for which we are determined to carry out different forms of pedagogical work of insertion of the performing arts in the classroom, with the objective of involving children and youngsters in the educational activities that we develop annually. Besides, they are an integral part of the process of
creating audiences that will participate in the growth of audience numbers in the cultural and artistic scene. Our educational projects have four actions axis directed to the different types of student audiences that are frequently excluded from a possibility of approach to the performing arts, either for economic, social or cultural factors.
Spectator/Audience School There is a particular sensibility of the audience towards the meeting with the artists, which is why in the process of training the audience, there is a dialogue actor-spectator. This way, we have created the concept of the “School of the spectator”, a space for audience and artist dialogue that goes behind our most representative proposals. The objective of this space is that with the company of a mediator, a transfer of knowledge, tools and experiences happen, that allows the spectator to transform into a ´spect-actor´ of his own experience.
Recovery of Oral Tradition With this project we set to – through interviews, life history and photographic and audiovisual recordsuse oral tradition to recover ancestral cultural traits of the Samborondon canton. The purpose was to contribute to the consolidation of a local cultural identity and to promote community development in the process, through the diffusion of the material recovered. This material, composed of short videos, workshops and a book that compiles the stories and traditions of the area, was distributed among the students and teachers of fiscal (public) schools of the Samborondon canton to be used as tools for learning.
Accompaniment program Our free performances count with the support of guides/companions that are carried out with students from Universidad de Especializaciones Espiritu Santo (UEES). This program consists in three stages of accompaniment that take place before, during, and after the play. This process helps the introduction of the attendees to a space and artistic format to which they are not accustomed to, which enables the integration of the performance in the curriculum program and develops a sensibility towards a sustained appreciation of the arts.
OUR PROJECTS
Special performances Through our three years of work, we have managed to coordinate and offer around 30 free performances for the most vulnerable communities, specifically to schools in urban marginal sectors and rural sectors of Guayaquil and Samborondon. Likewise we actively work in the inclusion of people with disabilities and the elderly. We have made this possible with special performances in which previously there is pedagogical instruction to the audience to be able to appreciate in a more integral way the artistic representation. We have included for example, sign language accompaniment for audiences with hearing disabilities.
OUR PROJECTS
Promotion of creation
Among our programs, we also consider vital the impulse of production and diffusion of performing arts at an amateur level, among audiences that under other circumstances could have not considered positioning themselves in a creative role. Through awards and annual competitions, these projects awaken an interest of citizen participation in creative processes. Besides, they encourage risk
taking, a necessary starting point to open the door to discovery of new skills and interests. In these circumstances, we target a profile of amateurs through an approach to institutes, universities and schools, sharing a space with excellent technical qualities to display their abilities.
UR-BAND This is a competition directed to musical bands formed by young college and high school students who compose songs of any musical genre. With it, we seek not only to create a platform in which new groups can broadcast their own creations, but also to build a space of counseling and training in which young artists have the possibility of talking to successful musicians and producers about the challenges and strategies implied in opening a path in the world of contemporary music. Currently we have a third edition of this competition.
Theater marathon With three successful editions, this is a competition of production of own playwriting drama. This is directed to young actors, directors, technicians and playwrights, who have to create a performance proposal of 10 minute maximum. Group works are created in a multidisciplinary manner with at least one actor, director, playwright and stage designer each. The winning group later has the opportunity to present their performance proposal, this time in an extended format in the experimental room of the Theater as part of our regular programming.
OUR PLAYS
NUESTRAS OBRAS
OUR OWN PRODUCTION PLAYS Introduction For our own production plays we strived to have a mainly Ecuadorian cast, of both renowned actors as well as new actors who have just begun to insert themselves in artistic circles in the country, providing them with new opportunities. On the other hand, we also seek to generate exchange with exceptional Latin-American directors, as a quest to produce dialogue that will enrich the Ecuadorian medium with new forms of artistic creation.
THE NUTCRACKER LEGEND
November / Dicember 2012-2013-2014
This ballet with an Ecuadorian cast is an adaptation of Tchaikovsky´s classic produced by Maria Graziani with Pascal Touzeau, choreographer that combines music, dance and animation. Its staging is now a tradition of our programming, having presented it every year in the months of November and December, since the Theater´s inauguration. As a creative project this play contributes in great manner to the professionalization of dance in our country, since it motivates group work of different dance academies with a requirement level of excellence.
Cast 2014: Clara: María Clara Ambrosini Nutcracker Prince: Andrés Rivadeneira Federico – corps de ballet: Kléber Velasco Padrino Drosselmeir – corps de ballet: Yasser Monet Rodríguez Madre - Sugar Fairy: María Elena Estevez Doncella – arab - corps de ballet: Marina Robinson Doncella – corps de ballet: Adriana Polit Corps de ballet: Gregorio Garcés, Gianina Genovesse, Maitte Pereira, Carolina Rodríguez, Jean Vaca, Rafael Espinoza, Isabella García
OUR PLAYS
Daet Rodríguez Choreographic Director 2014 Born in Cuba, he started his dancing career in the Escuela Vocacional de Arte in Camaguey and later finished his studies in the National Ballet School in La Habana, Cuba. He came to Ecuador in 1995, where he has performed as a lead dancer in numerous companies. Currently he directs and teaches in his own academy CUBALLET, with which he has received several recognitions in international competitions.
LAS BURLADAS POR DON JUAN September 2013
This version of the “The Seducer of Seville” by Tirso de Molina, directed by Lucia Miranda, brings the topic of violence against women. Its presentation served to give voice to battered women in our society, achieving through acting to reveal a social reality that may seem normal in some social circles.
OUR PLAYS
Lucía Miranda Director This Spanish artist has a Master degree in Theater and Education with a mention in work with communities from the University of New York with a Fulbright scholarship. Her training with the Teatro Del Oprimido is highlighted, having coordinated workshops in Spain, United States, France, and Senegal. She is director of the company Cross Border Project, which adapts classics to bring them to a contemporary context. Cast: Pedro Tenorio, Coridón, Don Gonzalo, Guard y Belisa: Luis Aguilar Isabela: Ángela Arboleda Catalinón and The King: Juan Pablo Asanza Aminta: Belén Idrobo Duque Octavio, Anfriso, Marqués de la Mota y Batricio: Aníbal Páez Ana: Gilby de la Paz Don Juan: Ricardo Velástegui Tisbea: Érika Vélez Presenter: Mariela Viteri
V
Enredos entre dos
(TROUBLE BETWEEN TWO) January 2014
This 100% national musical is set through Ecuadorian pop rock of the 1980’s and 1990’s and pays homage to the country’s popular culture and recognizes its great artists. The script was in charge of young Ecuadorian screenwriter and producer Christian Valencia. With this story local cultural expressions were rescued to demonstrate that not only international plays have value, breaking paradigms related to the way we appreciate talent.
Cast: Paúl: Pancho Aguiñaga Elís: María José Blum Ana: Alexandra Cabanilla Rocío: Lola Guevara Martha: Jasú Montero Gloria, Mercedes, Janet: Belén Idrobo Gabriel, Rubén, Camilo, Alcides: Silvio Villagómez
OUR PLAYS
Jorge Hugo Marín Director Colombian director and playwright, with only 33 years he is considered the best of the new generation of Colombian theater. His plays are winners of multiple awards and have travelled the whole world. As a director he was in 2013, with Jose Manuel Lopez at the lead of the successful musical “Mentiras” (Lies), targeted to an audience that habitually does not consume theater.
LA HACEDORA DE MILAGROS (THE MIRACLE MAKER) May 2014
This unprecedented representation of the performing arts in Ecuador was an adaptation of William Gibson’s text of Helen Keller’s work, renowned writer, speaker and deaf blind activist and her relation with her teacher Anne Sullivan. In it the topic of people with disabilities was approached, and her inspiration to come out of difficulties. Several resources were used, such as simultaneous translation with sign language to people with special capabilities that attended the show, becoming by themselves an important act of social inclusion.
OUR PLAYS
Mario Ernesto Sánchez Director This American director of Cuban origins is the founder, artistic director and producer of Teatro Avante since 1979 and of the International Hispanic Theater Festival of Miami (1988). He was selected to serve in the board of directors of the Adrienne Arsht Center for the Performing Arts Trust (PACT). Cast: Annie Sullivan: Luciana Grassi Helen Keller: Ariane Tavernier Captain Keller: Jaime Tamariz Aunt Eva: Montse Serra Viney: Carmen Angulo Kate Keller: Shany Nadan Jaime Keller: Sebastián Perdomo Doctor: José Burgos Percy: Luis Rúa
Los Hombres no Mienten (MEN DON’T LIE) November 2014
This staging was awarded the Moliere Prize in 2010 for its author, Eric Assous. It deals with the history of Maximilian and Joanne, a couple who after several years of marriage decide to declare all the truth in a hand to hand duel, breaking the harmony of a marriage and troubling their friend Claudio in the process. Through comedy this play makes the audience reflect about up to what point lies are accepted in a relationship, approaching topics such as fidelity, lies and machismo with witty humor.
Cast: Maximiliano: Roberto Manrique Joana: Rosymar González Claudio: Ricardo Velástegui
OUR PLAYS
Daniel Uribe Director Winner of the Marco Antonio Ettedgui award in 1996, is one of the most prominent Venezuelan directors. Throughout his career he has carried out a great number of theater productions in diverse scenarios of the world with excellent recognition of the international critics. Daniel is currently President of the Center for Directors of the New Theater, a platform for the development and professional training of young creators in the Venezuelan scene.
Amante a la antigua
(OLD FASHIONED LOVER) January 2015
Music is a fundamental part of this comedy, voiced with the most popular boleros of all times presented in an orchestral format. With this staging, we invite the audience to relive family memories of old times, appreciating a genre as essential in our musical history as is the bolero. This resulted then in an opportunity to close the generation gap and recognize how challenges that different generations take on, are more similar than what we think.
OUR PLAYS
Christian Valencia Director Este músico, compositor y productor audiovisual tiene el reconocimiento de ser el primer ecuatoriano en dirigir un musical en Estados Unidos. Christian ha pasado sus últimos 15 años involucrado en producción musical y de video, tanto así que ha formado parte de la producción de trabajos discográficos que han recibido más de 15 nominaciones a diferentes premios nacionales e internacionales. Cast: Older German: Omar Montalvo Young German: José Antonio Navarrete Damián: David Betancourt Lucía/Rosy: Nikki Mackliff Valeria/Mary: Gaby Manzo Hector: Jesse Gallardo
Some companies we have received: National 2012-2013 Season Daemon (may, december), In Crescendo Producciones (june), Ecuadorian National Chamber Ballet (june), Muegano Theater (july, december), Time Project Band (july), Daniel Betancourt (august), Teatro de la vuelta (august), Patricia Gonzalez (august), Theater Arawa (august), Plan B – Itzel Cuevas (july), Bamboo Orchestra – Schubert Ganchozo (october), Tragaluz Corporate Theater (november), Danzas Jazz (december), Corporacion Imaginario (several participations during the season), Guayaquil’s Symphonic Orchestra (several participations during the season). 2013-2014 Season Cristina Morrison (march), Omar Montalvo (april), Ecuadorian National Dance Company (may), “Ella misma” Producciones escenicas (june), La Espada de Madera (july), Teatro del Cielo (august, november), Teatro Ensayo Gestus (august), Azamont (october), Cuarta Pared (October), Daemon (november, december), Corporacion Imaginario (several participations during the season) , Guayaquil’s Symphonic Orchestra (several participations during the season).
OUR PLAYS
2014-2015 Season La Fabrica (may), Grupo Papagayo (may, october), Ecuadorian National Chamber Ballet (july), Juan Fernando Velasco (july), Hector Napolitano – Gustavo Pachecho (july), Teatro Ensayo Gestus (august), Danzas Jazz (september), Teatro del Cielo (october), Daemon (december), Teatro Arawa (january), Corporacion Imaginario (several participation during the season).
International
2012-2013 Season Circo la Arena (june), Compania Tito Lozada (june), Julian Arango (july), Raul DiBlasio (july), Viena Orchestra – John Malkovitch (august), Hillary Hann (september), Teatro Corsario (september), Renee Fleming (november) 2013-2014 Season Buenos Aires tango (june), Jorge Drexler (july), Isabella Santo Domingo(july), Paquito de Rivera (august), Joaquin Achucarro (september)
OUR PLAYS
2014-2015 Season Larumbe Danza (june), Da Motus (june), Cirque Eloize (july), Teatro de los Andes (august), La Ortiga (september), Siberian Virtuosi (october), Luis Eduardo Aute (october), Anna Volovitch (november)
ACHIEVEMENTS
ACHIEVEMENTS
Influence Through these three years of work in the Guayaquil market, we have positioned ourselves as a reference in the diffusion of different cultural projects. This responds to the projects that transcend the field of the strictly stage to the development of social campaigns. This articulation happens within the topic itself of the plays and the subtext it approaches, allowing us to show the audience how a reflection on stage can come out of the scene and cause an impact in social circles. To this date we have been
able to reach this goal with multiple population segments, including students, people with disabilities and activists against violence towards women. We have also positioned ourselves as leaders in the area of communication, marketing and digital media directed to the performing arts, including the following:
• -During the period between January 1, 2014 and august 28th, 2014, our amount of free press represented 15.30% of the total national investment of all theaters, art galleries, cultural spaces and performing arts companies in the country, adding a total of 91 institutions (source: Escopusa, news monitoring agency). •Advertising invested by the institution in these three first years represented 50% of the investment per brand among all theaters in the country (Source: MindShare media agencia).
•We also have become the performing arts institution leader in social network at national level with 23000 followers on Facebook, 36.600 followers on Twitter and 6100 in Walgreens. With these data we have become securely established as creators of content and spokesperson of the cultural movement of the city and the country.
ACHIEVEMENTs
Theater in Numbers 2012
2013
115
201 FUNCIONES
ESPECTÁCULOS
119
173
SHOWS
PERFORMANCES
SHOWS
PERFORMANCES
ESPECTÁCULOS
36
55
FUNCIONES
29
74
COMPAÑIAS INTERNACIONALES
COMPAÑIAS NACIONALES
COMPAÑIAS INTERNACIONALES
COMPAÑIAS NACIONALES
INTERNATIONAL COMPANIES
NATIONAL COMPANIES
INTERNATIONAL COMPANIES
NATIONAL COMPANIES
Public attendance
2013
2012
22.500 23.507
7.488
TEATRO
4.802
DANZA
5.808
5.987
MÚSICA
TOTAL
ACHIEVEMENTS
35.796 34.296
FUTURE PROJECTS
Cultural enterprises Having supported our position as a motor of creation and diffusion of performance manifestations, our next big project is to rethink the structure of the creation of cultural enterprises in the location. We firmly believe that through this initiative we can contribute to socioeconomic progress of the Guayas Province, through the positioning in the cultural industry as a new source of development and economic opportunities for a wide range of people. To achieve this we have started a process of transmission of knowledge from part of the institution “Industrias Culturales de Cali”, who with a similar landscape as ours, were able to ignite an economic structure based on the cultural production in this Colombian city. This process accompanied from Cali will leave within our institution the knowledge and procedures needed to give us the capacity of becoming active agents in the forming and training of professionals and cultural enterprises from Guayaquil. With this we will convert these entrepreneurs into agents of ignition during the period of reinforcement of the artistic production of the community. This transference process will have three components:
1) Creation and acceleration of companies with cultural base An exercise called “training of counselors” based on the experience of the Ecosystem of Cultural Enterprise already carried out in Cali will be developed locally. For this step, the link between the international consultants will formulate the strategies of audience training. Also the construction of business models with cultural bases for the support of consultants.
2) Creation of a network of organized, dynamic cultural institutions. There is the need to consolidate stable networks of cultural institutions that frequently work together in a way to use their diversity and individuality to strengthen the efficiency of their activities through collaborative work. With the leaders of networks, concertation tables will be developed to formulate action plans to become specific action plans that change the strategy of networking in a methodology of permanent action in the sector.
3) Creation of a model of evaluation and promotion of the project. This stage consists in the formulation and startup of a communications strategy that spreads the transference exercise, and presents it to the Cultural Industries of Guayaquil as a deeply articulated initiative in tune with the city’s growth. In this process the development of the transference, just like proposals from cultural entrepreneurs that configure themselves as creative motors of this recent change of economic and cultural panorama in the city.
International production project Estimated release date: May 2016
Considering that contemporary Social Circus has had a notorious impact in Ecuadorian audiences, and as a way of opening new possibilities within the field of scenic arts –as we aim to in our mission and vision-, on 2016 we aim to create the first large-scale production of an all-Ecuadorian circus. To do so, we have the privilege of having the collaboration and support of the Grec Festival of Barcelona, which will co-produce along us this endeavor.
Leandro Mendoza Director This artist, technician, director, teacher, circus equipment builder and cultural manager has an extensive training as an acrobat and juggler. With a broad preparation in several circus skills, he builds a type of ‘poetry of objects’ by creating sculptures on scene. These sculptures are born from his own multidisciplinary language that includes acrobatics, equilibristics, dance, object manipulation and juggling. He has worked as the Artistic Director of La Central del Circ (´11-´13), the Curtcirckit Festival (´01-´10), as well as a performer, technician, and circus builder in companies such as Cortociquito and Cíclicus. Currently, Mendoza is coproducing the PALS project along with the Grec Festival, which will premiere on its 2015 edition. Although we intend to tackle this new challenge already knowing that the Circus Arts are quite welcomed within our community, we also look to contribute to this field by creating the first large-scale circus of the country. We are aware that a physical structure that supports the circus arts does not exist in Ecuador; nonetheless, there are a great deal of professional or amateur circus artists in the city. We plan to unite these artists in an act of multidisciplinary creation that explores new languages. Precisely because of this inclination towards the autochthonous, we want to have an Ecuadorian theme as the main argument of this contemporary circus. We will work in a scenic creation that addresses pre-Incan and pre-Columbian legends, enhancing its symbology, music and visual qualities by using such meaningful elements such as sugar canes and clay.
UPCOMING PROJECTS
The Grec Festival When it comes to theater, dance, music and circus, this festival is the Iberian city´s most important event. It is a cultural instance of a very long tradition, which after a thirty-eight year history has positioned itself as the first producer of spectacles in Cataluña. It has a double mission; on the one hand, it provides strong support to local productions, displaying the best creations of Catalonian artists and artistic collectives; and on the other hand, it aims to be a platform that exhibits in Barcelona the most interesting scenic proposals from around the world.
CADA SEMANA, ALGO NUEVO QUE DISFRUTAR
José Mascote 901 y Nueve de Octubre 5to. piso. +(593)4 229-6852 Guayaquil - Ecuador
Av. Río Esmeraldas, frente al C.C. Las Terrazas. +(593)4 209-7447 Samborondón - Ecuador www.teatrosanchezaguilar.org