Isidora saw their works staged by theater companies like The Warehouse, Rajatabla, Free Free Theatre, Berliner Ensemble, National Theatre of Cuba, Theatre d'Nancy, Rostocker Schauspielhaus, and had the admiration of great contemporaries among which the Argentine Osvaldo Dragun, Roberto Cossa, Colombia's Enrique Buenaventura, Uruguayans and Roberto Espina Mauricio Rossenconff. never forget the admiration with which she told me about Dario For has always considered "The ones that are left on the road" as the highest demonstration of epic theater. Isidora Aguirre admired her and wanted the members of the first division of world theater, but in Chile ... you know what is the damn "payment of Chile." Isidora Aguirre the quote with his mouth full in official circles in the cultural nomenclature, but just know one of his works, "The pergola flowers, splendid work undoubtedly the result of talent of a woman who even had the luxury of writing this beautiful entertainment to survive and thus be able to devote time to his other masterpieces such as the aforementioned "The ones that are left on the road", "Lautaro", "Yumbel Altarpiece" "Hope Town" and many other works marked by their unwavering defiance, sense of social justice and ethics, a rigorous ethical and intellectual artist who was always with the fucking, with the famous losers, with those below. Militant
communist to the core, Isidora Aguirre never cease to be where you had to be, at the right time, and he is right, what his conscience dictated as correct.
repeatedly denied him well-deserved national literary award just because he was a rebel, because they never gave up on their principles and they never ceased to be critical of power. A few years ago, one of the arguments to deny the national prize for literature was that "he had published very little." And with that the jury showed that never looked out the pages of "everything I dreamed of living" or "Letter to Roque Dalton", two novels published in Spain, more than 20 years of being published are still alive in memory readers and are two references in European universities when it comes to Chilean literature. But they could not give a national prize for literature to a lady of letters, now that the eighties, still writing away from any literary vanity and determined to tell from the dramatic text and from the stage matters as "less literary" as closure of coal mines in Lota. While he refused once again very well deserved award, Isidora, the Nene, was delivered to write "Going ... last man!" Or his amazing adaptation of "Fuenteovejuna" which was a mirror of the Chilean reality. Leo
the Chilean education minister has declared a day of national mourning for the death of the great playwright. Poor late tribute to, rather than fix an injustice, shame the managers of Chilean culture of the past twenty years.
I remember in the days of hiding, sitting on the floor with the typewriter on his lap and cigarettes in hand, writing a paper for consideration in France, Italy, Germany and Belgium to serve and assist a partner or companion hours earlier she had gotten into an Embassy to save his life, no more help than his own worth and his old black ceiling simca, auto much hated by the henchmen of the dictatorship. And in this sad hour I remember on the fly while editing an agitational work, "Who was to blame for the death of Maria Gonzalez, who had the honor of leading a troupe of Valparaiso. Isidora Aguirre received many plaudits and awards in America and Europe. His plays and novels have been translated into many languages, but in Chile the managers or managers, decided it was annoying, and damn if they were right, was stubborn against injustice, against the proud brave slicked power, rebel against the prudish mores, and free, very free, because it gave his noble heart of communism. Luis Sepulveda
Gijón, February 27, 2011 -----------------------------------
------------------ Brief biographical
(added by Editor CT).
Isidora Aguirre (Santiago, 1919 - 2/25/2001).
Chilean writer. Prominent figure in contemporary Chilean Theatre, is one of the representatives of the generation of writers that formed around the figure of Pedro de la Barra and created the Experimental Theatre at the University of Chile. Raised by his maternal grandparents in the bosom of a wealthy family, he learned to read and write at an early age, a fact that earned him consideration as a child prodigy of the National Theatre.
Linked to the realist, is the author of works of diverse nature, from musical comedies like The pergola Flowers (1960), gender was a great renewal, until pieces of Brechtian technique as Wastebaskets (1963) and those who remain on the road (1969), which expresses its deep concern for justice social.
Other works include Esperanza Population (1953), in collaboration with Manuel Rojas; Covenant Midnight (1954), Lautaro (Premio Eugenio Dittborn, 1982) Yumbel Altarpiece (Premio Casa de las Americas, 1987) and Dialogues End of the Century (1989). He also wrote children's stories and several novels, and everything I dreamed of living (1987) and Letter to Roque Dalton (1990).
His professional work was also oriented film and television, media in which he worked as a writer or adapter of classic works of Molière, Lope de Vega, among others. It has also been a university professor and translator of stagecraft. Taken
Courier Workers
www.cctt.cl
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