COMMUNICATION IN THE TIMES OF ZAPPING.
Wikipedia says: “The mobile phone is an electronic wireless device to access and use the services of the cellular or mobile phone network. It is called cellular in most Latin American countries because the service works through a cell network, where each signal repeater antenna is a cell, although there are also satellite mobile telephone networks. Its main feature is its portability, which allows you to communicate from almost anywhere. The main function is voice communication, but since the 21st century, mobile phones have acquired functionalities that go much further. It could be said that they have been unified (not replaced) with different devices such as PDA, photo camera, electronic agenda, alarm clock, calculator, micro projector, GPS or multimedia player. This type of evolution of the mobile phone is known as Smartphone. The first automated commercial network was that of NTT of Japan in 1979 and followed by NMT simultaneously in Sweden, Denmark, Norway and Finland in 1981 using phones from Ericsson and Mobira (the ancestor of Nokia). “
To recap: these days, you can call anyone from almost anywhere. But to say what exactly? This intrigues me…. In the 80’s we started zapping the television channels, in the 90’s we continued zapping ideologies and now we are where it was logical to end: zapping the affections … jumping tirelessly from person to person. What remains unchanged? As the popular saying affirms, in these times, the only fidelity is the one of the mini audio sound systems. The clearer the sound is heard, the coarser the words. The brighter the images look, the emptier the gestures. The higher the visual definition, the more ambiguous the ideas.
So how have we advanced as a species? In productivity? In labor efficiency? There are those who think that we have managed to break down the borders through technology. I don’t know … it doesn’t feel that way, there are still too many things that separate us. But the fact is that now we are all united by a NETWORK: we are a new type of society.
Through Twitter we have reached the maximum synthesis of language, but is this an essential abstraction of thought or a reduction of spirit? Nobody knows it, but it seems that in the contemporary world, spirituality is no longer a higher state of consciousness, but an ephemeral exaltation that occurs in spas and holistic centers. A kind of soul-soothing hedonism that makes us feel better under the soft scent of multiple oils and candles. What I mean is, it seems that over the centuries, we have ingeniously transitioned from spirituality to spirituality, and inside it, the information travels at full speed. Data, data, data …
Is there room for reflection in the midst of vertigo? Yes, of course: in Art…. from the first drum in the first tribe, from the first image. And particularly here inside the theater, (on fortunate occasions), a place for reflection survives, and (on even more fortunate occasions) a refuge for the spirit remains alive, not necessarily a sacred spirit, but spirit nonetheless.
That is why, through the plays contained in this edition, Finns, Guerrerenses, Chilangos and others added to the network, we enter together into the arid and affective territories in which we shelter ourselves from our own conscience and where we humorously inspect the mutant psychological abilities that we have developed to survive the vertigo.
General Producers: Aurora Cano and Nicolás Alvarado.
Associate Producers: Jacobo Nazar and Gerardo Gatica.
Artistic Director: Aurora Cano.
Assessment on Finland: Niina Bergius.
Executive Producer: Nayeli Real.
Technical Producer: Raúl Munguía.
Assistant General Producer: Blanca Guevara.
Assistant Executive Producer: Tania Barrientos.
Assistant Technical Producer: Alejandro Vite.
Media and Promotion: Edmundo Luján.
PR: Mariel Ramírez.
Web Master: Marco Polo Ramos.
Graphic Design: Leonor Hernández
Photography: José Jorge Carreón.
Trailers: Linda Cruz.
Teaser: Jorge Calderón.
English version of the website: Alfonsina Paredes
DramaFest gives thanks to the support and the collaboration of Niina Bergius, Hanna Helavuori, Jukka Hyde Hytti, Anne Lammila, René Söderman, Arja Perälä, Hanna Värttö, Raúl Arenzana, Antonio Crestani, Juan Meliá, José María Mantilla, Lorena Maza, Alejandra Frausto, Manuel Zepeda, Niina Serratos, Miguel Ángel Pineda, Paco Arquero, Juha Mãkinen, Tuula Suomalainen, Ilkka Laasonen, Mariel Ramírez, Tono, Ignacio García, Alfonso Ortiz-Palma Junco, El Centro Universitario de Teatro and all the personnel of Casa de la Condesa.