The theater program ’Estrénate’ fills the CICUS with emerging proposals.

theater play
theater play
The works were selected from 215 applications, most of which were of high quality.

The performing arts program ’Estrénate’ of the Center for Cultural Initiatives of the University of Seville (CICUS) begins on February 1 with the participation of emerging professional artists and groups from all over the country.

The 2024 call of this cycle, which has its beginnings since 2012 , has selected the proposals from among 215 applications which, according to the selection committee, have mostly stood out for their high quality.

The CICUS has chosen the scenic works taking as a criterion the promotion of new proposals, facilitating the premiere of works that, due to the novelty of its proposal or its components, do not have previous facilities for their inclusion in other programs of the territory. Also valued are the most emerging proposals and those that seek the socialization of artistic creation, as well as the participation or integration of members of the University of Seville university community or recent graduates.

February opens the program with The Followers, a company of young women with a feminist perspective who present ’Cry Babies’, a fiction that addresses the relationship between education, society and violence.

Produced by Málaga Procultura, Teatros de Málaga and Factoría Echegaray, the Basque-Andalusian author, director and playwright Iosune Onraita brings ’Del fondo del río’, with a "personal and deeply symbolic language". Also on display will be ’Salomé’, where Paula Quintana and Carla Nyman take as a figure the head of John the Baptist and ritualistic images in the field of new dramaturgy.

The month of February ends with a creation by Anaïs Bleda based on poems by Raymond Carver and Eva H.D. with ’ Sacar de la casa el hueso del perro ’, which is presented as a hybridization between a theatrical and cinematographic language.

Paloma Merello continues the program in March with ’ Juicio a la Razón’, a play in which the audience can vote and decide which of the two characters is right. An encounter with Bronnen’ serves Begoña del Castillo to think a present, past and future theater.

For the month of April and the young company Drao Skene with ’La tierra baldía’ talks about motherhood in today’s world and the difficulties of getting pregnant, and ’ Flamenco Negro’ , by Fernando Lopez, will mix contemporary dance, traditional flamenco dance, live singing and audiovisual projections.

The Estrénate call brings to the 21 Degrees program ’TA-K-TA’, an in-depth study of the physicality and mobility of the elderly through contemporary dance. On the other hand, the fertile contemporary dance factory created in the Canary Islands brings ’Lo que percibes’ by the Resident Company of the Centro Coreográfico de La Gomera and ’Schwanenges­ang’ by Javier Arozena Cia. Also, in an oral storytelling show for adults, Eugenia Manzanera poses and proposes in ’Uno, dos ovarios cuentos’ the following question: Who said feminism wasn’t funny?

On the return of summer, in September, Daniel Doña and Cristian Martín will squander their imaginative waste in ’Rara Avis’. On the part of the company Hilanderas Producciones, the necessary theater through the story of two exceptional lives, social differences and gender identity presents ’Catalina y Elena ’.

October brings ’ A ti te duele todo lo bueno’ and ’La Lengua Incompleta’. The first one stages the certainty that we would not experience love if death did not exist, and the second one, a story that talks about love, about our capacity or incapacity to love. The month closes with two plays based on real events. Tilíndula. Memories of an Invisible Woman’ starring an intersex woman born shortly after the outbreak of the Spanish Civil War and ’Remanso de Paz’ a comedy that poses a current world without roots, which has lost the anchor with the earth.

November marks the end of the Estrénate 2024 program. The CICUS Auditorium will host ’ El destino de una mujer’, a comedy of entanglement from the pen of Lope Vega. The cycle concludes with ’A Chronicle of Violence ’, an interactive piece in which the audience can decide which version of the play will be seen depending on how much they agree or disagree with the violence proposed.