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Dramaturgy: Juan Carlos Rubio with texts by Juan Carlos Rubio, Marina Seresesky, and Clarice Lispector. Idea, choreography, and direction: Chevi Murday. Interpreters: Juana Viale and the dancers Nicolás Baroni, Rodrigo Bonaventura, Emiliano Pi Alvarez, and Andrés Rosso. Locker room: Chevi Murday (adapted by La Moth). Set design: Curt Allen and Chevi Murday (adapted by Vanesa Abramovich). Lighting: Nicolás Fischtel (adapted by Adrián Grimozzi). Original music: Mariano Marin. Sound: Pablo “The Russian” Aidelman. Acting direction: Eduardo Gondell. Sala: Regio (Córdoba 6056). Features: Thursday to Saturday at 8 p.m., and Sunday at 7 p.m. Duration: 80 minutes. Our opinion: Good.
An unusual premiere for the Regio, a theater in the Buenos Aires Theater Complex (CTBA) that is distanced from the centrality of Corrientes Avenue. This production does not feature a text from a recognized author, as is often the case in that venue. Instead, it presents a dance theater proposal that, with few exceptions, does not attract media attention. However, this time is different. The work is titled Juana, and its protagonist is actress and host Juana Viale. Cameras await the arrival of well-known figures, especially Mirtha Legrand, who does not disappoint the audience by arriving to applause, joining them to watch her granddaughter’s performance, who closely follows in her footsteps.
In addition to her work in television and cinema, Viale has been on stage for over ten years. She started with a minor role in The Celebration (at Lola Membrives), followed by leading roles in productions that can be classified as “non-commercial”: The Blood of the Trees (alongside her friend Victoria Cesperes, who passed away in 2021), two directed by Luciano Caceres, The Burning by Alfredo Staffolani, and 40 Days and 40 Nights by Gonzalo Demaría, plus another production not seen in Buenos Aires, After the End, which premiered at the GAM in Santiago de Chile.
In Juana, a work she selected herself (produced by the CTBA and the company Club Media), she leads an unconventional show devised and directed by Spanish choreographer Chevi Murday, founder of the contemporary dance company Losdedae and director of numerous works including Juana, released in 2019 with actress Aitana Sánchez Gijón. The production in Buenos Aires mirrors the Spanish one but features national directors, as indicated in the technical sheet. This approach is similar to what the CTBA did last year with the French production Edmond for the reopening of the Presidente Alvear theater.
Coincidence or not, the name Juana is associated with many women who have made their mark in history through rebellion and determination against all odds: Joan of Arc, Pope Joan, Joan the Mad, Sor Juana Inés de la Cruz, and many more. However, one does not expect to find in the newly premiered work at Regio illustrative moments depicting these women’s lives for easy identification. This was the concept behind the one-woman show Las Juanas, A Cosmic Heresy, which featured four European Juanas and four Latin American Juanas, all performed by Agustina Toia, who transitioned between characters before the audience. Directed by Severo Callaci, this company from Santa Fe performed at La Carpintería in Buenos Aires this year and last.
Instead, Juana in its singular form represents a conceptual synthesis — a Juana, like Eve, who traverses history from its origins toward the future, challenging struggles and suffering in pursuit of freedom and the right to choose.
Dressed entirely in red (pants, T-shirt, jacket, shoes), Viale continuously walks on a treadmill while addressing the audience about women’s destinies on earth, surrounded by four men in black who are dancers and actors, and serve as co-stars: Nicolás Baroni, Rodrigo Bonaventura, Andrés Rosso, and Emiliano Pi Alvarez, the latter also playing guitar and singing.
This “Juana” in striking red begins and closes the work, embodying a timeless identity that subsumes or integrates all roles. Following this opening, various scenes ensue, featuring costume changes into black and white based on the characters, while off-stage dancers engage in almost acrobatic performances.
The historical Juanas presented include Joan of Arc (portrayed by the actress with a silver arm resembling medieval armor); Pope Joan (who, in the 9th century, concealed her gender behind male clothing to ascend to her ecclesiastical position and, according to legend, gave birth in public and was subsequently stoned to death); Joan the Mad, who laments over the corpse of Philip the Fair; and Juana Dona, a Spanish communist and feminist leader who opposed Francoism and witnessed the execution of her husband, Eugenio Mesón (with his last letter being recited by dancer Andrés Rosso). A voice-over features text from Juana Inés de la Cruz while the actress is depicted on the floor, pursued by men like wolves.
The dramaturgy of the piece belongs to Spanish Juan Carlos Rubio, a screenwriter and playwright who incorporates words from two writers: Argentine Marina Seresesky (filmmaker and actress) and Brazilian Clarice Lispector, along with some excerpts from Sor Juana’s work, including “I, the worst of all.” Despite these substantial texts, the proposal is fundamentally physical theatre, where movement and tension of bodies form the primary stage language. These texts (not dialogues, but rather quotes and proclamations) run alongside the bodies without being integrated into them. Thus, the performance lacks emotional depth, presenting a spectacle that remains observably distant.
The scenographic set at the back of the stage consists of panels that create a wall but can be individually adjusted for other uses (such as ramps). They are supported by a grid structure with shelves, allowing performers to move as if on stairs or ski lifts. Lighting plays a crucial dramatic role and significantly enhances the visual appeal of the setting, creating atmospheres, defining spaces, and guiding the audience’s gaze. Sound (designed by Argentine Pablo Aidelman) and music (originally composed by Spanish Mariano Marin) accentuate the expressive dynamics of the show.
Viale’s dedication to her role is absolute throughout the hour and twenty minutes of performance, during which she remains on stage except for quick costume changes. Although she is not a professional dancer, she seamlessly integrates with this excellent group of dancers. Visually, Juana is an attractive production, making it enjoyable. However, considering the significant characters it references, it lacks emotional resonance; it does not delve deeply. Few distinctions emerge among these Juanas (apart from the volume of the “Loca” portrayal), which may be Murday’s intent: to outline a continuity devoid of historical eras or nuances in pursuit of an archetypal Juana constructed by a dance artist.
“And where is the director?” Mirtha asked at the performance’s conclusion, excited about the show, during the applause and while presenting flowers to the cast. “In London,” replied her granddaughter. Whether present or absent, this is your Juana — a production to which performers, technicians, and filmmakers have dedicated their knowledge and passion. For Viale, it represents a significant step, given the level of responsibility and exposure she chose to assume.
Conocé The Trust Project
Dramaturgy of “Juana”
Dramaturgy: Juan Carlos Rubio with texts by Juan Carlos Rubio, Marina Seresesky and Clarice Lispector.
Idea, choreography and direction: Chevi Murday. Interpreters: Juana Viale and the dancers Nicolás Baroni, Rodrigo Bonaventura, Emiliano Pi Alvarez and Andrés Rosso.
Locker room: Chevi Muraday (adapted by La Moth). Set design: Curt Allen and Chevi Muraday (adapted by Vanesa Abramovich).
Lighting: Nicolás Fischtel (adapted by Adrián Grimozzi). Original music: Mariano Marin. Sound: Pablo “The Russian” Aidelman. Acting direction: Eduardo Gondell.
Sala: Regio (Córdoba 6056). Features: Thursday to Saturday, at 8 p.m., and Sunday, at 7 p.m. Duration: 80 minutes.
Our opinion: buena.
The Unique Premiere at Teatro Regio
In a surprise twist, the Regio theater, part of the Buenos Aires Theater Complex (CTBA), introduces “Juana”, a dance theater piece that diverges from the traditional text-based productions often showcased here. This performance stands out due to its captivating integration of dance and feminist themes, garnering attention from both the media and the audience.
Juana Viale takes center stage, supported by an ensemble of skilled dancers: Nicolás Baroni, Rodrigo Bonaventura, Emiliano Pi Alvarez, and Andrés Rosso. The arrival of media personalities, including renowned host Mirtha Legrand, adds star power to this exciting event.
Juana Viale’s Dramatic Journey
Juana Viale, celebrated for her work in television and cinema, has graced the stage for over a decade. Her journey includes memorable performances in notable productions such as The Celebration, The Blood of the Trees, The Burning, and 40 Days and 40 Nights. In “Juana”, she steps into a carefully curated performance that resonates deeply with audiences.
The Concept Behind “Juana”
Directed by Spanish choreographer Chevi Murday, founder of the contemporary dance company Losdedae, “Juana” transforms historical narratives into a breathtaking performance art. This production is inspired by a similar work from 2019 featuring actress Aitana Sánchez Gijón, showcasing a unique reinterpretation through a national lens.
The performance encapsulates the essence of various historical figures named Juana, celebrating their strength, rebellion, and resilience against societal norms. From Joan of Arc to Sor Juana Inés de la Cruz, these women symbolize the fight for freedom and identity.
Thematic Layers and Historical Contexts
- Joan of Arc: Represented with a silver arm as a symbol of her warrior spirit.
- Pope Joan: A legendary figure who defied gender norms to ascend to power.
- Joan the Crazy: A portrayal reflecting deep emotional turmoil.
- Juana Dona: A tribute to a feminist leader whose legacy echoes through time.
Performance Elements and Aesthetic Choices
The aesthetic of “Juana” is strikingly cohesive. Viale’s character is often seen clad in vivid red, symbolizing not only power and determination but also unifying the narrative’s diverse threads. The choreography integrates dynamic movements performed by a talented ensemble, creating visually stunning spectacles that captivate audiences.
Photo: Matías Salgado
Scenography and Technical Innovations
| Element | Description |
|---|---|
| Set Design | Dynamic panels that transform to create varied spatial experiences. |
| Lighting | Crafted by Nicolás Fischtel, adapting the mood and focus throughout the performance. |
| Sound | Designed by Pablo Aidelman, enhancing physical expressions with auditory cues. |
| Original Music | Composed by Mariano Marin, marking expressive transitions. |
Juana’s Cultural Impact and Audience Reception
Despite its innovative approach, “Juana” has received mixed reviews regarding its emotional depth. Although visually stimulating, critics note that the performances may not fully connect on an emotional level. Viale’s portrayal, however, is undeniably earnest and engaging, showcasing her commitment to embodying the complexities of each character.
Conclusion and Acknowledgments
The evening culminated in a heartfelt acknowledgment from Mirtha Legrand, highlighting the hard work and dedication of the entire team behind “Juana.” Chevi Murday’s direction and Viale’s dynamic portrayal resonate as a significant cultural contribution, inviting audiences to reflect on the powerful narratives of women throughout history.
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