CAMAGÜEY.- The Guiñol de Camagüey celebrates its 59th anniversary this February, a time that highlights it as the oldest active theater group in the province with an enormous work in pursuit of children and family audiences.
Due to the epidemiological situation of this city, with autochthonous transmission of COVID-19, the company prepared as a birthday present an exhibition of designs and dolls, entitled Threads of time.
Mounted in the lobby of the headquarters, on Lugareño street at the corner of San Clemente, the show is broadcast from this Monday through digital platforms of the Provincial Council of Performing Arts.
“Designs are works of art. There is a lot of beautiful material to show. We want each time the exhibition is renewed to gradually narrate the history of this group ”, the new general director Heidy Almarales Sierra told Adelante Digital.
As part of the anniversary and based on social networks, she also conceived educational videos about fantasy makeup and the making of flat puppets, and promotional videos with young people linked to the puppet theater.
The work process for the show The Princess of Wild Flowers, by the group member Claudia Ramírez, is maintained; it must be the first premiere of the year when the sanitary circumstances of the territory improve.
Almarales Sierra does not dismiss the superproductions characteristic of the Guiñol de Camagüey, although that depends on the current conditions: “If elements appeared to be able to develop great productions with quality, they could be carried, but I always have two versions. I don't like to get attached to an idea and then reality hits me and destroys my dream ”.
A graduate of the ISA University of the Arts, the young actress comes from Las Tunas, a province where she belonged to the Guiñol Los Zahoríes and founded the La Chimia project to explore animation theater.
From the execution of it, Almarales Sierra has Secrets under the moon ready for premiere, a work designed for young people and adults with the lambe-lambe technique (of small objects and dolls), with the requirement that each performance will admit a spectator.
Translated by Linet Acuña Quilez