You can purchase it by writing to info@jazmingarciasathicq.com

Jorge Dubatti:
This new book of dramatic texts by Jazmín García Sathicq does not propose a unitary title, however it constitutes an authentic integrated collection, not miscellaneous, with a profound unity of meaning and procedures.

Although the three pieces gathered here respond to different occasions, images and contexts, they have common elements that unite them:

– In all three, the playwright uses theater as an intelligent poetic-symbolic device to think about society, a tool (of modern tradition) that enables understanding of the contemporary world, which calls for problematizing tensions and transformations and politicizing the future (undoubtedly threatening, unsettling), which calls to assume a critical perspective, neither apocalyptic nor conformist, to confront and rub against the theatrical worlds and the worlds in which we live and do something with it in our civic lives;

– In all three, at the same time, the playwright conceives theater as a poetic end in itself, which offers a specific sensitive, emotional, imaginary and symbolic experience, and therefore allows the production of forms of knowledge, knowledge, intuitions that only they are accessible from the theater art;

– in all three, the playwright empowers the viewers to build their own creative relationship with the texts, unfolds before their eyes three problem-plays, dilemmatic works with multiple points of view, without univocal readings but always linked to orbs hellish; the spectators-creators, spectators-artists, must develop their own vision in the face of the strangeness of the world, in the face of its destruction, or remain submerged in a disturbing indeterminacy, in a lucid suspension of conflict resolution, perplexity without active and mobilizing doubt.

Luis de Tavira:
In these three dramatic pieces, Jazmín García Sathicq plots the scenic device of a surprising metaphysical debate: reality is absent from a world submerged under a deluge of tears, it has returned to the cave to vanish among the deceptive shadows that are projected on the walls. from his confinement and has been shipwrecked off the coast of a rotten sea at the bottom of which an insurmountable shame is hidden.

In the unusual scenes of these works, one succumbs to the pained astonishment in which the actuality of the loss in the loss of actuality is experienced, just when the inescapable bursts in untimely. That which Freud expressed almost nothing more than a desire in the face of the catastrophe of culture: “…we can only hope that the other of the cosmic powers, the eternal eros, makes an effort to assert itself against its immortal enemy…”.

Around the middle of the 20th century, Elías Canetti had a nightmare that he recounted more or less like this: “I dreamed that all of humanity, holding hands, was jumping out of reality…” and added: “Woe to those who stay!”

Play: Eternal and indelible, published in the performing arts magazine “El Ojo y la navaja” No. 7, Performance Theater Platform. Edited by Malisia, December 2022.

Participation in the book “Artists-researchers and production of knowledge from the scene. A philosophy of theatrical praxis TOMO III “, Edited by the Escuela Nacional Superior de Arte Dramático “Guillermo Ugarte Chamorro” and the Ensad Editorial Fund, from Peru.
Coordinators and editors: Lucía Lora and Jorge Dubatti

Free download link:

Editorial INTeatro published the play “The heavens above” by Jazmín García Sathicq. The new volume of the collection “The theatrical country” of the editorial of the National Theater Institute is dedicated to the work of the actress, teacher and playwright García Sathicq. Access link: https://inteatro.ar/novedades/los-cielos-encima/ INT free download link: http://inteatro.gob.ar/Files/Publicaciones/2276/LOS%20CIELOSweb%20(1).pdf

2021 “Gabriel Bañez” Award, granted by SADE La Plata (Argentine Association of Writers, La Plata), in the “Dramaturgy” genre. Edition of work.

  • Presentation of the dramaturgy book within the framework of the XXVII Comparative Theater Conference of the Institute of Spectacle Arts (IAE), with the presence of Jorge Dubatti and the interview by the researcher Catalina Artesi.

  • Presentation of the book at the XII National Conference and VII Latin American Conference on Theater Criticism and Research of Aincrit.

Presentation of editorial news:

Foreword by JORGE DUBATTI.

You can acquire it by writing to info@jazmingarciasathicq.com

In The Arrogance of the Stone, García Sathicq starts from a symbolist scenic matrix (theater as a symbol, metaphysical enunciation of the universe) from an “abstract space” whose representations are mutating, to give voice to the displaced and excluded, the poor, the silenced , the invisible ones, the “ghosts”, “the nobody”, the “orphans” expelled from the city, the “thrown into nothingness”, those who are the “mud” that covered the cement. Dystopian drama of reaction against neoliberalism and its consequences, construction of an absolutely unsatisfactory image of civilization, thus combining, in a very personal way, symbolism and the social, poetic and political perspective, against / against exclusion. Poetry and social denunciation, united by an ethics of otherness (E. Lévinas) and the revelation of Rodolfo Kusch’s “deep America”.

In The Skies Above, the story of Nigel, a fledgling 50-year-old writer, focuses on one of the evils that are at the root of social dystopia: fear, fears. In times of quarantine, Nigel’s “journey” is a phenomenology of others, of the pain and wonder of others, and at the same time itself, culminating in a liberating and creative transformation. The heavens above is an educational drama (theatrical version of the Bildungsroman) embodied by an adult woman who undertakes the first steps of a new life, the construction of an emerging and future worldview, of self-assertion.

Jorge Dubatti