Audiovisual Documental Base
The Buenos Aires Audiovisual Archive gathers its own productions of audio, video, photograph and documental registers on Argentinean artists, and the ones received as donations, reproductions or purchased. The documental base goes from 1938 to nowadays.
The audiovisual documents can be consulted at the Public Attention Area, equipped with computers, television sets and VHS and DVD players. Through an always updated database it is possible to search by author, date, subject or series.
In order to watch
the audiovisual material,
arrange and appointment:
* Monday to Friday,
from 2 to 6 pm.
* by phone: 4806-1659/1647.
* by e-mail
Stages
A section of the Audiovisual Archive documental base is dedicated to preserve audiovisual registries of theater plays that have left a mark in the national production.
We offer here fragments of plays that have made history.
Ricardo Bartís says: "There is a representative theater whose axis is the drama and in which actors are captured by those moral forms the characters propose; there is other theater that doesn’t represent but "presents" the acting itself as a poetical and revolutionary value. I consider there is no need to have a radical attitude, a one of confrontation against the system and the traditional forms: the profession itself, the established bourgeois values in the sense of how one rehearse, work, read a play, the places each one have in a theatrical poster, who earns more money, who earns less money, how one greet. As this is not broken and the outsider territory is not assumed as an own place of creation and belonging, and one continued to begging the system to give us crumbs, the most interesting or attractive forms of alternative theater will perish or be swallowed by the television or the prevailing system".
With great actors such as Luis Machín, Luis Herrera, Fernando Llosa, Sergio Boris, Alfredo Ramos, Gabriel Feldman and Alejandro Catalán (most of them have already became directors, dramatists, television actors or usual actors at Daniel Veronese or San Martín Theater calls), Ricardo Bartís presented this play for the first time in 1998, after a two-years rehearsal.
Here, the great director use all the esthetic and ideological principles confining this group of actors –that personalize the failure and the outsider position– to a society that doesn’t hold them. Full of pure performances, rhythm and counter-rhythm, with Carmen Baliero in charge of the sound design, the play was performed at the Sportivo Teatral, the Teatro General San Martín, and did a long tour to the most important international festivals.
