Historias para ser contadas.
Rosa Luisa Márquez (www.marquezmartorell.org) is a Puerto Rican theater artist and pedagogue. Founding member of the theater group Anamú in 1971, she holds a Master's degree from New York University and a Doctorate from Michigan State University; she specializes in contemporary theater. Rosa Luisa started her teaching career at the Theater department of the University of Puerto Rico in 1978. She developed the current curriculum of Drama Activities, which she teaches in her workshops at schools, prisons, rehab centers, women's shelters, nursing homes and community centers. Her directing projects include 'Romeo(s) y Julieta(s), ' 'Historias para ser Contadas, ' 'La Leyenda del Cemí, ' 'Procesión, ' 'Waiting for Godot, ' 'Jardín de Pulpos, ' 'Absurdos en Soledad, ' 'El León y la Joya, ' among others. In conjunction with Puerto Rican visual artist Antonio Martorell, she created the concept of Itinerant Performers (1987-1990) resulting in twelve productions. Published books include 'Brincos y saltos: el juego como disciplina teatral' and 'Historias para ser contadas, montaje de Rosa Luisa Márquez.' She is a member of the board of directors and pedagogical team for the EITALC's International School of Latin American and Caribbean Theater. Ongoing artistic collaborators include Gilda Navarra and Antonio Martorell (Puerto Rico), Grupo Malayerba (Ecuador), Grupo Yuyachkani (Peru), and directors Peter Shumann (Bread & Puppet Theater, U.S.A.) and Augusto Boal (Theater of the Oppressed, Brazil). 'Historias para ser contadas, ' directed by Márquez and created in collaboration with Antonio Martorell and the University of Puerto Rico's Teatro Rodante, pays homage to renowned Argentinean theater director, writer and activist Osvaldo Dragún. Like a three-ring circus, the play is performed in three different styles: 'La historia de un flemón, una mujer y dos hombres' is told by the 'Prince of Denmark's Actors Troupe, ' an ensemble of characters from Western drama masterpieces - Hamlet, Oedipus, Charlotte Corday, Colombina, among others; 'La historia de cómo Panchito se sintió responsable de la epidemia de peste bubónica en África del Sur' is performed by a troupe of clowns/ mechanics in an old van-turned-puppet-theater, influenced by Naïve artists and pop culture; 'La historia del hombre que se convirtió en perro' is told - and sung - by a group of Bohemians straight from the 70's Puerto Rican nightlife. Hemispheric Institute of Performance and Politics