Maravilla estar.

The play starts with a traveler (Aldo Tarazona), who arrives at the stage and affirms he has reached the place where he will stay from then on. But when he decides to claim this piece of land his own, a new character shows up and they start arguing. When still more characters appear, Aldo realizes he was not the first one to arrive at this place. They start judging the newcomer and going through his belongings. Then they welcome him and he stays with the inhabitants of the place. Aldo gets involved with one of them, Alicia; five years go by and they have a child. A priest shows up and tries to marry them. Alicia becomes a circus artist. With the baby on her back, Alicia climbs up to the heights of the circus tent. The play ends with the newcomer begging her to come down. After all these experiences, Aldo learns that reality is more complex than he had thought, that sometimes reason, logic and the senses are not completely trustworthy. La Candelaria was founded in 1966 by a group of independent artists and intellectuals who came from experimental theater and the broader Colombian cultural movement. Directed by Santiago García, La Candelaria (www.teatrolacandelaria.org.co) is one of Colombian theater's most innovative agents, modernizing national drama while addressing popular audiences. By means of an ongoing exploration of national folklore, situations and characters, they have created some of Colombia's most compelling plays, some of them through the method of 'creación colectiva' (collective creation), addressing the acute social and political problems of their society. At the same time, they fostered the creation of Corporación Colombiana del Teatro and have developed a number of theoretical works that reflect upon dramatic creation, its methods and languages. Still nowadays, La Candelaria is committed to repertoire, experimentation, and discussion as fundamental elements to artistic creation. Hemispheric Institute of Performance and Politics