February in Madrid: Contemporary Politics and Theatre

Abstract

Hundreds—perhaps thousands—of theatre festivals happen every year. This seeming glut can result in what Nicholas Ridout, in an article in Theatre Forum 22 (Winter/Spring 2003) recently called “a certain jadedness” that has set in around the work at festivals. Yet theatre festivals—especially those focused on alternative work—are an important site for experimentation. They also give credibility to the groups featured as well as focusing marketing efforts so that companies needn’t use precious resources getting noticed. And, perhaps most importantly, whenever a large group of alternative theatre artists join together, at least a few intriguing performances are bound to emerge. Held from January 20 to February 23, 2003, Madrid’s Escena Contemporanea (The Contemporary Stage), the Third Alternative Festival of the Scenic Arts, included 41 theatre companies in 146 performances. Unlike festivals in the U.S., for which theatre companies must often contribute some of their own money, the Escena Contemporanea was backed by a number of donors. The Commonwealth of Madrid was the principal backer, but the festival was also funded by the radio station “M80,” Spain’s National Institute of the Dramatic Arts and Music, and the General Manager of Cultural Cooperation and Communication, both branches of Spain’s Ministry of Education, Culture, and Leisure. Ten other contributors, including the French Embassy, the British Council, and the Goethe Institute, supported the festival as evidence of its international character.