Memoria del pueblo, dramaturgia comunitaria

©Juan Gris

La oralidad es la semilla de un texto dramático. Mitos, leyendas e historias que corren entre los pobladores de la parte central de México son resguardas en la dramaturgia y, desde ahora, en el volumen Brujas, Aparecidos y Leyendas. Antología de dramaturgos contemporáneos.

La obra presentada en el marco de la XXXIII Feria Internacional del Libro del Palacio de Minería es producto del Taller de Dramaturgia Comunitaria Mexicana. Dicha presentación fue encabezada por Sonia Enríquez, fundadora del proyecto, y Edgar Vera, asistente del mismo desde el año 2007.

El taller surgió en 2005 a través de la invitación que le extendió Paco Pérez —carpintero de Ozumba de Alzate, Estado de México— a Sonia Enríquez para abrir un taller de tema libre. Fue así que surgió la iniciativa de enseñar a la gente del pueblo las bases para iniciarse en la dramaturgia, ya que para Enríquez “la educación es el arma más eficaz en contra de los gobiernos tiranos. Educarnos en conocer nuestro pasado, buscar la memoria de nuestro pueblo”.

A través de mitos, leyendas y la historia no oficial los alumnos nutren el taller. “Son dramaturgos comunitarios porque son parte de los pueblos, aunque también hay personas de la Ciudad de México. La mayoría de ellos son personas que se dedican a otra cosa”, explicó la fundadora del taller.

Sin embargo, los escritos no se quedan guardados. Año con año se realiza el Festival de Dramaturgos Contemporáneos en el cual distintos grupos de actuación —la mayoría de la Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México— dan vida a los trabajos. El grupo actoral Compañía Crucero de Noé ha sido uno de los que ha puesto en escena varias de las obras durante años, por lo que son considerados para los docentes del taller como guardianes de las tradiciones orales de México.

Brujas, Aparecidos y Leyendas

De los siete ciclos realizados hasta ahora, —este año se desarrolla el octavo taller con sede en Amecameca, Estado de México— se han escrito más de 40 obras teatrales, de las cuales 16 fueron seleccionadas para la presente edición de Brujas, Aparecidos y Leyendas. Antología de dramaturgos contemporáneos, un volumen publicado por el sello Libros de Godot.

Para presentar el trabajo de los autores, el grupo actoral Compañía Crucero de Noé dramatizó fragmentos de cinco obras extraídas del libro. Andrés Ros, Carlos Núñez, Joaquín Chablé, Jazmín Hernández, Iván Aguilar y Socorro de la Campa fueron los encargados de dar voz a los pueblos del Estado de México.

Neyra del Carmen Ovando, ama de casa, cuenta en su obra “La leyenda de los compadres” cómo Toña y Don Nicolás, después de varios días de coqueteo, intentan tener sexo durante la conmemoración anual del Jueves Santo. Dichos compadres, junto con Benito —hijo de Toña—, se vuelven piedras como castigo al no respetar la fecha sacra.

Edgar Jesús Arroyo se trasladó a la época de la Revolución Mexicana con la obra “El coronel Primitivo Escandón o el revés de la Revolución” y se aventura en contar la muerte de Petra, la bruja de Atzingo, en el texto “Momentzcopiani cae la noche, viene por ti…”.

La autoridad se impone ante la Iglesia Católica en la época cristera en “No sólo de pan”. Néstor Jesús Rivas se encargó de plasmar las historias que le contó su abuelo sobre los conflictos cristeros que se desarrollaron en el país durante los últimos años de la década de 1920.

Cracket, cracket. Yalem Baquet, la criatura que lleva el mismo nombre que la obra, conversa con unas calaveritas de azúcar de una ofrenda que tratan de no ser comidas por aquél ser. Esta obra fue escrita por el conferencista Edgar Vera, quien egresó de la Licenciatura en Lengua y Literatura Hispánicas de la Facultad de Estudios Superiores de Acatlán de la UNAM.

Feria Internacional del Libro del Palacio de Minería / KRR

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