XUTIL: teatro callejero

XUTIL, en el Centro Histórico de la Ciudad de México

Ciudad de México.- La familia Nandayapa Déciga conformó en junio de 1988 el Colectivo Teatro Callejero XUTIL, anteriormente conocido como “Teatro sin permiso”. Esto, con la intención de no hacer del arte un oficio, sino mostrar que todo es arte, que todo mundo puede hacerlo y, al mismo tiempo, impulsar un movimiento de artistas callejeros (arte–acción) para regular, reconocer, apoyar y difundir la importante labor social que se realiza en espacios públicos desde tiempos inmemoriales.

La idea del colectivo XUTIL —que en idioma tzotzil significa “el más pequeño”— surgió 30 años atrás por una idea de Walter “El Gurú” Nandayapa, quien, hace 24 años convirtió a Yalu Déciga en su cómplice “amiga y compañera de toda la vida”, a quien conoció haciendo teatro en los vagones del metro, estación Bondojito.

Cabe destacar que este proyecto “autosustentable” obtiene los recursos del trabajo cotidiano en las calles: vagones del metro, semáforos, camiones y cualquier espacio público vital; y con apoyo ocasional de institucionales como el Faro de Oriente.

El corazón del colectivo ha sido la familia Nandayapa Déciga: Walter Nandayapa, Yalu Déciga y sus hijos: Emiliano, de 18 años; Diego, de 14; Luna, de 11; y Sebastián de 2 años de edad, quienes han formado varios grupos de teatro para jóvenes y niños.

“Actualmente vivimos de un colectivo, el cual funciona como una escuela invisible, estamos trabajando con en el Faro de Oriente, impartiendo el taller de Teatro Callejero, donde hemos acuñado una metodología eficaz, articulada a objetivos concretos, nutrida por la antropología teatral”, comenta Nandayapa.

Dicha metodología intenta formar artistas integrales, pues han experimentado en todas las áreas del arte y del conocimiento relacionadas con el teatro, pues afirman la academia no da respuesta a sus inquietudes.

“Por medio del laboratorio —explica “El Gurú”— descubrimos rutas alternativas que nos permitieron crear un concepto diferente de las propuestas convencionales, y tras mucho trabajo, de errores y aciertos, recogimos una visión de un teatro verdaderamente callejero, cocinado en las calles, surgido de las entrañas del underground, un teatro vivo no pensado, espontáneo, auténtico, surgido de los nervios; no hemos descubierto nada nuevo, sólo heredamos y recreamos lo que la juglaría ha hecho por milenios.”

RMM / ES / @eduardo_surez

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