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| Teatro a Mil Internacional | |
|---|---|
| Name | Teatro a Mil Internacional |
| Location | Santiago, Chile |
| First | 1994 |
| Frequency | Annual |
| Genre | Performing arts festival |
Teatro a Mil Internacional is a major Chilean performing arts festival presenting international and national theatre companies, street performances, and multidisciplinary events. Founded in the mid-1990s in Santiago de Chile, the festival has become a central platform linking artists, venues, and audiences across Latin America and Europe. It engages with cultural institutions, touring networks, and municipal programs to produce an annual program of theatre, dance, music, and visual projects.
Teatro a Mil Internacional operates as a public-facing festival that programs works from companies such as Teatro Nacional Chileno, Compañía Nacional de Teatro de Chile, Teatro La Memoria, Centro Cultural Gabriela Mistral, and international ensembles from Spain, France, United Kingdom, Germany, and Argentina. The festival partners with cultural ministries like the Ministry of Culture, Arts and Heritage (Chile), municipal councils such as the Municipality of Santiago, and funding bodies including Fondo Nacional de Desarrollo Cultural y las Artes (FONDART), Consejo Nacional de la Cultura y las Artes, and private sponsors like LATAM Airlines and Banco de Chile. Programmatic collaborators have included the British Council, Institut Français, AECID, Goethe-Institut, and networks like IETM, Circa, On the Move, and Transcena.
The festival emerged in 1994 during a cultural resurgence involving institutions such as the Universidad de Chile, Pontificia Universidad Católica de Chile, and the Universidad Diego Portales. Early editions showcased companies linked to figures like Roberto Parra Sandoval, Ariel Dorfman, and directors from Chile and Argentina who later collaborated with venues such as Teatro Municipal de Santiago and festivals like Festival Internacional Santiago a Mil predecessors. Over decades, programming strategies responded to regional initiatives including the Mercosur Cultural agenda, funding shifts tied to the Ministry of Foreign Affairs (Chile), and international cultural diplomacy involving embassies from Spain, France, Germany, Italy, and the United States.
Administration involves non-profit structures, municipal agencies, and cultural foundations including Corporación Cultural de Santiago and private cultural producers. Budgetary sources combine municipal budgets from the Intendencia Metropolitana de Santiago, national grants from FONDART and Fondo del Libro y la Lectura, corporate sponsorship from banks and airlines, and co-productions with European institutions like the European Commission cultural programs and national cultural institutes such as British Council, Instituto Cervantes, and Instituto Italiano di Cultura. Logistical partners include venues like Teatro Camilo Henríquez, Centro Cultural Estación Mapocho, Sala de la Biblioteca Nacional, and public spaces managed by the Corporación Cultural de la Municipalidad de Providencia.
Annual programming typically spans theatre, dance, street arts, and family shows with participation from ensembles such as La Troppa, Teatro Explora, Teatro del Silencio, Compagnie Philippe Genty, Mauro de Candia, Odin Teatret, and choreographers like Pina Bausch-influenced companies. Educational strands connect with universities including Universidad Católica, Universidad de Santiago de Chile, and cultural centers like Centro GAM and Casa de la Cultura de Ñuñoa. Satellite initiatives have collaborated with regional festivals such as Festival Internacional de Teatro Santiago a Mil, FIBA (Buenos Aires International Festival of Independent Theatre), Festival Internacional de Teatro de Bogotá, and networks like Mercado de las Artes Escénicas de Iberoamérica y del Mundo (MAE).
The festival has presented works by directors and companies including Eugenio Barba, Ariel Dorfman, Lynne Nottage-linked productions, Romeo Castellucci, Robert Lepage, Eduardo Pavlovsky, Marco Antonio de la Parra, Heiner Müller-influenced pieces, and performers from ensembles like Complice Teatro, La Fura dels Baus, Teatro del Silencio, Compagnie Philippe Lacascade, Tango companies from Buenos Aires, and solo artists who have collaborated with institutions such as the Festival d'Avignon and Edinburgh Festival Fringe. Guest choreographers and directors have included figures associated with Sadler's Wells, Théâtre de la Ville, Schaubühne, Royal Court Theatre, and Comédie-Française.
Critical reception has linked the festival to broader cultural policies promoted by the Ministry of Culture, Arts and Heritage (Chile), debates within the Chilean Congress about arts funding, and discussions in media outlets like El Mercurio, La Tercera, The Clinic, and international press including The Guardian, Le Monde, and El País. Cultural commentators compare its influence to Latin American festivals such as Festival Internacional Cervantino and Bienal de São Paulo while urban studies scholars reference impacts on neighborhoods like Barrio Lastarria and public space programming in Plaza de Armas (Santiago). Audience development research cites partnerships with educational programs at the Universidad de Chile and municipal outreach in Providencia.
Teatro a Mil Internacional has co-produced tours and exchanges with institutions including Festival d'Avignon, Edinburgh Festival Fringe, Festival Temporada Alta (Girona)', Teatro Real, Teatro de la Zarzuela, Cultural Attaché networks, British Council, Goethe-Institut, Institut Français, and Latin American festivals such as FESTIVAL SESC_Videobrasil and FIBA. These collaborations have enabled Chilean companies to tour to Europe, North America, and Latin America, performing in venues like Sadler's Wells, Théâtre du Châtelet, Schaubühne am Lehniner Platz, Public Theater (New York), and Teatro Colón.
Category:Arts festivals in Chile Category:Theatre festivals