There was a nervousnes in the air at first; a palpable sense of weighty expectations and excitement. Microphones didn’t work, and the usually composed Master of Ceremonies was visibly giddy as she addressed the members of the press. Journalists whispered among themselves, comparing notes and questions, seeing who had the more penetrating material. Pages rustled, cameras flashed and the lights on voice recorders turned green one by one. Tim Robbins, of Shawshank Redemption fame, was about to speak.
His first comments regarded the arts. An outspoken liberal, Robbins has always proposed that governments should focus heavily on funding for cultural activities: “One of the things that inspires government should be the arts,” he began. “People below the poverty line should have access to the arts. Without this support, it then becomes the obligation of the artist to find ways to perform for those who cannot afford it.”
The political note had been struck, and it then only seemed appropriate to carry the tune. Questions focused in on Robbins’ current play, a theatre adaptation of George Orwell’s dystopian classic 1984, but uniformly addressed broader political issues. Once the press conference was over, we’d covered democracy in Venezuela, totalitarianism in Cold War Europe, telecommunications and the Arab Spring and, of course, the politics of power and control in modern day USA. No chance here, then, of a simple “how are you finding Colombia so far, Mr. Robbins?”
Robbins responded well when pressed for answers, searching for general philosophical questions when he reached the limits of his knowledge. At times people seemed to forget that he is merely an actor and director and, although he was bringing a particularly “dark and uncompromising play,” (his own words) to Bogotá‘s Iberoamericano Theatre Festival, he couldn’t possibly know the intricacies of Latin American politics. Even when speaking of issues clearly closer to his heart, he never sought to lead us to any obvious conclusion, he merely talked with us of the confusing web we live in and attempt to untangle. Much like Orwell himself.
Robbins spoke of the festival itself in glowing terms. It was an experience, he said, that he “expected to change [him] profoundly,” from the other plays to the more basic fact that he was being surrounded by another culture, and would learn from that. It was furthermore an “honour” for him to be here.
The adapted 1984, directed by Robbins, starts tomorrow in the Teatro Libre de Chapinero. It promises to be one of the highlights of the Festival de Teatro Iberoamericano 2012. We’ll be in attendance at one of the showings later in the week and will bring you our take on the performance.
As a quick side note, after all our talk of Paul McCartney and many other celebrities coming, and how this demonstrates the continually changing attitudes towards Colombia, we now get this: another huge opportunity for Colombia to show the world what its really made of. A culturally rich and very safe country. One that, very soon, Hollywood will have to smarten up about.
Paul
