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THEATRE | Reviews.THEATRE | Reviews.THEATRE | Reviews.THEATRE | Reviews.THEATRE | Reviews.THEATRE | Reviews.THEATRE | Re

GURISA

"... en un primer plano Gurisa, de Toto Castiñeiras, un bello y poético ensayo sobre la resistencia del cuerpo de un grupo de mujeres encarnadas por hombres, en la Pampa argentina, a instancias del paso de la Conquista del Desierto. Material singularizado por un modo personalísimo de entender y atravesar el relato entre el danza y el teatro, apoyado por un potente vestuario y un modo único de entender el uso de la luz diseñado por Omar Possemato..." Miguel Passarini. El Ciudadano, Rosario, Argentina.

"Gurisa lleva a los extremos un tradicional culebrón de campo, para traerlo al presente, atravesado por cuerpos que narran sus momentos más característicos, imbricados en una potente máquina teatral." Melina Martire. FANCINEMA, Buenos Aires, Argentina.

FINIMONDO

"... An extraordinary clown (an actor, writer, performer)... If anything can define Toto Castiñeiras show is the ability to build a scenical-narrative space full of talent and not like anything ... " Miguel Passarini. EL CIUDADANO, Rosario, Argentina.

"... Finimondo makes possible the contact with the creation of a magnificent performer who is very familiar clown springs..." Carlos Pacheco. LA NACION, Buenos Aires.

"... Everything that happens to good Toto is tragic. But his dark and passionate saga causes laughter. This paradox is possible because who represents and relive this history is the lyrical and magnificent clown Toto Castiñeiras ... Finimondo is a beautiful show, and Toto Castiñeiras is a gifted clown, with special sensitivity ... " Gabriel Peralta. THEATER CRITIC, Buenos Aires.

"... Castiñeiras proposes an intense and engaging game ... Without using the classic gags of clowning, Toto is simply naked and shows his sadness... " Alejandra Herren. LA NACIÓN, Buenos Aires.

THE SCARE, 1813 

"... The director presents a choreographic work and achieves an expressionist set. "The Scare..." creates an atmosphere full of omens and complicity ... impeccable staging ..." Oscar Godoy, LA OPINION, Rafaela, Santa Fe.

"... The darkness, is brilliantly accomplished by a set of gloomy and fragile lights, a highly sensory experience, led by huge actors ..." Federico Irazábal, INROCKUPTIBLES

"... About the darkness, the homeland, the strange, the shamanic, the occult ... and everything else ..." Charly Zarate, LA VOZ JOVEN, Buenos Aires. 

"... The Scare, 1813. Authentic Buenos Aires billboard. Unmissable creation of an artist with his eyes lost in the world and with the indelible homeland in your heart ... " Alejandra Radano, PLANEANDO SOBRE BUE. 

"... The Scare 1813" is a work full of mystery and suspense. Inviting us to reflect not only on the country but in ourselves, in our ideas and dreams ... And where the fright can be our own thinking..." Maria Ursula Orzanco, ESPECTÁCULOS DE ACÁ, Buenos Aires. 

"... With very precise physical language... the chosen set is loaded with a mystery that becomes lyrical nonsense, in which interacts bloody predictions, shadowy alliances and, finally, a story worthy of a soap opera ..." Cecilia Hopkins, PÁGINA 12, Buenos Aires.

"... a solid cast and the direction of a master in the art of physical comedy..." Julia Panigazzi, A SALA LLENA, Buenos Aires.

"... a healthy celebration of theatre... in the hands of this talented trio of actors... " Pablo Mascareño, LA NACIÓN, Buenos Aires.

CLUN

"... Castiñeiras knows the gender (clown) and its technic and he gives himself the space to prove it ..." Alejandro Cruz. LA MAGA, Buenos Aires.

FINIMONDO

"... An extraordinary clown (an actor, writer, performer)... If anything can define Toto Castiñeiras show is the ability to build a scenical-narrative space full of talent and not like anything ... " Miguel Passarini. EL CIUDADANO, Rosario, Argentina.

"... Finimondo makes possible the contact with the creation of a magnificent performer who is very familiar clown springs..." Carlos Pacheco. LA NACION, Buenos Aires.

"... Everything that happens to good Toto is tragic. But his dark and passionate saga causes laughter. This paradox is possible because who represents and relive this history is the lyrical and magnificent clown Toto Castiñeiras ... Finimondo is a beautiful show, and Toto Castiñeiras is a gifted clown, with special sensitivity ... " Gabriel Peralta. THEATER CRITIC, Buenos Aires.

"... Castiñeiras proposes an intense and engaging game ... Without using the classic gags of clowning, Toto is simply naked and shows his sadness... " Alejandra Herren. LA NACIÓN, Buenos Aires.

THE SCARE, 1813 

"... The director presents a choreographic work and achieves an expressionist set. "The Scare..." creates an atmosphere full of omens and complicity ... impeccable staging ..." Oscar Godoy, LA OPINION, Rafaela, Santa Fe.

"... The darkness, is brilliantly accomplished by a set of gloomy and fragile lights, a highly sensory experience, led by huge actors ..." Federico Irazábal, INROCKUPTIBLES

"... About the darkness, the homeland, the strange, the shamanic, the occult ... and everything else ..." Charly Zarate, LA VOZ JOVEN, Buenos Aires. 

"... The Scare, 1813. Authentic Buenos Aires billboard. Unmissable creation of an artist with his eyes lost in the world and with the indelible homeland in your heart ... " Alejandra Radano, PLANEANDO SOBRE BUE. 

"... The Scare 1813" is a work full of mystery and suspense. Inviting us to reflect not only on the country but in ourselves, in our ideas and dreams ... And where the fright can be our own thinking..." Maria Ursula Orzanco, ESPECTÁCULOS DE ACÁ, Buenos Aires. 

"... With very precise physical language... the chosen set is loaded with a mystery that becomes lyrical nonsense, in which interacts bloody predictions, shadowy alliances and, finally, a story worthy of a soap opera ..." Cecilia Hopkins, PÁGINA 12, Buenos Aires.

"... a solid cast and the direction of a master in the art of physical comedy..." Julia Panigazzi, A SALA LLENA, Buenos Aires.

"... a healthy celebration of theatre... in the hands of this talented trio of actors... " Pablo Mascareño, LA NACIÓN, Buenos Aires.

CLUN

"... Castiñeiras knows the gender (clown) and its technic and he gives himself the space to prove it ..." Alejandro Cruz. LA MAGA, Buenos Aires.

GURISA

"Gurisa lleva a los extremos un tradicional culebrón de campo, para traerlo al presente, atravesado por cuerpos que narran sus momentos más característicos, imbricados en una potente máquina teatral." Melina Martire. FANCINEMA, Buenos Aires, Argentina.

FINIMONDO

"... An extraordinary clown (an actor, writer, performer)... If anything can define Toto Castiñeiras show is the ability to build a scenical-narrative space full of talent and not like anything ... " Miguel Passarini. EL CIUDADANO, Rosario, Argentina.

"... Finimondo makes possible the contact with the creation of a magnificent performer who is very familiar clown springs..." Carlos Pacheco. LA NACION, Buenos Aires.

"... Everything that happens to good Toto is tragic. But his dark and passionate saga causes laughter. This paradox is possible because who represents and relive this history is the lyrical and magnificent clown Toto Castiñeiras ... Finimondo is a beautiful show, and Toto Castiñeiras is a gifted clown, with special sensitivity ... " Gabriel Peralta. THEATER CRITIC, Buenos Aires.

"... Castiñeiras proposes an intense and engaging game ... Without using the classic gags of clowning, Toto is simply naked and shows his sadness... " Alejandra Herren. LA NACIÓN, Buenos Aires.

THE SCARE, 1813 

"... The director presents a choreographic work and achieves an expressionist set. "The Scare..." creates an atmosphere full of omens and complicity ... impeccable staging ..." Oscar Godoy, LA OPINION, Rafaela, Santa Fe.

"... The darkness, is brilliantly accomplished by a set of gloomy and fragile lights, a highly sensory experience, led by huge actors ..." Federico Irazábal, INROCKUPTIBLES

"... About the darkness, the homeland, the strange, the shamanic, the occult ... and everything else ..." Charly Zarate, LA VOZ JOVEN, Buenos Aires. 

"... The Scare, 1813. Authentic Buenos Aires billboard. Unmissable creation of an artist with his eyes lost in the world and with the indelible homeland in your heart ... " Alejandra Radano, PLANEANDO SOBRE BUE. 

"... The Scare 1813" is a work full of mystery and suspense. Inviting us to reflect not only on the country but in ourselves, in our ideas and dreams ... And where the fright can be our own thinking..." Maria Ursula Orzanco, ESPECTÁCULOS DE ACÁ, Buenos Aires. 

"... With very precise physical language... the chosen set is loaded with a mystery that becomes lyrical nonsense, in which interacts bloody predictions, shadowy alliances and, finally, a story worthy of a soap opera ..." Cecilia Hopkins, PÁGINA 12, Buenos Aires.

"... a solid cast and the direction of a master in the art of physical comedy..." Julia Panigazzi, A SALA LLENA, Buenos Aires.

"... a healthy celebration of theatre... in the hands of this talented trio of actors... " Pablo Mascareño, LA NACIÓN, Buenos Aires.

CLUN

"... Castiñeiras knows the gender (clown) and its technic and he gives himself the space to prove it ..." Alejandro Cruz. LA MAGA, Buenos Aires.

FINIMONDO

"... An extraordinary clown (an actor, writer, performer)... If anything can define Toto Castiñeiras show is the ability to build a scenical-narrative space full of talent and not like anything ... " Miguel Passarini. EL CIUDADANO, Rosario, Argentina.

"... Finimondo makes possible the contact with the creation of a magnificent performer who is very familiar clown springs..." Carlos Pacheco. LA NACION, Buenos Aires.

"... Everything that happens to good Toto is tragic. But his dark and passionate saga causes laughter. This paradox is possible because who represents and relive this history is the lyrical and magnificent clown Toto Castiñeiras ... Finimondo is a beautiful show, and Toto Castiñeiras is a gifted clown, with special sensitivity ... " Gabriel Peralta. THEATER CRITIC, Buenos Aires.

"... Castiñeiras proposes an intense and engaging game ... Without using the classic gags of clowning, Toto is simply naked and shows his sadness... " Alejandra Herren. LA NACIÓN, Buenos Aires.

THE SCARE, 1813 

"... The director presents a choreographic work and achieves an expressionist set. "The Scare..." creates an atmosphere full of omens and complicity ... impeccable staging ..." Oscar Godoy, LA OPINION, Rafaela, Santa Fe.

"... The darkness, is brilliantly accomplished by a set of gloomy and fragile lights, a highly sensory experience, led by huge actors ..." Federico Irazábal, INROCKUPTIBLES

"... About the darkness, the homeland, the strange, the shamanic, the occult ... and everything else ..." Charly Zarate, LA VOZ JOVEN, Buenos Aires. 

"... The Scare, 1813. Authentic Buenos Aires billboard. Unmissable creation of an artist with his eyes lost in the world and with the indelible homeland in your heart ... " Alejandra Radano, PLANEANDO SOBRE BUE. 

"... The Scare 1813" is a work full of mystery and suspense. Inviting us to reflect not only on the country but in ourselves, in our ideas and dreams ... And where the fright can be our own thinking..." Maria Ursula Orzanco, ESPECTÁCULOS DE ACÁ, Buenos Aires. 

"... With very precise physical language... the chosen set is loaded with a mystery that becomes lyrical nonsense, in which interacts bloody predictions, shadowy alliances and, finally, a story worthy of a soap opera ..." Cecilia Hopkins, PÁGINA 12, Buenos Aires.

"... a solid cast and the direction of a master in the art of physical comedy..." Julia Panigazzi, A SALA LLENA, Buenos Aires.

"... a healthy celebration of theatre... in the hands of this talented trio of actors... " Pablo Mascareño, LA NACIÓN, Buenos Aires.

CLUN

"... Castiñeiras knows the gender (clown) and its technic and he gives himself the space to prove it ..." Alejandro Cruz. LA MAGA, Buenos Aires.