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Lola Arias

From Wikipedia, the free encyclopedia

Lola Arias
Born (1976-12-03) 3 December 1976 (age 47)
Buenos Aires, Argentina
Alma materUniversity of Buenos Aires
Occupation(s)Actress, director, writer
AwardsKonex Award (2014)
Websitelolaarias.com Edit this at Wikidata

Lola Arias (born 3 December 1976) is an Argentine writer, theatre, and film director known for her diverse creative pursuits spanning multiple artistic media.[1][2]

Education

Lola Arias obtained a degree in Literature from the Universidad de Buenos Aires, followed by further specialization in Dramaturgy at the Escuela de Artes Dramáticas in Buenos Aires. Additionally, she undertook playwrights' residencies at the Royal Court Theatre in London and Casa de América in Madrid.[2] In 2014, Arias completed the Film Laboratory workshop at the Universidad Di Tella in Buenos Aires.[3][4][2][5]

Works

Her collaborative projects often involve marginalized groups, including war veterans, refugees, and individuals from the sex worker community, encompasses a wide array of mediums, including theatre, film, literature, music, and visual arts. Arias's approach to storytelling is to blend reality with fiction.[2][6][3] In collaboration with Stefan Kaegi of Rimini Protokoll, she contributed to several projects, including Chácara Paraíso (2007), Airport Kids (2008), and Ciudades Paralelas (2010).[2] Ciudades Paralelas was a festival of urban interventions that took place in Berlin, Buenos Aires, Warsaw, Zurich, and other cities.[1][3]

Theatre

From 2001 to 2007, Arias wrote six fictional works: The Squalid Family, Studies of Loving Memory, Poses for Sleeping, and the trilogy comprising Love is a Sniper, Revolver Dream, and Striptease.[2][7][8][3] Transitioning to documentary theatre in 2007, Arias collaborated with individuals who had undergone diverse experiences. Her creations include My Life After (CTBA, Buenos Aires, 2009), which draws upon the life narratives of six performers reenacting their parents' ordeals during Argentina's dictatorship,[9][10] and Familienbande (Münchner Kammerspiele, Munich, 2009), an exploration of contemporary family dynamics.[2][3][11][12]

Arias's work That Enemy Within (HAU, Berlin, 2010) engages identical twins in a discourse on identity.[13][14][15] The Year I was Born (Teatro a Mil, Santiago, 2012) is based on stories of individuals born during Pinochet's dictatorship.[16][17][18] Melancholy and Demonstrations (Wiener Festwochen, Vienna, 2012) delves into Arias's mother's depression,[19] while The Art of Making Money (Stadttheater Bremen, 2013) confronts themes of fiction and compassion through the lens of beggars, prostitutes, and street musicians.[20] The Art of Arriving (Stadttheater Bremen, 2015) discusses starting anew in a foreign land, with Bulgarian children in Germany as the focal point.[21][2]

Minefield (Royal Court Theatre, London, 2016) unites British and Argentinian veterans of the Falkland/Malvinas war,[22][23] while Atlas des Kommunismus (Maxim-Gorki Theater, Berlin, 2016) weaves together the stories of women from East Germany.[24][25] What They Want to Hear (Münchner Kammerspiele, Munich, 2018) reconstructs the predicament of a Syrian archaeologist entangled in German bureaucracy,[26][27] while Futureland (Maxim Gorki Theater, Berlin, 2019) involves unaccompanied minors who migrated to Germany.[28][29][30] Ich bin nicht tot (Staatstheater Hannover and Theaterformen Festival, 2021) features individuals over sixty-five contemplating their societal roles amid the pandemic.[31][32]

Mother Tongue explores reproduction in the twenty-first century through performances in Bologna, Madrid, and Berlin,[33][34][35][36] while Happy Nights (Theater Bremen, 2023) invites audiences into immersive spaces to contemplate themes of sex, money, lust, and pain alongside dancers and sex workers.[37][38]

Her theatrical works have been featured at Festival d'Avignon, Lift Festival in London, Under the Radar in New York, Theater Spektakel in Zurich, Wiener Festwochen, Festival Theaterformen, and Spielart Festival in Munich. Her performances have been staged in Théâtre de la Ville in Paris, REDCAT in Los Angeles, Walker Art Center in Minneapolis, Parque de la Memoria in Buenos Aires, Museum of Contemporary Art Chicago, and MoMA Museum in New York.[12][39][40]

Films

Lola Arias debut feature film, Theatre of War (2018) – derived from her stage production Minefield – was presented at the 68th Forum of the Berlinale Film Festival, receiving the CICAE Art Cinema Award, the Prize of the Ecumenical Jury and the Best Director Award at the 20th BAFICI Festival. Additionally, it earned the Movistar+ Prize for Best Documentary Film at Documenta Madrid and the Silver Condor Award for Best Adapted Script.[41] Her short film Far Away from Russia (2021) was commissioned by the Manchester International Festival.[42] Her second feature film, Reas (2024), premiered at the 74th Forum of the Berlinale Film Festival,[43][44] reimagines the musical genre within a documentary framework, interweaving the narratives of cisgender women and transgender individuals who have experienced incarceration. The film blends their personal stories and encounters with music and choreography.[45][46][47][48]

Her films have been screened at international film festivals such as Berlinale, San Sebastian, and BFI. Her second feature film Reas got the Best Documentary Award at the Luxemburg Film Festival.[49]

Curatorship

In the field of visual arts and curating, she initiated My Documents, a lecture-performance series featuring artists from diverse backgrounds presenting their personal research.[2][50][51] She conceived Audition for a Demonstration, a durational performance involving spontaneous auditions for re-enacting past demonstrations.[2][52] Notable exhibitions include Stunt Double (Buenos Aires, 2016), consisting of four installations reconstructing the past 40 years of Argentinian social and political history through reenactments, interviews, and protest songs,[53] as well as Ways of Walking with a Book in Your Hand (Buenos Aires, 2017), a site-specific project for readers in libraries and public spaces.[54][55]

Music

She collaborated with Ulises Conti on the albums Love is a Sniper (2007) and Those Who do not Sleep (2011).[56][2][57]

Publications

Her publications include Love is a Sniper (2007, Entropía), The Postnuclear Ones (2011, Emecé), and My Life After and Other Plays (2016, Penguin Random House), along with a bilingual edition of her play Minefield (2017, Oberon Books).[2][3] In 2019, Performance Research Studies released Re-enacting Life, a compilation of articles, writings and documents about her works and poetics.[58]

Works

  • Las impúdicas en el paraíso (poetry collection, 2000)
  • La escuálida familia (theater, performed at the Teatro Rojas, 2001)
  • Estudios de la memoria amorosa (theater, performed at the Centro Experimental del Colón, 2003)
  • Poses para dormir (theater, 2004)
  • Trilogy Striptease, Sueño con revólver, and El amor es un francotirador (theater, Ed. Entropía, 2004)[7]
  • El amor es un francotirador (album of music together with Ulises Conti, 2007)
  • Familienbande (theater, 2009)
  • Mi nombre cuando yo ya no exista (theater, Ed. Cierto Pez, Chile, 2009)
  • That enemy with in (theater, 2010)
  • Los posnucleares (book of short stories, Ed. Emecé, 2011)
  • Los que no duermen (album of music together with Ulises Conti, 2011)
  • Melancolía y Manifestaciones (theater, 2012)
  • El año en que nací (theater, 2012)[39]
  • El arte de hacer dinero (theater, inspired by The Threepenny Opera by Bertolt Brecht, 2013)[4]
  • Mis documentos (cycle of performance lectues, 2012, 2013, 2014)

Filmography

Director

Actress

  • Cien pesos (2003, short)
  • Potestad as Adriana's mother (2003)
  • La prisionera as Isabel (2006)[61]
  • Historias extraordinarias [es] as Alicia (2008)

Awards

  • 2014 Konex Award Diploma of Merit as one of the five most important figures in Argentine letters in the discipline "Teatro: Quinquenio 2009–2013"[1]
  • 2018 Preis der Autoren[62]
  • 2024 The International Ibsen Award[63]

References

  1. ^ a b c "Lola Arias" (in Spanish). Konex Foundation. Retrieved 10 August 2018.
  2. ^ a b c d e f g h i j k l "Lola Arias". Onassis Foundation. Retrieved 13 March 2024.
  3. ^ a b c d e f "Lola Arias" (in Spanish). Alternativa Teatral. Retrieved 10 August 2018.
  4. ^ a b Vallejos, Soledad (13 July 2013). "Lola Arias: 'La ciudad te entrena para ser indiferente'" [Lola Arias: 'The City Trains You to Be Indifferent']. La Nación (in Spanish). Archived from the original on 31 December 2013. Retrieved 10 August 2018.
  5. ^ "Lola Arias". Alternativa. Comunidad en escena. Retrieved 13 March 2024.
  6. ^ "Lola Arias: «Mettendo in scena sé stesse non si è più vittime»". il manifesto (in Italian). 20 February 2024. Retrieved 13 March 2024.
  7. ^ a b "Lola Arias y su trilogía, en el Espacio Callejón". La Nación (in Spanish). 8 September 2007. Archived from the original on 28 October 2016. Retrieved 10 August 2018.
  8. ^ Soto, Ivanna (23 September 2011). "Lola Arias: El teatro es una experiencia y no un espectáculo'" [Lola Arias: 'Theater is an Experience and Not a Spectacle']. Ñ (in Spanish). Archived from the original on 2 December 2011. Retrieved 10 August 2018.
  9. ^ "***em***Mi vida después***em***: Non-Kin Affects in Post-Dictatorial Argentina". hemisphericinstitute.org. Retrieved 13 March 2024.
  10. ^ ""Post-memorias entre pasado y futuro: Mi vida después, de Lola Arias"". iris.uniroma3.it. Retrieved 13 March 2024.
  11. ^ "Familienbande". blendwerk. Retrieved 13 March 2024.
  12. ^ a b "Arias, Lola". iprltd.co.uk. International Performing Rights Ltd. Retrieved 13 March 2024.
  13. ^ Pezzola, Doralice (21 February 2019). "Lola Arias e la geometria identitaria del mondo". Le Nottole di Minerva (in Italian). Retrieved 13 March 2024.
  14. ^ "Simple Life Festival 2010, Lola Arias: That enemy within – Kampnagel". Kampnagel DE (in German). Retrieved 13 March 2024.
  15. ^ "Lola Arias: »That enemy within«, 14.-16. 10. 2010, Brut". Skug Musikkultur (in German). Retrieved 13 March 2024.
  16. ^ Rocco, Claudia La (12 January 2014). "Talking About Their (Iron-Fisted) Generation". The New York Times. ISSN 0362-4331. Retrieved 13 March 2024.
  17. ^ "The Year I Was Born". www.artshub.com.au. 21 February 2017. Retrieved 13 March 2024.
  18. ^ "BOMB Magazine | Lola Arias". BOMB Magazine. Retrieved 13 March 2024.
  19. ^ "Lola Arias: Melancolía y manifestaciones". DeSingel. Retrieved 13 March 2024.
  20. ^ "The Art of Making Money – Die Bremer Straßenoper von Lola Arias" (in German). Theater Bremen. Retrieved 13 March 2024.
  21. ^ Pezzola, Doralice (21 February 2019). "Lola Arias e la geometria identitaria del mondo". Le Nottole di Minerva (in Italian). Retrieved 13 March 2024.
  22. ^ "Minefield". Royal Court Theatre. Retrieved 13 March 2024.
  23. ^ "A Masterclass with...Lola Arias". Stratagemmi Prospettive Teatrali (in Italian). 12 December 2018. Retrieved 13 March 2024.
  24. ^ "Atlas des Kommunismus". Emilia Romagna Teatro Fondazione (in Italian). Retrieved 13 March 2024.
  25. ^ "A grand finale with Atlas des Kommunismus" (in Spanish). Government of Buenos Aires. Retrieved 13 March 2024.
  26. ^ "What They Want To Hear @ The Münchner Kammerspiele Review – Theatrefullstop". 29 September 2018. Retrieved 13 March 2024.
  27. ^ "Storytelling as Survival: An Interview with Lola Arias | Auralia.Space". Retrieved 13 March 2024.
  28. ^ "Futureland". Maxim Gorki Theater. Retrieved 13 March 2024.
  29. ^ Desbandada, Revista (23 September 2021). "Futureland, de Lola Arias – Lanzarse al vacío" (in Spanish). Retrieved 13 March 2024.
  30. ^ Rakow, Christian (13 March 2024). "Futureland – Maxim Gorki Theater Berlin – Lola Arias berührt mit einem Dokumentartheaterabend über minderjährige Geflüchtete". nachtkritik.de (in German). Retrieved 13 March 2024.
  31. ^ "Ich bin nicht tot". staatstheater-hannover.de (in German). Retrieved 13 March 2024.
  32. ^ Fischer, Jan (13 March 2024). "Ich bin nicht tot – Festival Theaterformen – Zur Eröffnung der Theaterformen in Hannover inszeniert Lola Arias ein Dokumentartheaterstück übers Altern". nachtkritik.de (in German). Retrieved 13 March 2024.
  33. ^ Nicolas (5 October 2021). "Diritti riproduttivi, spazio delle lotte e forme di vita / Una conversazione con Lola Arias su 'Lingua Madre'". OperaViva Magazine (in Italian). Retrieved 13 March 2024.
  34. ^ "Mother Tongue". Maxim Gorki Theater. Retrieved 13 March 2024.
  35. ^ Douglas, Elliot (11 September 2022). "Lola Arias: 'Everything around you is telling you not to have children'". Exberliner. Retrieved 13 March 2024.
  36. ^ "Motherhood on the stage". Equal Times. 15 June 2022. Retrieved 13 March 2024.
  37. ^ Schirrmeister, Benno (4 October 2023). "Dokumentartheater 'Happy Nights': Oh wie schön ist Sexarbeit". Die Tageszeitung (in German). ISSN 0931-9085. Retrieved 13 March 2024.
  38. ^ "Happy Nights" (in German). Theater Bremen. Retrieved 13 March 2024.
  39. ^ a b La Rocco, Claudia (12 January 2014). "Talking About Their (Iron-Fisted) Generation". The New York Times. Retrieved 10 August 2018.
  40. ^ "Lola Arias: The Year I Was Born". Walker Art Center. Retrieved 10 August 2018.
  41. ^ "Review Archives - ZIZ.NEWS". www.ziz.news. 10 March 2024. Retrieved 13 March 2024.
  42. ^ "Is this the first major artistic response to life under the pandemic?". Little White Lies. Retrieved 13 March 2024.
  43. ^ "Festivales: Crítica de 'Reas', película de Lola Arias (sección Forum) – #Berlinale2024". Otros Cines. Retrieved 13 March 2024.
  44. ^ Rothe, E. Nina (18 February 2024). "Berlinale 2024 review: Reas (Lola Arias)". International Cinephile Society. Retrieved 13 March 2024.
  45. ^ Lasso, Jorge Espinoza (18 February 2024). "Crítica: 'Reas', la desestigmatización a través del musical (Berlinale 2024)". La Estatuilla. Retrieved 13 March 2024.
  46. ^ Lerer, Diego (18 February 2024). "Berlinales 2024: crítica de 'Reas', de Lola Arias (Forum)". Micropsia. Retrieved 13 March 2024.
  47. ^ "Echoes of Resilience: Music Transcends Prison Walls – Overly Honest Reviews". 18 February 2024. Retrieved 13 March 2024.
  48. ^ Rothe, E. Nina (18 February 2024). "Berlinale 2024 review: Reas (Lola Arias)". International Cinephile Society. Retrieved 13 March 2024.
  49. ^ Cunningham, Nick (10 March 2024). "Lola Arias' Reas crowned Best Doc at Luxembourg City Film Festival". Business Doc Europe. Retrieved 14 March 2024.
  50. ^ "Lola Arias_studio – Open Studios". Retrieved 14 March 2024.
  51. ^ "My Documents". Sala Beckett. Retrieved 14 March 2024.
  52. ^ "Audition for a Demonstration 9th November 1989/2014 - The Fall of Berlin Wall Performance". Maxim Gorki Theater. Retrieved 14 March 2024.
  53. ^ "Space, Violence and the Archive Transformed: Sensichives in Lola Arias's Doble de riesgo [Stunt Double]". Portal de Revistas (in Spanish). Retrieved 14 March 2024.
  54. ^ "Partizipative Performance: Lola Arias | Ways of Walking With a Nook in Your Hand". @GI_weltweit (in German). Goethe-Institut Spanien. Retrieved 14 March 2024.
  55. ^ "Every Day's A School Day". TakeYourSeats.ie. 6 September 2021. Retrieved 14 March 2024.
  56. ^ "El amor es un francotirador / 2008, by Lola Arias & Ulises Conti". Ulises Conti. Retrieved 14 March 2024.
  57. ^ "Los que no duermen, by Lola Arias y Ulises Conti". Ulises Conti. Retrieved 14 March 2024.
  58. ^ "Lola Arias: Re-enacting life". The CPR. 20 October 2022. Retrieved 14 March 2024.
  59. ^ "Teatro de guerra". Berlin International Film Festival. Retrieved 10 August 2018.
  60. ^ "Reas: Lola Arias (Argentina)". San Sebastian Film Festival. Retrieved 4 February 2024.
  61. ^ "La Prisionera". Berlin International Film Festival. Retrieved 10 August 2018.
  62. ^ "Preis der Autoren 2018 für Lola Arias". nachtkritik.de (in German). Frankfurt am Main. 9 May 2018. Retrieved 15 March 2024.
  63. ^ "The International Ibsen Award | Nationaltheatret". www.nationaltheatret.no (in Norwegian). Retrieved 21 March 2024.

External links

This page was last edited on 25 March 2024, at 19:59
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