Laura María Pizarro plays Nina, the woman bent on revenge, in Sin sangre. Via email, she describes her character as a lonely victim who summons the energy to confront those who left her suspended in her own life. And Pizarro explains what it’s like to work in the hybrid world of Teatro Cinema.
“Film is definitely not as important as it sounds or seems. We fuse both languages, so one is not above the other. ... Our plays make us, the actor, become involved in a large choreography, where you must be conscious of every split second. Other than the virtual world, we have to deal with scene mechanics, music, text, movement. From my point of view, the film component is just one more tool that interacts with the other tools that make up the play,” she says.
Audiences react to the experience in a variety of ways. Some tell Pizarro they’ve never seen anything like what Teatro Cinema does. Others call it “pure magic.” Still others wonder if the actors are really present onstage. They are.
Kathryn Garcia, executive director of MDC Live Arts, became aware of Teatro Cinema through conversations with fellow arts administrators in the United States and Latin America. She hasn’t seen Sin sangre live, but she has watched it on video and found it fascinating.
“It was completely gripping; they had me start to finish,” she says. “It’s highly stylized and technically complex, but that’s all in service of the story. It’s an extremely dramatic piece about violence, but it also has other-worldly, ethereal qualities.”
Tótoro thinks that Sin sangre may have a particular meaning and artistic impact on some of those who come to see it in South Florida.
“In Miami, immigration involves many people who have come to escape physical or economic violence,” he says. “Some of them may get [insight into] how to deal with rage and get rid of it.”