In the maze of
the theatre I Ander
Lipus EHAZE and Susa
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Playwright Ander Lipus has published with EHAZE and Susa his publications on theatrical autobiography and theatre. In the maze of theatre I. Notebook of Bitácora and in the Labyrinth of Theatre II. These two books have been given the title of 'Artedrama bila' (in search of an artedrama). This time we bring those of the first part here.
Together with the initial and final words, the book is structured according to the stages and places of residence of their life, which make up a cycle: Markina-Xemein (1971-1990), Madrid (1990-1996), Bilbao (1996-2005), Berriz (2005-2020), Markina-Xemein (2020-2021). The last chapter is called Amarauna and includes Bertsolarism, dance, music, visual and plastic arts, and poetry as a complement to the already exhibited plays.
In each section, in each vital stage, it collects in brief texts the facts that have occurred and found. Anecdotes and reflections mix very vivid, juicy, as if in an interview there were significant memories; the questions and signs of wonder that appear at each moment will show the concern and enthusiasm of the author.
It's not just an autobiography, it's an exercise in memory. Highly recommended for anyone who wants to know the contemporary history of the Basque theatre. It presents a wide range of names, terms and milestones to recognize their teachers and fellow travellers, to show the panoramic photograph of the Basque Theatre of Change of the Century, and to talk about the trajectory and contribution of Ander Lipus.
We will meet Iñigo Ibarra Ander Lipus, a Basque creator and agent who has wanted to know everything and find his way in an obstetric career culos.Tambiwe will also meet many of the playwrights who have crossed with him: their beginnings in Markina-Xemein, Madrid and India; individual and collective experiences in Bilbao; the Artedrama platform of Vasaulesti.
Before the depiction the actors are known as “the pile of shit”, in terms of the number of people who depend on the amount of shit of the horses of the horse carts of the bourgeois public. But Lipus prefers to look at the shoes that are in front of the Indian portal: “Because the theater has to be with the people.” Congratulations, Lipus, and thank you for the great work you have done!