Tomás Terry Theater opens October with the presentation of one of the living icons of the Cuban stage in the last half century: the Grupo Teatro Escambray (English Escambray Theater Group), on Friday 8th and Saturday 9th at 9:00 pm with the play No hay Ladrón que por bien no venga (English Every thief happens for a reason) under artistic direction of Daisy Martínez.
Founded in 1968 by actors and directors Gilda Hernández and Sergio Corrieri, this group surpassed the urban context and aimed for Guamuhaya mountain range in the middle of the island to carry out a participant dramatic art, closely related with the farmer communities, their sociocultural processes and conflict spheres.
Over the 70´s, the group included to its repertoire the traditional artistic manifestations of such contexts, oral narrative, sung controversies, presenting works from Albio Paz (La Vitrina/The window and El Paraíso recobrado/ Paradise recovered) and Roberto Orihuela (Ramona and La emboscada/ The ambush), among others.
In the 80´s, during the process o distortion of the country side culture provoked by the entrance of standard agrarian development, Grupo Teatro Escambray took over the critical analysis of both urban and industrial reality, presenting plays such as Molinos de viento/ Wind Mills and Calle Cuba 80 bajo la lluvia/ Cuba 80 Street under the rain, by Rafael González and Tu parte de culpa/ Your share in guilt, by Senel Paz. This process was reflected in the film Como la vida misma/ Just as life itself (Victor Casaus, 1985).
In their constant dialectical adaptation of the permanent changes in the Cuban society during the last two decades, the group has tried to include the global analysis of the context by presenting controverted texts aiming to sociocultural dynamics such as La paloma negra/ The black pigeon and Curso general teórico-práctico de animación turística por el metodólogo Liborio Hurtado/ Theoretical- practical course for touristic animation, by Rafael González; Fabriles/ Factories and Los equívocos morales/ The moral wrongs, by Reinaldo Montero; and Fábula de un país de cera/ Fable of a wax country, by Joel Cano; as well as the dramatization of Eliseo Diego´s texts (Como caña al viento/ Like a sugar cane in the wind) and Jorge Mañach (Voz en Martí/ Voice in Martí), directed by Carlos Pérez Peña.