By Felisa On December 27, 2007 died Felisa Yeni, tireless advocate of independent theater and President of arteias.
Friday December 28, 2007, and dismissed the media:
Diario La Nacion (...) By Alejandro Cruz yesterday, at age 71, died Felisa Yeni actress and director, the alma mater of theater Payró and president of the Argentina Association of Independent Theatre (arteias).
His remains were veiled in the theater, San Martín 766, and today, at 10, his body will be transferred to the Pantheon of the Argentina Association of Actors in the Chacarita cemetery.
* * * Felisa, period, era de Villa Lynch, and much of his adolescence was spent in a Jewish club, where it was theater. His parents were workers of those who always wanted to instill artistic values \u200b\u200bto their children. That seed grew. Iedvabni Manuel took the IFT, pockets of avant-garde, where he stayed for three years. There he met Gregory Nachman, a teacher who always remembered. There also was the late Jaime Kogan, her life partner since 1963. Somehow, the theater Payró, the room Onofre Lovero had founded with the name of The Independent, was one of their children. The initial marking of the new management was the premiere of Viet-Rock, with Luisina Brando, Victor Laplace and the same Yeni, among others. Kogan Diego, their "other" son, age 4 roamed around without much understanding of what happened. "We felt we could against all," he recalled Payró Felisa when turned 50 years old. Throughout this period, released tendentious history of the middle class of Argentina, Tour, Marathon, The darkness of reason and Hopscotch among other works. In other words, fundamental performances of the national scene. And although these proposals are generally talking about the duo Kogan, Ricardo Monti, she was a foundational piece of that gear. Jaime Kogan in 1996 and she died, along with Diego, took over leadership of the room. Commitment Since 1957, when he debuted with the sad end of Aman, until 2002, when he performed at The reasons for the forest, Felisa worked in over 30 productions directed by Hedy Crilla, Cipe Lincovsky, Jorge Goldemberg, Ricardo Monti, Manuel Iedvabni and-clear -Jaime and Diego is Kogan. In 1997 he worked for once in the official scene in Martha Stutz, directed by Diego. As director, he mounted six papers. Beyond any enumeration, Felisa was a clear example of that generation in which artistic pursuits were dialectically linked with a passionate commitment to reality. She was an employee of the theater, a "laburanta" that was beyond the glamorous veneer and almost frivolous to many of their peers. Consistent with that, until the last time he fought for the rights of the smaller rooms. For this reason, the sadness for their loss caused so much pain. Journal
Page 12 By Hilda Cabrera
Payró
The Lady With a dedication and an unmatched love for the theater, since 1967 the director and actor tirelessly defended the work of the theater, always beset by obscurantist ideologies. Yeni
was a fighter from the independent theater.
"With my sister Luchy, younger than me, we said that Kogan had three brothers: ourselves and J. Robertito Payró. "Worth Diego rescue this phrase to summarize Kogan love and care that the actress and director Felisa Yeni lavished the theater that led to her husband, the late director and regional sseur Jaime Kogan, and then with his son and a group of collaborators. Sick for some time, Yeni died yesterday after a life tied to the scene, as exemplified Diego to commemorate those jealous of the children. That dedication also included teaching and advocacy of independent theater. Natural in history who fully shared Payró Theatre, a symbol of fight (or if you will, a "push and joy"), then had to face years of economic difficulty and litigate with bureaucrats and authoritarian governments. Difficulties were never new. And why the fight was in 1952 when the campus of San Martin 766 was occupied by independents, a group that led the actor and director Lovero Onofre. Yeni Kogan and endorsed it in 1967, and the urgency of time, form a stable group to ensure continuity. Of Hence the title of Team Payró. While there were lean periods, Yeni not faint. In 2003, still in times of shortage, said Pagina/12 that held out hope that the difficulties do not eat the neurons.
However, the team had yet managed now, and with input from artists, a schedule that away any sadness. So even a book published by researcher Celia Doss outlining the history of theater. They include testimonies and anecdotes from those who argued with his art and some comments Payró actress, who was pleased to remember facts learned in interviews also convey this daily. One of these, referred to the placing of Mr. Galindez, the work of Eduardo Pavlovsky who led Jaime Kogan and was invited to European and American festivals. A highlight Felisa liked that experience the wonder that produced in other venues addressing the issue of torture. Never before been so clearly torture as "a system tool and not as an isolated incident," he noted, recalling also that the Payró for that work was attacked from Triple-A, 22 August 1974. Something that is not daunted Yeni-Kogan, because it said the program "thanks to a loyal audience." This also happened in another dark year, 1977, when Cobwebs opened, were banned Pavlovsly representations and was exiled. Dialogues with Felisa
were always calm, even when referring to adverse events. Showed no obfuscation, but fear the indifference or uncertainty, "Social ties have deteriorated, said in a conversation with this reporter," but we happen that suddenly opens a possibility of exchange and then we feel less individualistic. " In reality, it meant less alone. It was when they approached the new and prestigious artists Payró to mount their works there. The director and actress Norma Aleandro released there from strict etiquette and other prominent artists presented their work. They saw the kid's portrait, directed by Miguel Guerberof; Threshold and words of Borges opened curse the hour, Julio Chavez, and the reasons of forest, a drama by Patricia Zangaro, with commissioning of Kogan Diego.
weeks ago when she was seen at the Teatro Cervantes Yeni, accompanied by their children Luchy and Diego, frail but alert, consubstantial with what in the scene expressed the interpreters of all green and a lilac tree, Juan Carlos Gené, something of a bygone era back to the present. That lady was fragile that long ago had led Calderón (Tragedy policy), one of five theatrical productions Pier Paolo Pasolini and the first to be premiered in Argentina. The Payró was reborn from its ashes, emerged from the catacombs, which had confined the work to recycle the Galerias Pacifico. A revolving stage debut and became the front room and bifrontal, thanks to set designer and lighting arts Egurza Tito. Nor that Calderon was the only title lay ahead The Balcony, Jean Genet, The darkness of reason, Richard Monti and opera cycles of young composers. Yeni dared in the year of rebirth with Pasolini (in a stage version of Javier Daulte) and the spooky world of Sigismund of Life is a Dream essentially arguing that the Italian artist was his poetic level.
That was a milestone in his career, who knew nothing surprising noted both for his stubbornness and resistance to the hostilities as his artistic activity. Was an actress in Julius Caesar, Visit, biased history of the middle class in Argentina, The darkness of the reason, Mr. Galindez, Marathon, Ivanov, Krinsky, Hopscotch and The reasons for the forest, and director, among others, of a very green country , Letters to Moreno, Process in the shadow of a donkey and gradual approach to a theorem dramatic fear. A work that failed to mention was the full list of Jorge Goldenberg, where the author rescues living individuals dead and willing to change any episode of the history. Felicia's mother was there listening and delineated so witty, while another character, the librarian Krinsky, pictures using an old camera. Like this mother, Yeni no details escaped him in interviews, and detected it fine and ironic when, as president of arteias (Association of Independent Theatres), described the numbing of inspectors and bureaucrats.
