Theater artist Jozze Sánchez: “We must not let ourselves be eaten by immediacy and ease”

Jozze Sánchez was caught up in his love for art as a child, and by influences. He was influenced by reading, the voices used by one of his grandparents to tell him stories and his mother, with whom he rehearsed songs to sing in church or any other setting.

He says that his imagination has always been prolific and that as a child he “would make dramas” to tell his friends things. “I cried with situations created by my imagination and that’s how I told my friends and family things. Someone could say that they were childhood traumas or geniuses”.

18 years ago, due to his innate histrionics, Jozze was appointed director of the theater group of the church he was visiting. “I didn’t know much about that world, but I started writing plays and directing actors in unconventional stagings for what was done in churches, there I also had to do dance pantomime and sing”.

Later he became a pupil of Otto Coro, a Cuban creator of group theater in the Dominican Republic. He helps him in his stage as an amateur director. And from there he arrives at INTEC Projection Theater, founded by the Cuban 44 years ago.

Today he is an academic, a playwright, an actor, a director, and he is beginning his path as a choreographer, but according to him, he is still a self-taught lover of theater who continues to learn from the world of stages.

José Antonio Sánchez Duarte, his first name, is part of the Rodante theater team, writes about current issues and has also made free versions of classic works such as Don Quixote, acts and, like his grandfather, has the ability to interpret several voices in a single play.

He is the creator of EntreCuerpos, a theater project in motion, in which actors dance and dancers act on the same stage, recently presented the show “ro.TO” and until December 13 in the Microteatro halls it presents two plays: “Prodúceme” and “Coácheame ”.

His theatrical influences have been marked by the programs “Castillo Ratimbum” and “María Moñito”. But at first, his motivation was not other artists; it was literature.

“I read sickly and wrote stories and poems. When I discovered the theater and that my writings could have flesh, bone, emotions and voice, I fell in love with the theater and decided to prepare myself to be able to interpret my characters and those of other authors and directors. I went to the National School of Dramatic Art of Fine Arts. I was a little man when I started, in my 20s, ”he recounts.

His vision of the local theater

“We lack support. Our theater is good, diverse, professional. If one listens to constructive opinions, it continues to grow, because the ground is there and it is fertile. But the conditions to create independently in the Dominican Republic are very uncomfortable, a theater law is needed that embraces us all. Culture saves humanity, therefore it is an important asset for nations that want to progress comprehensively”.

As a lament, Sánchez acknowledges that the local theater has plenty of envy and detractive practices. There is space for everyone and there must be all kinds of theater because there are all kinds of audiences, he reflects on her.

“We must strengthen the conceptual and scenic discourse, always, never come down from there, not let ourselves be eaten by immediacy and ease and close our ears to any recommendation coming from resentment. Do not stop looking to the future with one foot in the past and do not let yourself be dragged by the past without understanding your own present, while creating the future”.

new mounts

Until mid-December he presents two pieces with the work style for Microteatro. In that space, she mixes comedy with problems or social situations.

“Prodúceme” is a theater and audiovisual piece, which explores how people with influence in networks and the media and “Coácheame” is a mockery of the irresponsibility of people who use the coach to benefit from emotional misfortunes and people’s attitudes and the immediacy of a very fashionable light psychology in the world that leaves us more disarmed than we were before seeking help.

“I like to do Microteatro, I found pleasure in it, because from writing one is creating on the edge, since it can be more complex than a large work, as well as the short story and the novel. I like to check with the public closely the dynamics that I am investigating in my head”.

It is very clear. Para considers that any space dedicated to theater is important, because it is a meeting point between actors and the public. suggests that the short theater has always existed, that there are eternal works that did not exceed 10 minutes, nor were they in a formal theater, but in an alternative space.

Your references

Jozze dreams of directing Carlota Carretero, whom she considers “a wonderful, genuine, exorbitantly talented actress.” She would also like to direct Johanna González, because she is a creative, daring, versatile and very talented actress.

Another of his desires is to put together something for Hony Estrella and Lumy Lizardo, whom he describes as “two stars” and of the men, Arturo López and Radhamés Polanco, as “great”.

Surely Otto V Coro, Radhamés Polanco, Claudio Rivera, Servio Uribe, Carlota Carretero and Cristóbal Peláez, whom he considers his references, must be proud of the conceptual and disciplined artist that Jozze Sánchez has become and the young, alternative and relief, has in him an excellent representative.