Farewell words to Eugenio Hernández Espinosa, pronounced this October 21 at the Bertolt Brecht Cultural Center. The great dramaturgical voice of our generation was established in the professional theatrical work since the premiere of that classic modern tragedy that is “María Antonia”, which moved us hundreds of spectators who, again and again, went to the Mella Theater to witnessing that show magnificently directed by the great actor and director that was Roberto Blanco and that Hilda Oates, Samuel Claxton, Miguel Benavides and Isaura Mendoza, among other performers, knew how to embody the complexity of their roles on stage with authentic intensity. At the end of the premiere performance we burst into endless applause, moved as never before by the transgressive and exceptional brilliance of that theatrical event.
In such a masterful way towards his entry into the dramaturgy of our country, a voice with an artistic scope similar to that of a contemporary Lope de Vega, due to his eminently popular character and his extensive literary production to help us clarify, from the scene, in depth, the passions, crossroads and dreams of a large significant portion of our society.
But not satisfied with this, his career also, time and time again, touched the audience’s Diana with shows under his leadership such as “Odebí el Cazador”, where the magic of our cultural syncretism reached a dazzling expressive height that won us all. spectators and the collective of the National Folkloric Ensemble of Cuba and the author himself.
But it was not enough and with an unusual vigor and a protean and desecrated vision of our contemporary reality he masterfully played in the Diana, with critical success on our daily life at that time in “Calixta Comité”. The most honest, brilliant and controversial text that has risen to the stage in our theatrical panorama, in a long time.
No to the saga he knew how to delight us with texts like “My partner Manolo”, “Emelina Cundiamor”, “High risk”, “Lagarto Pisabonito”, “El Venerable”, “La Raft”, “Eclíptica, what’s wrong with that woman ” and “Aedes aegypti”. And with the expression of some of his texts and film scripts, which clearly speak of the transcendence of this predestined man who will continue to be for us our Big Brother, Papi, better known as Eugenio Hernández Espinosa.