<<Art has to build bridges where politicians build walls>>

Eusebio Calonge is one of the four legs in the theater company 'La Zaranda'. He also works with Gaspar Campuzano, Paco de La Zaranda, and Enrique Bustos. They are responsible for the texts that have, over the past four decades, led to the situation these Andalusians are now 'expats'. Calonge, along with La Zaranda won the Teatro Rojas de Toledo, Teatro Andaluz and Best Author awards. The Jerez-based company sought to change its surname in 2017. It changed from the "Unstable Theater of Andalusia la Baja" to the "Unstable Theater of Nowhere". This was after they had become fed up with losing wars with the Andalusian government. They are proud to have been the Cazorla International Theater Festival's watchword since the first edition. In that time, they have presented most of their productions over the 22-year history. Next Saturday, they will be back on the Teatro de la Merced to present the play 'Now Everything is Night' in a coproduction with Teatre Romea. It is certain that no one will be left disappointed.

-How many times have your performed 'Now Everything is Night' since its premiere on January 27, 2017?

I think I have lost count. But, it is certain that more than 100 times. It has now completed its seasons in Madrid, Barcelona, and Buenos Aires and moved all over Spain and Latin America.

-You arrive in Cazorla before the success of critics and the general public. What do you think is the cause?

To the honesty and sincerity that La Zaranda puts into every job. With passion, emotion, and a poetic view of the world. It is important to be authentic with yourself and convey emotion as clearly as possible. Because you have to believe this will be your premiere, the most important thing is the next performance.

Help us understand the creation of the text as an author.

Our works are not based on a single source, but rather have multiple points of convergence from tributaries to them. Beyond begging is seen from the perspective of three beggars who are doomed to wander the streets and seek shelters. A metaphor of man as a beggar is used. In this instance, the century doesn't offer any new ideas, utopias or new dreams. This is not only from pain, but also humor. This cocktail allows La Zaranda connect with all types of audiences.

-Was this a portrait of Zaranda or society in general?

-One can see the mirror and also reflect society. It is possible to see much of the 40 years of La Zaranda's work, both in its form and its language. The actors have more confidence in the public than the characters towards the public. This is a brief overview of La Zaranda's life, but it does not include the actual time he crossed.

-And at what point, after such a long journey?

-In a period of maturity. Companies that have been around for many years need to fight decrepitude by finding new hope and new challenges, taking risks, and seeking freedom. The public must be encouraged to dream of new jobs and reach out to them.

- "Unstable theatre from everywhere" or, indeed, "from nowhere"?

We are not from anywhere, and that allows us to be everywhere. They suggested to us that we could be from Medellin if you weren't from Colombia during our recent tour. We believe it is a privilege for us to be from Medellin or Cazorla, or any other place that loves theatre, in any part of the world.

-Was your love for Andalusia a proven love or was it unrequited?

Hate is not a word I like. It could be said that the disagreement was a total disagreement with the administration. We don't like the way it does things and we don't believe it has supported the creation companies. The administration has only focused on the infrastructures. Companies have been forced into precarious situations and endured extreme administrative persecution. The administration and politicians are not to be confused with Andalusia. It is a great and noble town, of which I am part. I am universal and Andalusian.

-How can you live and work elsewhere?

You are the theater's call. We have performed works by French national theatres, the Venice Biennale and the Spanish Theater of Madrid. This is art calling you, and taking you wherever you want.

You have been the festival's watchword since its inception (and there are now 22 editions). How can you see this theatrical spectacle from Cazorla outside?

We are proud to keep the "Ciudad de Cazorla" Award for theater. It is amazing that people would bet on La Zaranda in such a remote, magical area. This is an opportunity to celebrate life and answer the question about why one devotes himself to theater. It is amazing to me that Cazorla can place a bet on a creative theatre with a dramatic, intense language. This shows that not all theater is traditional. We are astonished and grateful to see what happens at Cazorla.

-What is the future for La Zaranda in the near future?