Gabriel Cabrejas Documents the Political Evolution of Mar del Plata’s Independent Theater

Gabriel Cabrejas has released La belleza del diablo: Crónicas del teatro marplatense en los años 70, the third volume in his series documenting the history of theater in Mar del Plata. Published by EUDEM, the work chronicles the period when local independent theater groups integrated revolutionary political discourse into their aesthetic proposals, marking a volatile chapter in the city’s cultural development.

How the “La belleza del diablo” Series Developed

Cabrejas, a Professor in Letters, Magíster and Doctor in History at the Universidad Nacional de Mar del Plata (UNMDP), began this project in 2015. His initial research, which originated from his work with a local art history group, eventually expanded into a doctoral thesis exceeding 1,000 pages. The series began with Un escenario en la playa (2015), followed by Los años 60, un modelo para amar (2017). According to Cabrejas, the research process relied on reconstructing performances through personal photo albums, journalistic reviews, and testimonies from survivors, as many of these artistic efforts lacked systematic institutional records.

The Role of Independent Theater in 1970s Mar del Plata

The book details the rise of local cultural centers and theater companies during a decade defined by political tension. Cabrejas highlights that despite Mar del Plata’s reputation as a city that “nunca tuvo fama de tener intereses intelectuales,” the city maintained a loyal local audience for its independent scene. A central figure in this narrative is Nachman, a director formed in the Buenos Aires independent circuit who moved to Mar del Plata with the explicit goal of “destronar a Buenos Aires.” His career was cut short by his disappearance during the last dictatorship.

Beyond individual directors, the book emphasizes the collective labor required to sustain these spaces. Actors and directors often functioned as their own builders, renovating dilapidated houses to create performance venues. This struggle for space was constant; local groups were frequently displaced or forced to dissolve because commercial companies from Buenos Aires occupied available venues during the busy summer seasons.

How Historical Crisis Parallels Current Challenges

Cabrejas argues that the struggles faced by 1970s artists—such as the necessity of holding secondary jobs to fund theater productions—remain relevant to the current independent scene. He notes that while the Instituto Nacional del Teatro has faced budget cuts and local audiences remain concentrated during long weekends, the sector persists. “La crisis nos hace hacer teatro y a su vez el teatro sobrevive a la crisis,” Cabrejas observed regarding the resilience of modern cultural spaces.

Key Takeaways from the Research

• Archival Recovery: The book serves as a historical record for a generation of artists who previously lacked systematic records of their work.
• Political Shifts: It tracks the transition of independent theater from purely aesthetic pursuits to platforms for revolutionary political expression.
• Economic Precarity: The narrative illustrates a recurring cycle where local companies struggle to maintain permanent venues against the pressures of summer tourism and economic instability.