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They create repertoires with fewer players; adaptation times after covid-19


These are times of exception and adaptation. Cultural managers like Graciela de la Torre, Isabel Beteta and Lucina Jiménez agree on this, and they say that “we are no longer the same after the confinement”, that the conditions to enjoy art have new requirements, that new audiences have been approached through virtuality and, for this reason, repertoires must be renewed.


De la Torre, an expert in museums, points out that with the reopening of these enclosures new audiences should be served, those generated virtually during the six months of confinement, who are not going to leave and are used to an international offer.

We have seen another way of managing, forced by circumstances. We must make strategic allies to offer more imaginative content. Not only should the activities be reprogrammed, but also the objectives ”, adds who has directed museums such as the National of Art and the University of Contemporary Art.


For the cultural anthropologist Lucina Jiménez, the migration of the spectators towards cyberspace was significant. “Virtuality has been the home we inhabit to continue creating tools for social reflection and coexistence through the arts. It allowed us to look out into the world, connect with many societies that were experiencing the same thing. That helps us find ourselves in the artistic diversity that we are ”.

The director of the National Institute of Fine Arts emphasizes that this health emergency “put the relationship between the bodies in tension, and the performing arts were the most affected. We must renew the repertoires, since a complete orchestra or dance or theater company will no longer be able to be on stage. The production of new content is the fundamental axis of our work. This forces us to get out of the comfort zone, and to ask ourselves other questions ”.


The choreographer and dancer Isabel Beteta, who in August already programmed the season “Danza x La Libre” with 18 performances of solos, duos and trios, adds that “this year has put to the test the appreciation for dance as a direct experience and physical experience ”.

The director concludes that “the performing arts are an act of communion between the spectator and the creator; the challenge is to maintain this link with small and brief works ”.