Las Tunas, Cuba.- We have seen him walk slowly (very slowly) along Vicente García Street during Las Tunas' nights and in other spaces. Yuris Eduardo Bueno Yero is a young theater instructor who embraced the passion of living statues in a province like ours, in which this artistic expression is not very common.
AND THE STATUE SPEAKS...
"I was born in Santa Cruz del Sur, Camagüey. I studied my profession here, at the Rita Longa School. I spent some time working in schools and then I linked up with a non-professional group called Tunantes, who greatly stimulated me to fall in love with street theater. They usually do a parade and perform variety shows. Then, I lived in ´Amancio´ and I started traveling every weekend to participate in their activities. Therefore, I rode stilts, sang, and made comedy shows ..., a little bit of everything. Those were my first steps."
It has been six years since the magic of the giant performances arrived in his life and four since he gave himself to the universe of living statues. The famous Don Quijote, Cupid, our unforgettable Zabala and other characters come alive in the performances of this 27-year-old boy, who confesses that he has learned from all of them.
Other characters also inspire him. He is able to perform a military man, a peasant, a troubadour, a Taino aboriginal, a slave ... a reader. He also moves through time to perform a medieval knight or a science fiction character.
"As a child, I liked this world. While I was growing up, I became more interested in the theater that is in sight, which does not need us to move to an institution. That is why I love body art, performances, living statues ... They allow mixing expressions such as music, dance, acting and plastic, even literature. I have even played a poet who gives verses."
Yuris has not only reached communities through his vocation as an art instructor, but prisons and schools, to lead workshops on his specialty. He develops his work from the Tomasa Varona Culture House, in the city of Las Tunas.
"I also advise a comedy group of the University of Medical Sciences and I want to resume the project Deseos Teatro, which I created two years ago and whose members have dispersed a bit. The initiative includes giant performances, living statues, and other theatrical expressions. Those who are really interested in being part of it can contact me at the Culture House to see if they have skills."
As the dialogue progresses, the narrative leads us to remember those moments of impact on the street ... The spectators observe the tenant with the curiosity that emanates from the encounter with something unique. Is he real, children wonder? Some else dare to touch him. They do not think that they are "invading" that necessary physical distance between the actor-spectator. He needs to be focused on the magic of a being that rejoices part of our time. We talk about the inherent feedback ...
"I always try to make people feel identified with my work. Normally, they approach me, some want me to touch them, hug and kiss them, or vice versa; it's beautiful. Image has the power to communicate many things; I get them to stop what they are doing and care of me."
He is immersed in his universe, extends the wings of the imagination and designs new representations. "I have written plays that deal with the confrontation of environmental pollution and negative thoughts. A text that delves into the children's universe and it is an adaptation of El príncipe Blue (Prince Blue), by Wílliam Fuentes. I also thank Ernesto Parra, actor and director of Teatro Tuyo, who has helped me to improve the dramaturgy; also to Ottoniel Morfis, who has donated me makeup and costumes, because this art, because of its grandiloquence, needs to be colorful and even disposable materials contribute to the final design."
His itinerant art challenges the space and the time and stays in the memory of many people. We have seen him in trova meetings, in La Pupila Archivada event and in activities of several institutions; also in the context of campaigns for the prevention of HIV / AIDS and non-violence towards women.
On the physical training that the interpretation demands, he comments: "It is difficult to be several hours in the same pose, but I am prepared. I have stayed in positions that undermine physics. That is why I must do body exercises beforehand, in addition to meditating and concentrating."
He gives us his art while he challenges the lights that usually dilate his pupils. He faces personal problems and the rigidity imposed by the performance but, above all, he gives passion in each performance. His son Pablo Ángelo, aged 3 years old, inspires him to overcome the challenges.
A couple of elderly are his most loyal followers; another child from the public even imitates him. "Sometimes, I feel the need for the public to know who I am, but the most important thing is that the message is understood. Thus, in each show of affection, my character comes to life," he says.
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