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Amira de la Rosa's concept of theater was captured in an interview with Enrique Santos (Calibán) for El Tiempo. In it, Amira maintained that the excess of literature was detrimental to theater:"The theatrical author requires technique, a rigor of synthesis, and a gift of creation that has nothing to do with what we generally call literature [...] A play is all the better the less it seems like literature."
Amira de la Rosa's concept of theater was captured in an interview with Enrique Santos (Calibán) for El Tiempo. In it, Amira maintained that the excess of literature was detrimental to theater:"The theatrical author requires technique, a rigor of synthesis, and a gift of creation that has nothing to do with what we generally call literature [...] A play is all the better the less it seems like literature."


Durante la época en que Amira de la Rosa fundó el grupo escénico, el teatro pasaba por una época de auge; se suscitaron, entonces, polémicas sobre varios temas atinentes al quehacer teatral del país. Ella retomó el tópico de la conformación de una compañía nacional, auspiciada por el Estado, que divulgara la dramaturgia universal, promoviera y diera a conocer la producción nacional. Amira consideraba que el arte escénico no avanzaría sin este tipo de compañía; era, pues, una necesidad, prioritaria del país. En el año en que Amira murió, se comenzaba la construcción del Teatro Municipal de Barranquilla, y la ciudad le rindió homenaje bautizando con su nombre esta edificación.
While Amira de la Rosa was active with her stage group, the theater was experiencing a boom, and several controversies arose at the time around theatrical issues. She once again advocated for the creation of a national company, sponsored by the state, that would disseminate universal dramaturgy and promote and make national theater production known. Amira was of the opinion that stage arts would not progress without this type of company; it was therefore a necessity, a national priority. The year Amira died, the construction of Barranquilla's Municipal Theater began and the city paid homage to her by naming the building in her honor.


===Reconocimientos===
===Reconocimientos===

Revisión del 11:28 16 sep 2021

Otros idiomas:
Amira de la Rosa
Datos generales
Nombre Amira Hortensia Arrieta McGregor
Fecha de nacimiento 07 de enero de 1895
Nacionalidad Colombiana Bandera de Colombia }}
Seudónimo Amira de la Rosa
Ocupación Diplomática, poetisa y dramaturga colombiana
Primaria Colegio de La presentación. Barranquilla
Bachillerato Colegio de La presentación. Barranquilla
Estudios universitarios Escuela de Periodismo de El Debate (Madrid, España)
Formación profesional Periodista
País de nacimiento Colombia, Bandera de Colombia }}
Ciudad de nacimiento Banrranquilla, Colombia.
Fecha de fallecimiento 01 de septiembre de 1974
País de fallecimiento Colombia
Ciudad de fallecimiento Barranquilla
Familia Diógenes Arrieta (abuelo paterno), Rafael Arrieta (padre), Enriqueta McGregor (madre), Regina, Merce, Chulita, Mayo, Elena, Tica y Margot (hermanas)[1], Rafael (hermano), Ramiro de la Rosa Arrieta (hijo)
Cónyuge Reginaldo De la Rosa Ortega


Amira de la Rosa was a Colombian writer, educator, and diplomat, born in Barranquilla on January 7, 1895, and deceased on September 1, 1974 in the same city. Her official name was Amira Arrieta McGregor, but after marrying Reginaldo de la Rosa she acquired the surname she is known by today. She has been recognized for being the author of the lyrics of the anthem of Barranquilla. She traveled to Spain, and there she studied journalism at the El Debate school in Madrid, where she specialized in theater and theater criticism. She wrote some plays such as Piltrafa, Madre borrada, and Las viudas de Zacarías, and radio plays that were presented in Madrid through Radio Nacional. Among her theatrical, lyrical, and narrative compositions are Los hijos de ella, and written in poetic prose; Poemas de maternidad; Geografía iluminada; and the novel Marsolaire. De la Rosa was appointed to outstanding positions. She was an advisor and cultural attaché to the Colombian Embassy in Madrid, consul of Colombia in Seville, and cultural advisor to the Colombian Embassy in Spain. Her literary compositions include plays staged in Spain, Venezuela, and Colombia, as well as literary works for children. Her stories were collected in a volume entitled La luna con parasol, a series of short stories and poetry. In addition to being a great writer, she was an outstanding educator and cultural ambassador, as she founded the Gabriela Mistral School in Barranquilla with her sisters. The Barranquilla Municipal Theater was named after her in 1982 to honor her artistic legacy.

Biography

Amira de la Rosa was a Colombian writer, playwright, and diplomat born on January 7, 1895 in the city of Barranquilla. Granddaughter of the liberal poet and politician Diogenes Arrieta,[2] she was the eldest of the eight brothers and sisters of the Arrieta McGregor family. She attended primary and secondary school at La Presentación in Barranquilla, and it was there that she began to show an early interest in writing, poetry, and teaching. At the age of eighteen she married lawyer Reginaldo de la Rosa Ortega, with whom she would have a son, Ramiro. Later, given her interest in teaching, Amira would travel to Barcelona to take an international course for teachers, directed by Maria Montessori. In Barcelona she met the Chilean writer Gabriela Mistral, who was also a student, with whom she would forge a great lifelong friendship.[3] Upon her return to Colombia in the 1920s, she and her sisters founded the Gabriela Mistral School in Barranquilla, as a sign of admiration and homage to the poet.[4] Later she would travel to Madrid to study journalism at the School of Journalism of the Catholic newspaper El Debate, specializing in theater and theater criticism. Once there, Amira began working for the Colombian diplomatic service, where she worked for twenty-five years until 1971. She worked first as an advisor and cultural attaché of the Colombian Embassy in Madrid and later as a consul in the city of Seville.

Her stay in Madrid allowed Amira to develop an important artistic proposition through dramaturgy. In 1948, her play Piltrafa, a Colombian drama that won first prize in the Spanish and Latin American Playwrights Contest, premiered at the María Guerrero Theater. Her play Madre borrada also premiered, presented by the Társila Criado Company. The play would go on to premiere at the Murillo Theater in Barranquilla in 1943. Las viudas de Zacarías, a one-act farce of coastal Colombian manners, premiered at the Fine Arts Theater in Barranquilla in December 1944.[5] The story El triunfo del amor was adapted for ballet and premiered in 1956.

De la Rosa wrote numerous radio plays that were presented by the Spanish National Radio in Madrid and Emisora Atlántico in Barranquilla. One of the most lauded was Laúd de notas de agua, which debuted in 1950 on Emisora Atlántico. In December 1943, given the success of the premiere of Madre borrada, she founded an eponymous theater group with professional and amateur actors. The group, which disbanded in 1945, was based at the Murillo Theater in Barranquilla and toured other cities on the Colombian coast, such as Cartagena and Santa Marta. In an interview with Alfredo de la Espriella published in Marsolaire, Amira said that it was through theater that she found a means of expression and discovered a taste for communicating feelings and emotions. She began by writing short plays that were performed by the students at her school, but it was in Spain that this experience matured and she began to write for more demanding audiences.[6]She was a member of Spain’s Society of Authors and an honorary member of Colombia’s Society of Authors and the Institute of Hispanic Culture. The canon of her work, especially following the publication Marsolaire and the theme of violence against women it addressed, has been compared to those other authors celebrated for their social conscience, such as José Félix Fuenmayor and even Manuel Zapata Olivella.[7]

Among her published works of poetic prose are the selection of Poemas de maternidad, with a prologue by Gabriela Mistral; Lecturas para niños and Geografía iluminada. De la Rosa wrote short stories, poems, plays, news stories, and portraits of regional customs. In spite of her contributions to the culture of Barranquilla, de la Rosa has been an underappreciated author in Colombia. As one of the most important historical personalities of the Caribbean, she stood out for the masterfulness and spontaneity of her writing and her prestigious work of theater produced in Europe and Colombia.

After her death in 1974, the decision was made to name the city's Municipal Theater after Amira de la Rosa to pay tribute to this writer from Barranquilla.

Amira de la Rosa Municipal Theater of Barranquilla

From 1970 to 1972, Amira de la Rosa collaborated closely with other artists in the opening of the theater that would later carry her name. On June 25, 1982, President Turbay Ayala inaugurated the Amira de la Rosa Theater with a presentation of Eddy Toussaint's Ballet of Canada.[8] At the time, Barranquilla did not have a cultural venue of importance that could allow for presentations of artists and shows of national and international stature.[9] In 2018, the Society for Public Improvements, in collaboration with Barranquilla’s Town Hall, formalized the donation of the Amira de la Rosa Theater[10] to the Banco de la República, in order to begin the redesign and restoration of the heritage building. With an investment of 60 billion pesos by the Banco de la República, it is estimated that the works, which will also include the creation of a large cultural complex and reconstruction of the theater, which the Ministry of Culture declared an asset of cultural interest in 2006, will take approximately four years.[11]

Features of her work

De la Rosa’s drama includes Madre borrada, an unpublished drama in three acts, written in Madrid and staged at the Español de Madrid by the Társila Criado company, and premiered in Barranquilla at the Murillo Theater in December 1943, with a performance by the writer; Las viudas de Zacarías, an unpublished one-act farce of coastal Colombian manners, premiered at the Fine Arts Theater in Barranquilla in December 1944; Piltrafa, an unpublished drama in three acts, first prize in the competition of Spanish and Latin American Playwrights, premiered first in Madrid at the María Guerrero Theater and then in Barranquilla in 1946; El ausente, an unpublished drama in three acts, premiered by Amira’s theater group at the Metro Theater in Barranquilla in 1956, on the occasion of the Costeño Theater Festivals; Los hijos de ella, an unpublished drama premiered by the Eugenia Zúffoli Company in Carácas in 1939; Solitos en Miramar, an unpublished comedy with a Colombian Caribbean setting; and Casta de infieles, El hijo de Piedra, and La angustia del barco amarrado, all unpublished.<ref>

In December 1943, following the success of the premiere of Madre borrada, Amira de la Rosa founded an eponymous stage group with professional and amateur actors. The group was based at the Murillo Theater in Barranquilla and toured other cities on the Caribbean coast of Colombia such as Cartagena and Santa Marta, where it was very much applauded. This group was active until 1945. In an interview with Alfredo de la Espriella published in Marsolaire, Amira said that it was through theater that she found a means of expression and discovered a taste for communicating feelings and emotions. She began by writing short plays that were performed by the students at her school, but it was in Spain that this experience matured and she began to write for more demanding audiences.

Amira de la Rosa's concept of theater was captured in an interview with Enrique Santos (Calibán) for El Tiempo. In it, Amira maintained that the excess of literature was detrimental to theater:"The theatrical author requires technique, a rigor of synthesis, and a gift of creation that has nothing to do with what we generally call literature [...] A play is all the better the less it seems like literature."

While Amira de la Rosa was active with her stage group, the theater was experiencing a boom, and several controversies arose at the time around theatrical issues. She once again advocated for the creation of a national company, sponsored by the state, that would disseminate universal dramaturgy and promote and make national theater production known. Amira was of the opinion that stage arts would not progress without this type of company; it was therefore a necessity, a national priority. The year Amira died, the construction of Barranquilla's Municipal Theater began and the city paid homage to her by naming the building in her honor.

Reconocimientos

  • Fue miembro de la Sociedad de autores de España y miembro de honor de la Sociedad de autores de Colombia. También hizo parte del Instituto de Cultura Hispánica. La escritora recibe la medalla de Civismo de la Sociedad Benemérita a raíz de la escritura del Himno de Barranquilla en 1942.

Obras publicadas

Novela

  • Marsolaire (1941), novela corta
  • Selección de prosas “Marsolaire” (1976)
  • Selección “Prosa” (1988)

Teatro

  • Los hijos de ella (inédito) estrenado por la Compañía de Eugenia Zúffoli en Caracas (1939)
  • Madre borrada (inédito) estrenado en Barranquilla en el Teatro Murillo en diciembre (1943) y en Madrid representada por la Compañía de Társila Criado.
  • Las viudas de Zacarías (inédito) estrenado en el Teatro de Bellas Artes de Barranquilla en diciembre (1944)
  • Piltrafa (inédito) estrenado primero en Madrid en el Teatro María Guerrero y luego en Barranquilla (1946)
  • El ausente (inédito) estrenado por el Grupo Escénico de Amira en el Teatro Metro de Barranquilla (1956)
  • Solitos en Miramar (inédito)
  • Casta de infieles (inédito)
  • El hijo de piedra (inédito)
  • La angustia del barco amarrado (inédito).

Cuento

  • El triunfo del amor

Poesía

  • Poemas de maternidad (prólogo de Gabriela Mistral)
  • Lecturas para niños
  • Geografía iluminada

Recopilación

  • La luna con parasol

Cronología

  • 1895: Nace en Barranquilla.
  • 1913: Contrae matrimonio con Reginaldo de la Rosa Ortega.
  • 1926: Funda con sus hermanas el colegio Gabriela Mistral.
  • 1939: Se estrena en Caracas, Venezuela, la obra Los hijos de ella.
  • 1941: Publica su primera obra Marsolaire.
  • 1942: Escribe el himno de barranquilla por el cual recibe la Medalla de Civismo de la Sociedad Benemérita.
  • 1943: Funda el grupo teatral Amira de la Rosa en Barranquilla.
  • 1943: Se estrena Madre borrada en Madrid y luego en barranquilla.
  • 1944: Se estrena Las viudas de Zacarías en el Teatro de Bellas Artes de Barranquilla en diciembre.
  • 1945: Funda el primer grupo escénico barranquillero.
  • 1946: Se estrena Piltrafa (inédito) primero en Madrid en el Teatro María Guerrero y luego en Barranquilla.
  • 1948: Presenta su primer obra Piltrafa.
  • 1956: Se estrena El ausente (inédito) por el Grupo Escénico de Amira, en el Teatro Metro de Barranquilla.
  • 1974: Muere en Barranquilla.
  • 1976: Se publica la selección de prosas “Marsolaire”.
  • 1988: Se publica la selección “Prosa”.

Véase también

Referencias

  1. ↑ Alfredo de la Espriella, “Amira de la Rosa treinta años después”, agosto 29 de 2004. Blogspot Barranquilla es tu ciudad. Consultado en línea 05/12/19 en: http://curramba.blogspot.com/2004/08/amira-de-la-rosa-treinta-aos-despus.html
  2. ↑ José Daniels G, “Diógenes Arrieta,” El Tiempo, March 8, 1997. Accessed 05/12/19 at: https://www.eltiempo.com/archivo/documento/MAM-546784
  3. ↑ Blog Encaribe. “Amira de la Rosa,” Encyclopedia of Caribbean History and Culture. Accessed 01/12/2019 at:https://www.encaribe.org/es/article/amira-de-la-rosa/1843
  4. ↑ Alfredo de la Espriella, “Amira de la Rosa treinta años después” (Amira de la Rosa thirty years later) August 29, 2004. Blogspot Barranquilla es tu ciudad. Accessed 05/12/19 at: http://curramba.blogspot.com/2004/08/amira-de-la-rosa-treinta-aos-despus.html
  5. ↑ Dramaturgia del Caribe, “Amira de la Rosa.” Accessed 5/12/19 at: http://dramaturgiacaribe.blogspot.com/p/obras-de-los-autores.html
  6. ↑ “Amira de la Rosa,” Gran Enciclopedia de Colombia del Círculo de Lectores (Great Encyclopedia of Colombia and the Circle of Readers), biographies volume. Accessed at: https://archive.org/details/GranEnciclopediaDeColombiaTomo9BiografiasICirculoDeLectores1993/mode/2up
  7. ↑ Mercedes Ortega Gonzáles-Rubio, “Marsolaire, de Amira de la Rosa: la violencia contra la mujer revelada (violence against women revealed),” Revista Caravelle, No. 102 (2014). Reference cited in: Fernando Sabido Sánchez, “Amira de la Rosa,” Blogspot Poetas siglo XXI – Antología Mundial, accessed 04/12/19 at: https://poetassigloveintiuno.blogspot.com/2015/05/amira-de-la-rosa-16130.html
  8. ↑ Frias Rincon, Amilde. “Diez años del Amira de la Rosa” (Ten years of Amira de la Rosa) June 24, 1992. Accessed 01/12/2019 at: https://www.eltiempo.com/archivo/documento/MAM-144296
  9. ↑ Aguirre Acuña, Ahmed. “El Amira De la Rosa: Testimonio a la historia del arte y la cultura” (Testimony to the history of art and culture). July 28, 2017. Accessed 01/12/2019 at: http://zonacero.com/opinion/el-amira-de-la-rosa-testimonio-la-historia-del-arte-y-la-cultura-87940
  10. ↑ “El Banco de la República no ha parado de trabajar para el Teatro Amira de la Rosa” (The Banco de la República has not stopped working for the Amira de la Rosa Theater). El Heraldo, November 30, 2019. Accessed 01/12/2019 at: https://www.elheraldo.co/entretenimiento/el-banco-de-la-republica-no-ha-parado-de-trabajar-para-el-teatro-amira-de-la-rosa
  11. ↑ “Teatro Amira de la Rosa será un complejo con espacios culturales”(Amira de la Rosa Theater will be a complex of cultural spaces). El Heraldo, October 31, 2019. Accessed 05/12/19 at: https://www.elheraldo.co/barranquilla/teatro-amira-de-la-rosa-sera-un-complejo-con-espacios-culturales-676930

Bibliografía

  • Arias, Gloria Carmenza, Marleny García y Marina Lamus Obregón: Medio siglo de teatro en Colombia: 1900-1950. Bogotá, Instituto Caro y Cuervo, 1990.
  • Ávila Abel. El Pensamiento costeño, Diccionario de escritores. Tomo I, Editorial Antillas, Pág. 58-60. Primera edición, 1992.
  • Prosa, Bogotá, Fundación Simón y Lola Guberek, Editorial Lealon Medellín, 1988
  • Rosa, A de la. (1976). Marsolaire y otras páginas. Bogotá: Ediciones Sol y Luna.
  • Rosa, A de la. (1988). Prosa. Bogotá: Fundación Simón y Lola Guberek.
  • Robledo, Beatriz Helena: Antología de los mejores relatos infantiles, Bogotá, 1958.

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Créditos

1. Diciembre de 2019. Investigación y texto María Catalina Garzón para Banrepcultural


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