Abelardo Estorino: Cuban Identity and Family
Abelardo Estorino, a writer, critic, and theater director, was a prominent figure in Cuban theater known for his realist approach. His works often delved into the consequences of human conflict, using a theatrical style that emphasized critical and intimate examination. Estorino’s writing focused on the essential characteristics of Cuban reality and the relationships it encompasses, moving away from strict narrative storytelling.
Drawing inspiration from Piñera, Estorino addressed societal issues through a realist lens. His works became centered on family and social conflicts, recognized for their precision and dramatic tension. The characters he created were carefully constructed, serving the narrative while maintaining depth and nuance.
As his career progressed, scholars noted Estorino’s gradual shift toward more introspective and abstract forms, influenced by the Theater of the Absurd and various European and American movements of the late twentieth century. In these later works, he employed fragmented narratives, strategic use of silence as a dramatic device, and symbolic language that enriched his creations.
Despite facing challenges throughout his career, Estorino remained committed to his craft. He consistently engaged in writing and also dedicated himself to teaching and mentoring actors and directors. His ability to renew himself artistically shaped his style, allowing him to foster dialogue across generations in a dynamic and diverse theatrical landscape.
Estorino was known for having high standards in his productions, which continued to set a benchmark for excellence over time. The blend of thematic depth, subtlety, and artistic representation solidified his reputation as a playwright capable of exploring Cuban reality with honesty and insight, all while maintaining his personal voice during tumultuous periods.
His notable works include El robo del cochino, La casa vieja, Los mangos de Caín, Morir del cuento, Ni un sí, ni un no, La dolorosa historia del amor secreto de José Jacinto Milanés, Que el diablo te acompañe, and Ecos y murmullos en Comala. These plays exemplify the output of a prolific and dedicated playwright who also skillfully adapted works by other renowned authors.
Scholar Ileana Mendoza observes:
«The result of a creativity that has unified and developed artistic conceptions, stagecraft, and thematic purposes, Abelardo Estorino’s dramaturgy stands out among the most solid and relevant in contemporary theater. In his work, we encounter a body of work distinguished by its continued emphasis on realism, increasingly influenced by Brecht, addressing issues related to the ethics and identity of the Cuban people.
His meticulous study of our customs has populated his plays with characters of unmistakable authenticity, which speaks to the popular reach of his work. Furthermore, the incorporation of innovative approaches in his theatrical practice, along with a gradual departure from the more traditional forms of his earlier works, illustrates the evolutionary development of this living ‘classic’ of revolutionary dramaturgy. The coherence of content and form in each of his creations is fundamental to the enduring significance of his theater.»
Translated by Luis E. Amador Dominguez
Photo: Cubasí
