ENGLISH VERSION

15073514_10211394449076147_7505573718582078832_nDIEGO KEHRIG (Buenos Aires, 1968) is a playwright, director, theater researcher and bookseller.

Some of his plays:
NEGRO CORAZÓN (Black Heart) Prize work in the First Competition of Theater Works of the National Institute of Theater
ACTRIZ. MUSICAL CICATRIZ (Actress. Musical Scar)
PERROS GOLPEAN TELÉFONOS (Dogs Hit Phones)
LA MUERTE NO SE PARECE A NADIE (Death Looks Like No One) Peronist fable from The Maids Of Jean Genet
NADIE ESCAPA A ELIZABETH TAYLOR (Nobody Escapes Elizabeth Taylor).

He has directed a dozen shows in the alternative theater circuit of the City of Buenos Aires, including:
SÓLO BARBIS (Only Barbis) with Mariana Briski and Sandra Monteagudo (Centro Cultural Ricardo Rojas)
F.E.A. (U.G.L.Y.) with Vivian El Jaber (Sala Liberarte)
HONORIS CAUSA with Deby Watchel (Teatro Calibán)

He participated in the Executive Production of two TV shows: FOREIGN AFFAIRS by John De Mol (Estudios Pampa), and ESOS QUE DICEN AMARSE (Those Who Claim to Love), soap opera by Alberto Migré with Carolina Papaleo and Raúl Taibo (Televisa Argentina).

Designed and directed the Historical Documentation Center of the Main Palace of Sports and Shows of the City of Buenos Aires:
Stadium Luna Park (www.historialunapark.com).
This research with more than 5,000 pieces digitized and classified portray the programming of its stage from the inauguration in 1932 to our days.

In 2013, his theatrical research and publication DIDASCALIAS DEL TEATRO CAMINITO was declared of cultural interest by the Ministry of Culture of the Autonomous City of Buenos Aires.

He has written 3 scripts for cinema:
LAS MANZANAS DE CÉZANNE NO PUEDEN COMERSE (Cézanne’s Apples Cannot Be Bitten), co-author with Matias Heer
ESCRÍBAME UNA MUJER (Write me a woman), co-author with Diego Gopen
TOCAYA.

He is the author of 9 blogs of theater, photography, poetry, theater research.
His main blog is: http://www.diegokehrig.com

He has published 4 books:
LO QUE LLUEVE TE DESNUDA (What Rains Strips You) DK Editor, 2015
NADIE ESCAPA A SU BIOGRAFÍA (Nobody Escapes His Biography) DK Editor, 2014
DIDASCALIAS DEL TEATRO CAMINITO (Didascalias of the Caminito Theater) DK Editor, 2013
NEGRO CORAZÓN (Black Heart) Editorial of the National Theater Institute, 1999

In 2016 his research “Buenos Aires café-concert” was declared of cultural interest by the Ministry of Culture of the Autonomous City of Buenos Aires. It also receives the benefits of the Patronage Law.

Since 2000, he has complemented his theatrical activity with the office of bookseller.

He currently manages the bookstore of Proa Foundation, a space dedicated to the diffusion of contemporary art.
http://www.proa.org

LIST

2017 EDUARDO LERCHUNDI
Theatrical researcher and collector
Site under construction

2016-2017 ENTRE-NOS, CHRONICLES OF LA BOCA
Curator: Diego Kehrig
Collections: Delia Cancela, Diego Kehrig, Eduardo Lerchundi
Exhibition at Proa Foundation
Caminito Theater Archive
http: http://www.proa.org

2016 BUENOS AIRES CAFÉ-CONCERT
Investigator
Declared of cultural interest by the Ministry of Culture of the Government of the Autonomous City of Buenos Aires
Patronage Law

2016 TOCAYA
Film script

2015 LO QUE LLUEVE TE DESNUDA (WHAT RAINS STRIPS YOU)
(100 novels)
Texts and photographs: Diego Kehrig
Design: Laura Escobar
Correction: Fernando Crócamo
Retouching images: Juan Beccar Varela
Printing: Imprenta Dorrego
Production: Diego Kehrig Editor
http://www.loquelluevetedesnuda.com

2014 NADIE ESCAPA A SU BIOGRAFÍA (Nobody Escapes His Biography)
It includes four plays:
LA MUERTE NO SE PARECE A NADIE (Death Looks Like No One)
NEGRO CORAZÓN (Black Heart)
PERROS GOLPEAN TELÉFONOS (Dogs Hit Phones)
NADIE ESCAPA A ELIZABETH TAYLOR (No One Escapes Elizabeth Taylor)
Dramaturgy: Diego Kehrig
Prologue: Kado Kostzer
Editing and correction: Fernando Crócamo
Design: Jorge Lewis
Printing: Graphic format
Production: Diego Kehrig Editor
http://www.nadieeschools.blogspot.com

2014 ESCRÍBAME UNA MUJER (Write Me a Woman
Dramaturgy: Diego Kehrig and Diego Gopen
film script

2013 DIDASCALIAS DEL TEATRO CAMINITO
Declared of cultural interest by the Ministry of Culture of the Government of the Autonomous City of Buenos Aires.
Patronage Law.
Research, interviews and texts: Diego Kehrig
Translations: Andrea Zotta and Bárbara Padín
Interviewees: Jorge Luz, Kive Staiff, Ernesto Schoo, Julio López, Caty Bónica, Valeria Munarriz, Claudio Segovia, Delia Cancela
and Edda Díaz
Editing and correction: Fernando Crócamo
Design: Jorge Lewis
Printing: Graphic format
Production: Diego Kehrig Editor
http://www.didascaliasdelteatrocaminito.com

2013 NADIE ESCAPA A ELIZABETH TAYLOR (Nobody Escapes Elizabeth Taylor)
Dramaturgy and Blog Design: Diego Kehrig
http://www.nadieescapa.com

2011 LA MUERTE NO SE PARECE A NADIE (Death Looks Like No One)
Dramaturgy and Blog Design: Diego Kehrig
http://www.nosepareceanadie.com

2010 PERROS GOLPEAN TELÉFONOS (Dogs Hit Phones)
Dramaturgy and Blog Design: Diego Kehrig
http://www.perrosgolpeantelefono.com

DIEGOKEHRIG.COM
Texts, Photography and Blog Design: Diego Kehrig
http://www.diegokehrig.com

2008 LAS MANZANAS DE CÉZANNE NO PUEDEN COMERSE (Cézanne’s Apples Cannot Be Bitten)
Dramaturgy: Matías Heer and Diego Kehrig
Cinematographic Screenplay

2005 ACTRIZ. MUSICAL CICATRIZ (Actress. Musical Scar)
Dramaturgy: Diego Kehrig
Interpreter: Carla Agüero
Original music and arrangements: David Demarchi.
Production and Direction: Diego Kehrig
Barrabás Theater Theater

2003 NEGRO CORAZÓN (Black Heart)
Dramaturgy: Diego Kehrig
Cast: Lula Rovatti and Carla Agüero
Production and Director: Diego Kehrig
Conference Room

2001 HONORIS CAUSA
Dramaturgy, Production and Cast: Deby Watchel, Leandro Bardach and Sandra Barbale
Directed by: Diego Kehrig
Caliban Theater

1998 NEGRO CORAZÓN (Black Heart)
Dramaturgy: Diego Kehrig
Cast: María Eugenia Ludueña and Verónica Riutort
Production and direction: Diego Kehrig
Selected and released in the framework of “Buenos Aires, do not sleep ’98”. Municipality of the City of Buenos Aires.
Prize First National Contest of Theater Works.
Published by the National Institute of Theater.

1997 EXIT SUPPLEMENT
Mood column
Texts: Diego Kehrig
Magazine For You
Editorial Atlántida

1997 MEFISTO ESCRIBE (Mephisto Writes)
Dramaturgy: Diego Kehrig
Mention of the jury of Buenos Aires does not sleep,
Municipality of the City of Buenos Aires

1993 ESOS QUE DICEN AMARSE (Those Who Claim to Love)
Telenovela: Alberto Migré
Protagonists: Raul Taibo, Carolina Papaleo and Cristina Alberó
Production Assistant / Continuist: Diego Kehrig
Production: Televisa Argentina S.A.
Directed by: Francisco Guerrero
Recorded at the Pampa Studios. Buenos Aires
Issued by Canal 9 Libertad

1993 LOS MONSTRUOS (The Monsters)
TV show
Cast: Vivian El Jaber, Mariana Briski, Sandra Monteagudo, Diego Kehrig
Directed by: Leandro Panetta
Channel 2

1992 LAS BARBIS (The Barbis)
Dramaturgiam, Production and Cast: Mariana Briski and Sandra Monteagudo
Directed by: Diego Kehrig
Liberarte Theater

1992 F.E.A. (U.G.L.Y.)
Dramaturgy, Production and Cast: Vivian El Jaber
Directed by: Diego Kehrig
Liberarte Theater
Young Art Biennial of the Youth Undersecretariat

1991 DOÑA DISPARATE Y BAMBUCO (Doña Disparate and Bambuco)
Dramaturgy: María Elena Walsh
Assistant Director: Diego Kehrig
Address: José María Paolantonio
Tour of the Province of Córdoba

1991 FOREIGN AFFAIRS
Cast: Anne Curry, Joep Sertons, Maria Socas and Sofía Viruboff
Script Secretary: Diego Kehrig
Production: Catalyst Entertainment & John by Mol Produckties
Recorded at the Pampa Studios, Buenos Aires
Issued by Gems Television

1991 SÓLO BARBIS (Only Barbis)
Dramaturgy, Production and Cast: Mariana Briski and Sandra Monteagudo
Directed by: Diego Kehrig
Ricardo Rojas Cultural Center
Recoleta Cultural Center

1991 OCHO, NUEVE Y DIEGO (Eight, Nine and Diego)
Column of humor and poetry
Texts: Diego Kehrig
La Vitrola Neighborhood Magazine

1990 ASUNTO VIOLETA (Violet Issue)
Production and Cast: Laura D’Anna, Diego Kehrig, Leo Dyzen, Fabián Heredia
Directed by: Viviana Pérez
Theater Spaces
The Great Village Theater
Sponsored by the Undersecretariat of Youth

1988 GURKA
Playwright: Vicente Zito Lema
Direction of scene: Diego Kehrig
Directed by: Norman Briski
Caliban Theater

1988 NOSOTRAS 3 (Us 3)
Dramaturgy, Production and Cast: María Leguizamón and Vivian El Jaber
Directed by: Diego Kehrig
Caliban Theater

TEACHING EXPERIENCE

1989 PROFESSOR OF THEATER WORKSHOP
Faculty of Medicine, UBA

2001 SCRIPT SEMINARY
ASSISTANT OF CÁTÉDRA
Dictated by Michael Diwiding
University of Palermo together with the University of New York

2002 MUSIC THEATER SEMINAR
Annie Miranda Dance Studio

STUDIES

1985-1986: Vocal technique at the T. Piazzini Institute
1986-1987: Comedy seminar with Norman Briski
Theatrical Improvisation seminar with Norman Briski
1987-1988: Music theory and piano classes with Graciela Plevz
Text Analysis Seminar with Norman Briski
1988-1989: Seminar of Collective Creation with Norman Briski
1988-1990: Vocal technique with Horacio Soutric
1993-1994: Vocal technique with Guido de Kehrig
1995-1996: Music theory and vocal technique with Esteban Collado
1997: Seminar for Actors by Anna Strasberg
2000: Script Seminar. University of Palermo. Led by Michael Diwiding
2003: International Congress of Musical Comedy and Opera Rock

 

Major prizes

Name of the Project: BUENOS AIRES CAFÉ-CONCERT
Genre: Theatrical Investigation
Prize Name: DECLARED OF CULTURAL INTEREST
Organized by: Ministry of Culture
Place: Autonomous City of Buenos Aires
Year 2015

Name of the Project: DIDASCALIAS DEL TEATRO CAMINITO
Genre: Theatrical Investigation
Prize Name: DECLARED OF CULTURAL INTEREST
Organized by: Ministry of Culture
Place: Autonomous City of Buenos Aires
Year 2013

Name of the project: NEGRO CORAZÓN (Black Heart)
Genre: Drama
Prize: First National Competition of Theater Works
Organized by: National Theater Institute
Place: Autonomous City of Buenos Aires
Year: 1998

Name of the Project: MEFISTO ESCRIBE
Genre: Poetry
Prize: MENTION
Organized by: Buenos Aires does not sleep
Location: City of Buenos Aires
Year: 1997

Name of the project: F.E.A. (U.G.L.Y)
Genre: Theater Direction
Organized by: Young Art Biennial
Location: City of Buenos Aires
Year: 1992

Name of the project: ASUNTO VIOLETA (Violet issue)
Genre: Actor in Drama
Organized by: Subsecretaría de la Juventud
Location: City of Buenos Aires
Year: 1991

 

Until today what might be called my writing was not meant to be read, but to be breathed. As if I were an engineer who builds highways, so that later actors might arrive and they are the cars.

Publishing books forced me to expand my authorial conception and develop new lanes of communication. This new route has been paved with both obstacles and advantages. I arrived on the road with well-stocked saddlebags. I had excellent baggage: an intense vocation for loss.

As a kid, I tortured my family saying: “I like theater, I like theater, I like theater, I like theater.” And the truth is that no one paid a lot of attention. But that lack of interest generated an inverse effect: I became greedy, boy. My memory ravenously stored everything that fell into its trap—seizing and storing anything that had to do with the world of the stage or with show business. This gave birth to my vocation as a theatrical investigator.

So the first thing I read was not dramaturgy or theatrical treatises, but film magazines and entertainment reportage—which I devoured voraciously. I also watched a lot—a lot—of television. These sources, which an academic and traditional training would not hesitate to discard as junk, turned out to be the fertile seed of my career.

In addition to this self-taught and durable experience, I had the good fortune to take with me my beloved co-pilot: hunger. A flimsy economic situation drew a map that I found impossible to avoid. After repeatedly stumbling around the block to the block and encountering far too many blind alleys, at last I found in the publishing industry a way out, a horizon.

So there I established a connection that has already lasted 16 years. I maintain a professional relationship with the book: I am a bookseller.
The three books I include in this shipment have been constructed painstakingly over time. Each project was written in identical circumstances, in the context of a parallel occupation, almost in secret.

After advising, stacking, wrapping and invoicing hundreds of thousands of books, I long for the experience of creating without being interrupted.
I did not compose The Ninth Symphony at age 5, nor did I read El Quijote at 7.

Nothing like that. I have been a university student of roundabouts, periphrasis. And during those transits – which my anxiety called deviations, short cuts,En el archivo adjunto
delicuescencias – I became a surgeon while still yearning to be butcher.

Although I confess to wanting faster, clear and perfect rhythms, literature and calendar were conducted. I tried pedaling with other shoes, but Nobody escapes his biography.

Although I confess to having been anxious, literature and the calendar took the right rhythm, because “Nobody escapes his biography”.

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