Slava’s snowshow, the power of humanity

Display physical theater and clown, and not verbal, Slava’s Snowshow It is about to start the 2025 season at the Hidalgo Theater in Mexico City on Wednesday.

This is not the first time that we visit our country. The first show on this land was in 2006, just 19 years ago, despite its international appearance in 1993, so he already added 32 years of presenting different scenarios around the world.

What is the success of this “snowy show” in which the words are not necessary, which the audience repeats only to provide the opportunity to participate, participate, imagine and play again?

For Izmir Gallardo, the only Mexican clown that is part of the company founded by the Russian actor, director and clown Slava Polunin, just a success Slava’s Snowshow Spreading the emotions that are shared on the stage and that the audience feeds on every job. This was said in an interview with joinery.

I think the biggest success of the Slava’s Snowshow is that it is a living show, and it always strikes, as well as the genius of the Slava Polonin in terms of creating clown numbers, which must be done specifically with a unique theatrical concept.

It is not “I will see a play, circus or magic.” It is witnessing a show of clowns from the highest artistic creation that can be in the theatrical field of these characters. Let’s say, the clown that reaches poetry at the art level and all touch us. “

It seems that strengthening human measures at times when technology and digital seems to direct personal and social feelings, which forgets the heart and capabilities of people, as well as helping the image of the clown in continuing to generate joy.

Therefore, for the clown originally from Sinalua, who was just part of the company for 19 years, the same since its first appearance in Mexico, comedy is an essential component of communication with spectators, but also other feelings that reach nostalgia and sadness.

When the comedy occurs, we touch our hearts. The comedy is very noble in this sense, because it makes us get to know each other by laughing. The presentation, which is not speaking, allows multiple meanings and extends the potential restrictions that can be in the event of a word.

The lack of words, the meanings extend, and unlimited turmoil and have a great relationship with the sensitivity of the scenes, but also with those of the translated actor; With what we live in the world today.

This show is alive, and the actors are present, at the present time, through a unique and magical theatrical concept, which is the language of clowns and laughter, which is transferred to the extreme where you can also try nostalgia for sadness, love, fear and value, it is a great montage, which has a great virtue to make human emotions.

The exhibition talks about friendship, unity, and self -wisdom; The remainder behind it and the importance of the game, as well as not to take things even on the chest.

He talks about the weight of life, with all its complexity, and that its flow cannot be stopped. Then the storm arrives like a snowball, because it takes you by hand, step by step, by laughing and elementary emotions.

The time comes when your hands bend and turn one with the show, because you say, “I felt everything that the protagonist feels when he is excited and plays that his bed is a ship.” I felt lonely and the need for hugs. I have read a role as there was news where there is nothing but silence and it is possible to listen to this silence.

I think so glory He knew how to combine this drama with a series of scenes he chose with the wonderful Tino, through his concept that is clowns in their purest expression, as well as fashion, landscapes and music. It is several aspects of its analysis, but it must achieve its success with the privacy that it is a unique theatrical concept capable of touching the human -sensitive fibers, without the need to say one word. “

Mexican in the show

Izmir Galardo Oliva was born in Kolakan, Sinalo, and came to Mexico City to study the theater career, which he did in the Kaza del Tensioner, with teacher Louis de Tavira. Then he joined the collective meaning of the circus, by Karen Bernal, who was almost deviant from Cirque du Soleil in delirium.

I was already interested in this language, because the real stage of theater is still not finished to absorb it and I was looking for a language that allows me to express energy. I think that all clowns are related to the universe in childhood.

I could not express it in its entirety and search for the clown and found it. I was working as a clown in Mexico City in 2006, with the idea of ​​continuing to develop. At that time they call us to perform the party that had a crew of Slava After its first boss in Mexico. They call us to the coffin and there I know Polunin.

I made two, three jokes. Two or three funny numbers and fell into grace and took the opportunity to tell him that I was very interested in the clown world, which I wanted to continue to learn and became a clown, I was in that, I was an actor, and he generously invited me to show him to see him. I met him and then I saw the show. “

After the job, the Cameroon and Slava spoke to him, he suggested that one week test be done to IZMIR.

In that week, they became throughout these years that I was Slava’s Snowshow. I am the only Mexican, although we are of different nationalities. On this occasion, there is a partner from Italy, another from the United States and the Russians and I am the Mexican. The actor said: “There is a girl from Brazil and another Russian girl who comes.”

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