Descentrada Escena

We are Descentrada Escena, a theatre company based in Uruguay. We aim to build bridges, starting from the belief that, although performing arts are a human right, not everyone has access to them. We connect art, especially theatre, with social issues. In an increasingly polarized world where each stance is its own center, we propose to decenter ourselves and analyze the complexity of the world, in an attempt to change it.

At Descentrada Escena, we have been developing theatrical projects since 2022 that seek to move away from the central axis.
We integrate people who have not had the opportunity to participate in theatrical productions within the city's central circuit.
We address social issues of great relevance in our context.
We approach decentralized spaces.
We engage an audience that typically does not attend the theater.

Since 2024, Descentrada Escena has expanded by incorporating new lines of work.

Past Projects

"TA´PROPIA, there are things that make sense" staged the personal story of teenagers who were in prison and young people who have studied theatre, about what is worthwhile, from their perspectives as protagonists.

It was a devising theatre project in the vein of autobiographical post-dramatic theatre.

Current Projects

We staged in 2024 "Al Exhalar" the first Spanish version of the renowned play On the Exhale by Martin Zimmerman.

Translated by Kelly Howe and Sabrina Speranza, is has been staged in Montevideo seeking to reach audience specially affected by the issues addressed by the play.

We have been working with IELSUR (Institute for Social and Legal Studies of Uruguay) to discuss the impact of gun violence in Uruguay.

Stay tuned for upcoming performances

crAsh, love does (not) hurt

It´s a theatrical research project that gather teenagers who are in prison with young actors, aiming to collectivize questions about:

How are love bonds built in adolescence?
What emotional education do they have?
What place is left for tenderness in the mandates of hegemonic masculinity?
How is attraction managed in an increasingly media-driven world, dominated by social networks?
What cultural references do we have about how love is experienced?

Premier scheduled for August