Mariam Budia

Mariam Budia, Born in Logroño, (La Rioja), Spain, on March 14, 1970. Spanish writer and researcher who created Teatro del Desarraigo (Rootless Theater).

Biography

Budia has a doctorate in Spanish Philology in the "Theory, history and practice of drama" from Universidad de Alcalá. She has a Master's in Dramatic Art from the Royal Superior Drama School, RESAD, and has diplomas of honor in Music from the La Rioja Professional Music Conservatory. Budia has been a member of Mensa Spain, Mensa International, since the year 2000.

Doctor Budia lived in Japan for two years as a Visiting Professor at Kobe City University of Foreign Studies (2004-2006) There she organized the commemoration of the "Fourth Centenary of Don Quijote" sponsored by the Spanish Embassy in Tokyo. It was during her stay in Japan when she wrote La mujer Sakura (The Sakura lady): a work that reflects Japanese esthetics from her personal dramatic theory.

Mariam Budia conducts her research work at the GIAE research group at Universidad de Alcalá. In addition, in 2007 she has been at Centre d’Art Marnay Art Centre, CAMAC. There she is developing her research project "Rootless character theatrical research" sponsored by Fondation Ténot in the literary creation discipline.

Besides plays and research articles, she has written radio narratives. In her youth, she was part of the amateur theater group “Teatro Pobre” directed by Fernando Gil with actor Javier Cámara. Her first professional job as an actress took place at Antena 3TV in 1992. In that same year she created the Madrid theater company "Factoría Teatro" with some workshop classmates from 4th year at RESAD.

In 1998, the year Todo al diablo (All to hell) was shot, Dr. Budia decided to dedicate herself to research and literary creation.

Book Review

*"The edition Teatro del desarraigo (1), consisting of two works by Mariam Budia, is a joyful event for contemporary Spanish theater for several reasons. Without a doubt, Al soslayo as well as Carlaño are a contribution toward enriching a creative panorama already rich and diverse in itself. (…) This effectively places the publication of these titles in a creative plan with a wider scope. More importantly, it presents the theater community with its own concept: Teatro del desarraigo . This volume is the first installment, soon to be followed by a new group of works created in the heart of that genre".

Pérez, Manuel. Del desarraigo a la esperanza, un teatro de nuestro tiempo, in e_Bu@h UAH Digital Library, Alcalá de Henares, Madrid, 2005.

*"The creative energy shown by desarraigo as a motive in these works places Mariam Budia among the early 21st century Spanish playwrights with the best command of playwriting, and one of the most promising poetics of Spanish theater".

Alba, Carlos. Teatro (second season) No. 21, Ateneo de Madrid y Universidad de Alcalá, Madrid, 2007.

*"Bearing a new scenic discipline called Teatro del desarraigo, Mariam Budia has successfully created a world inspired by its artistic originality as well as the Japanese theatrical tradition. La mujer Sakura will equal Madame Butterfly by Giacomo Puccini in its oriental exoticism and in its musical enchantment. Perhaps it will surpass it with its ambitious composition, philosophical message and precise rendering of the Japanese people's way of thinking and talking".

Fukushima, Noritaka. Preámbulo a La mujer Sakura, Madrid, 2006.

*"The clear symbolist reminiscences offered by Cancán del Moulin find an efficient complement in the plastic nature of the work. It is based on a series of very brilliant images; precisely detailed by a text that is particularly rich in didascalias. The author, through these didascalias, conveys a scenic vision that is as conscious as it is complete. With them, Mariam Budia reveals a sort of creative omniscience that translates into effective handling of the characters who make up her imaginary universe. Their movements and attitudes as a whole achieve true choreography; it goes well with the intentionally symbolic and fully artistic nature that underlies the play's configuration".

Pérez, Manuel. Concepto de desarraigo y polimorfismo estético, e_Bu@h UAH Digital Library, Alcalá de Henares, Madrid, 2006.

Plays

Plays published in several volumes:

Teatro del desarraigo (1), ISBN 84-245-1038-0, Fundamentos S.L.
*Al soslayo (Look the Other Way)
*Carlaño
Teatro del desarraigo (2), ISBN 84-245-1065-8, Fundamentos S.L
*La mujer Sakura (The Sakura Lady)
*Cancán del Moulin (Moulin Can-Can)
Teatro del desarraigo (3), ISBN 978-1-59754-382-8 Libros en Red, ISBN 978-1-59754-372-9 (.lit) LER.
*No hay prisa (No Rush)
*Aniversario en 8235 caracteres con espacios (Anniversary in 8235 Characters with Spaces)
*Prohibido autolesionarse (Self-injury prohibited)

Fiction

Among other works:
*La noche de las luces, (Night of Lights)
*Tres muchachas de Oriente, (Three Girls from the Orient)
*La primera lección, (The First Lesson)
*El batallón de limpieza, (Cleaning Battalion)
*La paciente,(The Patient)

Research

*Aproximación a las “estrategias creativas” en Así que pasen cinco años: tiempo absoluto y subconsciente in Teatro (Revista de Estudios Escénicos) nº 21, Ateneo de Madrid - Universidad de Alcalá, 2007, pp. 73-90. ISSN: 1132-2233
(Approach to "creative strategies" in Así que pasen cinco años: absolute time and subconscious)

*Más allá del desarraigo, en La Ratonera, revista asturiana de teatro Nº 22, ISSN: 1578-2530

Film, television and theater

Among others:
*Todo al diablo
*Una pareja perfecta
*Corazón de cine
*Sueño de una noche de verano

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