There are works of architecture whose fate seems to be the eternal permanence; not subject to the weather; challenge all the cultural memory of peoples. That happens with the legendary Teatro Martí, in Havana. This is a jewel of Cuban neoclassical heritage Basque emigrant Ricardo irixoa opened in 1884; Creoles, and its nascent libertarian movement in sympathy with the artists did close on several occasions installation, representing vernacular theater, bufo, and operettas of patriotic content. By 1901 it served as headquarters for the Constituent Assembly charged with drafting the first Constitution of Cuba, and in 1977, said here !, by the advanced deterioration of its infrastructure. A decade after its reconstruction began, where interiors were modernized with the utmost respect for original designs. Now, after all the effort, impossible not to label as extraordinary, it returns to him and manages to fill the void that long gave scare memory. It seemed incredible that even under the great rescuer and cultural machinery that has become the Office of the Historian of the City, the famed Teatro Marti opened its doors again. But it happened otherwise.
The Martí, as it is also said with some affection, was always nostalgic place. He was born in a time when there was no radio or television, and as a theater finally was room for the meeting; talk about the news of occasion, or to start it there. The installation served, therefore, as a space for cultural promotion in the broad sense, where the music of the time in the absence of the phonogram was disclosed, and where the absence of television required the elaboration of billboards filled with images in tight synthesis and even laughable .
Much of Havana are amazed how tourists observe carefully the Martí, if only such site in the city, but often do not know that the building is accompanied by a legend who has traveled far enough. Outside Cuba, the theater was referring Art irixoa committed to liberal ideals, birthplace of patriots and carefree artists, and that very Cuban style, they put the comic zarzuela or to glimpse what is not agreed in politics.
That made near the town theater, because although it was not the intention of its founder, Martí was far from established as a social space colonialist elite; It prevented him popularity; poor natives said, "if I can not go, at least I remain in sight." Now, after 130 years, it is there, standing and open. Sito in their own Zulueta and Dragones streets where he grew up, and where thousands of Cubans transited nostalgically long to think not see him again so alive.