EXPERIMENTAL THEATRE CIRCUIT EAST CARACAS: THEATRE THEATRE Trasnoche 
At different times, in one or another delivery, I've been spinning on the geography of the location of theaters in the Greater Caracas. Seeking to understand how is the relationship or the distribution equation, supply and demand, and the adjectives that are saddled on this or that season and, in particular, on what is the hallmark of every production in order to establish a profile among horizon of expectation of a cultural consumer targets (theater) and what is offered in response from the idea of \u200b\u200ba group of producers and directors in earnest idea this is and what not to create success reefs, responses varied presence of public, be competitive with authors, titles, frames and spinning with combination of staff and remarkable histrionic personalities design constructs the effort to build art that not only give visual strength to certain proposals, but in an elegant way to pragmatic to this work. The truth is that the supply cart is professionalism and if you look, the modest box-office costs in a city that is quite expensive these circuits makes consumer where it lies a slice of the wide range of stage it is no obstacle for those who decide to opt for this or that assembly. This was done to tell IAEM high authority, that without festivals (national and international) for various reasons, the truth is, there are plenty of theatrical and dance works that create the impression of being immersed in the air in which groups companies and cultural institutions create an environment quasi-holiday. Just look at one of the print media of the city towards the weekend, only considering the presence of paid advertising cultural institutions or groups (within a billboard to be displayed as a unified) is perceived, for the weekend Saturday 17 and Sunday April 18 detected a total close to eighteen theatrical productions. They are open from children's theater-in-a theater varied forms of art, theater, "digest" a broad public theater look up monologues. The distribution has only repeat located in rooms or areas of cultural centers of southeast Caracas: Theater Club (
Luisel Diaz / San Román) Teatrex
(El Hatillo), Scene 8
Cultural Center (Chuao) and Trasnocho
Cultural (with room Trasnocho
Theatre). As a critic and chronicler of the theatrical persist in going to these and other places to eat was evident. The work is as strong as a spectator not over seasoned to catch up with what is displayed in one of these circuits when, for example, we know that another nearby circuit (formed by the chambers of
Celarg /
Group Corp, the
rooms Chacao Foundation and from time to time generates the Theatre "Cesar Rengifo" Petare Colonial Town) offers. Is varied, uneven, eclectic but never stand up to one hundred percent. This makes for temporary space dynamically changing bid-oriented audiences, ages and styles of consumption. I feel that is compelling, and I will assume in future installments, the fact of forming a reflection: How articulate each of these circuits?, what are the visual programming has responsibilities, What characterizes each of these circuits, What kinds of sets with greater force?, and even see the possibility of entering thoroughly with what makes the audience attending some events more than others? I have heard of living source that is creating a "cultural observatory" or something similar. Is important that they are enabled to be responding to the dynamic art in all its variables generates every month, within a period and start pressing methodical and scientific study of the cultural market in the country. A observatory would tracks, signals and signs that apart from the rescue of memory as elusive in these parts-force reformulate policies, actions, projects and mechanisms of interaction between artists, bands, artists, institutions, critical, statistical, managerial cultural, communications media, private companies and state and the public by just putting some of the chips of a complex set of factors that make the system of production, circulation and consumption is seen objectively and make their findings, a contribution to better understanding of a country and its cultural actors. THEATRE
Trasnoche Since joining the zone (circuit) southeast of the city, this space (
The Cultural Trasnocho is a nice multi artistic point has established an efficient and that has permeated the cultural socioeconomic strata stratified layers A and B) forms an important reference for our theater productions. For as little more than a decade this room (and for some time, the plural
, alternative environment for other kinds of artistic proposals) have never restricted, limited, curtailed or excluded from other social segments of the Gran Caracas access to its programming and even less that has an ominous sense of subjective segregation between those who are or who do not go. Though it is an environment where a bird's eye seemed to be open to public, some closed-minded would say that is just a place for the elite or bourgeois certain segment dare not go to other circuits on pain of being out of context or because of insecurity, dyeing it officially marked the programming or simply because these spaces do not count from ample parking and insurance to a cafe / restaurant plus apart from the gallery, shops and theaters framed in a relaxed atmosphere, friendly and casual. Theatre
programming has been Trasnocho -since I remember, in the hands of a creator and artist, as it has been
Guevara Moses (director art), man-table-teacher and theater director with a solid track record and extensive consolidation that has been known for decades in the battle to consolidate very specific projects and activities for the Venezuelan theater. It has been backed with a shrewd hand
Margarita Lamas. And from the press, by the diligent Maria Fernanda Perez Mr.
. Some people look at Guevara
Avis as rare both for its external image and its casual ability to be glib intense and perceptive man. His capacity for work is strong. Acuity to grasp what should be scheduled or not in the spaces has been ground in the consciousness of giving a stamp to what is responsible. This has been a strong and outside, Cultural Trasnocho directive must have given him a high boost when his team locate each stage project in the time and manner has been taking place. Theater Trasnocho
is a small room that size does not exceed the 300 seats. Well equipped technically (sound, lighting, some props, etc.) and with clear rules for use. The specialty is Italian-designed since the space has been given since its construction, this limits generate proposals or bi circular front. Somewhat uncomfortable in the ergonomics and clearances armchair - chair sized for a viewer of average weight. Its slope provides a general apprehension of what unfolds on the stage. With regard to programming, sometimes makes us think that only a certain pool of groups of production become more presence than others-read, Skene, Actoral 80, counterplay, but we know that, without being agringolado in the visual field has been outlined selective openness to other groups both inside as it is in your room sister program - plural
-. In any case and the type of staging / assembly title and artists who are taking responsibility to act, the impact of consumption is (at times consisted check me as a spectator) about 85% of its capacity. The ticket price is less than 100Bsf aspect should come clean because I have the understanding that other capitals, it is higher and the quality of the shows, this should be on average about the 180Bsf. However, the supply
Trasnocho Theatre Theatre for children, youth, adult with many styles of consumption and that without falling into the trite of a schedule "digestive" can range from the comedy of "art" in contemporary drama while maintaining the dramaturgy of the patio. In the last days of March, April and part of what will be in May, this theater has offered, among other proposals:
God of Carnage (AG80)
The tribo night (HEBU Theater), Pyrite
Lesson (KJCProducciones)
Swallow The two wings of a country (Sinteatro) Certain conditions apply
(MJM Productions) and soon,
Quartet (counterplay). What is certain is that, independent theater, and even at some point, which supports the state available (grant) - have an appearance in many years that this has provided room for the public in the south east of Caracas. And if the seal of the firm is independent is also because the General Coordination of Cultural Trasnocho
has made a solid private carrier where the belief that it must have / keep a reference pole on culture, art and entertainment which is not eroded by the gift, the joint state public policy, social and political fluctuations but in the north to serve - to serve , creating challenges and believe in taking this and more, makes a plural country, broad and rich where we all know that there are no certainties and uncertainties. For now, these lines are only limited to an outline mode introitus for what will be the issuance of comments seen in the space of two weeks. SUPPLY
VISTA LESSON OF PYRITE As part of what matters to children and young people between six and fifteen years (according to their level of apprehension, taste, style, product acceptance stage, values \u200b\u200band modes of reception) the Teatro
Trasnocho made room for the collective
KJCProducciones
under the direction of Rafael Monsalve took the opportunity to stage credible and professional way, the piece titled
Pyrite Lesson (1987), a basal text signed by one of our playwrights and men committed to doing children's theater as means
Piñero oak. With several weeks of stay in the room
Trasnocho Theatre in the evening from 3:00 pm., this production takes the issue of educational and core message of conservation and awareness of protecting the habitat where we all are. Without being tangled plot shows the pubescent
Pyrite (characterized correctly in intent and spontaneity of body composition, movement, diction and understanding of their role by actress Stephanie Lopez
) who along with two friends in the small world dictiópteros rodents and the mouse
Rocco (played by
Kelvis ductilely Martínez to energize the surrounding area and circumstances of shades with the main character) and
Cuqui (played by
Keliyns Herrera, who despite their efforts to shape a character firmly in the eye of that day, he felt out of paper with low energy and decentralized something even if your attitude was cool) should the challenge of traveling to the underworld where Queen Queen
Waste (part so well oiled for life experience in everything from voice, corporate management and inter-gestural character - character, a professional of the stature of
Veronica Arellano -mark gave the guidelines of a degraded environment. On that trip, Pyrite and his friends must overcome obstacles and forces ranging from the stealthy look of the mother to Pyrite allies of the "terrible and glamorous" sovereign of the "World of Trash." Main characters who face characters and opposing forces. The result, without being Manichean per se - it makes good overriden finished negative that means the neglect and abandonment of a world (outside the world) and internal (the human being who neglect their environment). A lesson in friendship, awareness, use of force be exchange to modify its intriguing and learn that caring builds a better world. Work which, from the perspective of acting work exhibited high and low in consistency but that, ultimately, achieve cohesion of an artistic product relatively compact. You have to give recognition to the work given by both Juan Calos Pabón
/
Juan Ernesto Pabon (as
Dengue - Scrap and Cholera /
Mr. Espejo, Carnivorous Plant) to be ductile in its work with the body, impost voice, and learn to take advantage of situations. A
Sergio Pinto (Mr. Tree
) as being at all times lucid and intriguing dynamics of interaction with the rest of the cast and on another level of showcasing the work of Julian
Mujica Soto and Ericson
that taking minor roles, took with rhythm and ease their actions on stage. KJCProducciones
stated with mounting
Pyrite Lesson to assemble a visual where the costume designs (
Erick Soto), original music
Nacho Huett and Rose
Louis, the song lyrics and a basic but illustrative design / realization of the theatrical (
Rosa Helena Arcaya / Graphique
Code) articulate with consistency, simplicity, and a projection of overlap with what the plot demanded that the idea to
address leadership Monsalve was agile, dynamic, relevant and fun. This new lesson the work of
Roblan Piñero, was effectively settled by a group without being half-hearted but still can further optimize the fund rather than external, such private efforts could be independent to have children's theater products show and be on par with the demands of the theatrical market is exhibited in theaters and theater circuits in the city. WILD ONE GOD
Persistence in a continuity of cause know your north. Be clear about what is the kind of dynamic that must be addressed when you know that you're an independent group and do not have the required economic contribution of the state and beyond its ideological stance, action / think about what should be offered from the stage to the public and the industry? Do not be intimidated by tagline of "undesirable" because they know that they are not and if you ever disagreed to do, think or act was due to expression in a democracy to say and do not necessarily have to be in coincidence with the Compass - guidelines of the state and official institutions to manage - and indicate that builds public policies for the cultural sector "subsidiodependiente." A group with tradition, experience, ideas and mandatory profiled at any time since the trial - compulsive error but from the assertive conviction that connects from a direction that leads them to a particular destination as a group and where they will and brings together people, dreams and have no liability should be folded and less submissive to what they do not feel like their vital north. The
Actoral 80 Group, led by Héctor Manrique
has been for some months in
Trasnocho Theatre with the staging of
A Wild God (version / translation by Fernando Masllorens
and Federico
González del Pino ) for part of the playwright, Yasmina Reza
, Moliere Award
for his first published play,
Conversations after a burial (1987).
Reza, author of pieces like
The winter cruise (1989)
Art (1994 and also mounted the AG80
few years ago) or,
The dawn, dusk or night (2007) has managed to take hold in the interest of directors and groups in Europe and Latin America, creating anticipation for their plots, stress management issues, construction of situations and characters and a clever use of wisdom to build upon their language directly and without bombast, the chinks hint at what interest potential audience of his time. It is not free to see that a piece is staged by the AG80 in modern times. The Castilian version of
A Wild God allows with a little ingenuity, the challenge of punching and without deviating from the subject, say, pitch and score from the tables, a complicit connection with the receiver knows what is to decouple the Part of what Pepper scathing political and ideological system in the country. A unique perspective that some other segment will not welcome but from time to time know that Tyre and Trojans are in the same space, enjoying the theater with laughter wing or with a forced smile on his lips. The plot Wild One God that seem to come from the situation of a conflict between two families of stratification "middle class" must come together to discuss / conclude a result of an incident between their children where one of them strikes and injures another. In search of a reconciliation which deprives tolerance, living together without pitfalls, and an agreement through dialogue and tonic civilized discourse begins insidiously and upward, the recesses of the marital relationship of what is public and which is private between two family entities?, that should be left to oblivion and that should be brought to everyday use between people of home and is used / household receives from other similar or antagonistic. Thus, the focus of a discussion let the verbal violence sometimes disguised sometimes sneaky sometimes contained copper at times, angry disproportion making each character to surface veins that transcends psycho making them to be united in the emotional, sexual or symbolic of a union. Irony and sarcasm, gender opposition, the fragility of the established norm, individuality and the reactive sour mood is invested so that four creatures / characters draw the complex map of "frustration" underhanded. The anecdote is trivial in the background and the receiver comes to roaring, the wild absurdity of an entity that governs us "since the dawn of time." In any case, take into account what the intellectual
said Ibsen Martinez in scope of the day 19.03.2010 in a national newspaper printed by telling us that "There is a minor discrepancy because the French original is entitled Le Dieu du Carnage, which in my version is totally free to be
The God of Matanzas : the carnage, in the sense that we in English the word slaughter. " It is from this ability to plumb
Manrique with little certainty that says a lot, with a setting where the text stands alone and histrionic workforce is an issue that should know because they are so enthusiastically carry professional if you leave, go !, could do without it, heh hehe ... and self-directed in that capacity that has given them a profession with no nonsense, fuss and above, ie, both technical resource in the body such as the responsibility of building the character and settle without their situations and misunderstandings on the scene, capturing the subtleties of the text and the pendulum action that emanates from the proscenium, is apprehended in the public reception and relayed back to the actor, to create a feedback that drives the rhythm and cadence actions of each actor and the group as such. That is why it was a simple plan for bringing motion was not put furniture or carpet here here or the lighting (Jose Jimenez) believes the grace notes for this or that mutations accuracy of the explosive atmosphere as each scene was to have the accuracy that you have a sense that the youthful explosiveness and body gestures and of the rich world to express humor that is complex by Basilio Alvarez
this the wrong way with what your partner (character) that built with brutal professionalism in terms of power, good diction, bittersweet glimpses of what they resonances acquire verbal and forcefulness in the significant internal and external expressive
given by Martha Estrada that unites a couple. The other, spun
Ivan Tamayo and Carlota Sosa
that the two co-tables, play at high positive forces, the dynamics and visual overtone to ductility, poise and credibility to the marriage that should focus on dialogue with a completely dispar. It is here that the hands of
Manrique was lucid, learned to get the best of each of these players and bring to a boil for the contradiction is credible and that the wink of an inflection things the viewer with what is current, is no overflow. Balance, completeness and neatness are looking for an answer from what I perceived as a result of the acting team who won his major goal: to connect beginning to end with the audience. The general preparation of the show is bookended by the contributions given by Eva Ivanyi
costumes to give contemporary meaning to these characters. Overall production
Rincón Carolina and Rod Huey
ríguez who already have the smell, sensitivity and female talent to work with quality heating this nature, charisma and sense appropriate to the expected box office pays for see a professional high gloss.
A Wild God will at the box office until the numbers say otherwise, hence turning!
CERTAIN CONDITIONS APPLY When in independent theater is considered as an offer is structured to be seen who exposed. For the displayed within the same
Trasnocho Theatre, breakdown was the latest theatrical piece Certain conditions apply master director, actor, playwright and social communicator Venezuelan Javier Vidal Pradas
(born in 1953 in Barcelona, \u200b\u200bSpain and living from his youth in Venezuela). Talented and creative man with steely as a long history, possessed of a spirit of special personality and sharp insight to see, accept and express their ideas. He has scored so many costs you: knowing that the recognition and laurels do not come in bags of opportunity but sustained when working, creating, imagining, thinking dialectically opposing his ideas and existential philosophy has made its presence at the National Theatre since the seventies of the century XX real do what you must understand the saying that says, "is not to arrive, but stay!" Perhaps one of the edges easier to grasp is that
Vidal has been, since I know him-an intellectual incisor, this author without armor, yet false, conspicuous, a remnant of a hundred steppe wolf continues to enjoy the sweetness of public recognition for their perseverance understood that on certain values, beliefs and positions his universe is unique. The artist
Vidal has been stinging for some, for others, and some more light, a caustic but be honest with a glint of mental clarity. Whatever the light that we want to see, I think in my humble look that there is one unambiguous
Vidal. This has not been malleable and manipulable. It has been forged in the battles with hundreds of tables in university classrooms, under the prevailing pressures of television, the ability of reflection / criticism and, until now decent life for a professional lapse, you did skip a detail causing the slanderers and the rough look of the Orthodox bravado "to make [his] beating a dead horse." However, the Vidal
the years new century XXI deserves to be grasped in its multidimensionality. That left any glimmer excellence remove excess or dark for some obviously their merits, the subject of serious study and key to students, critics and the academics of our highest houses of study. Like it or not, like it or not, it's vital theatrical irradiation has been glaring in the last forty years the theater in this country. And that is date 21.07.1996 ratified when, in an interview that made by
EAMU to Vidal, the latter says,
"I have acted in 44 plays and 35 times on television. In movies I did, for now, nine roles and as director I have assembled 33 works. And so far I've written 14 pieces. " If this was to a part of the late nineties of the twentieth century, it is thought that apart from these achievements, the artist who has joined Vidal thirteen years of work, power, and be in a way that is done on foot. Leaving the line award these laudatory and as I stated at the beginning, Vidal
is portrayed in the scene with a new text, the best, his staging of which I think was taken with efficiency and economy by the experienced hand art of Moses Guevara
within the space of Theatre
Trasnocho , sought a meeting aimed at creating by this author with an audience and a reality that could be seen as specific as, in another place the burden of things that are woven from the text, by the artistic staff and integrating it through the maze of ideology has separate the water in these times, as well as Vidal himself
subscribes to the program notes, as "this piece (...) a concave mirror and distorting what we have become" coupled with the shortage of theatrical spaces and the stifling independent of the theater an event would have been almost impossible to see reality. Corrosive comedy with touches of humor and indirect. Outlined with yarn synthetic language and dialogue subtextual sense for there to be with interlocking solid pace in the domestic, with a sample of characters that can be understood in his fiction but could easily be projected in the social current. A whole dramatic mortar allows the author to the formula of playing a family affair, marked by high water to be social, but whose members have been for various reasons, scattered in the affective or professional circumstances. Now, gathered in haste by the death-apparently incidental or what the passage of the plot gives us a glimpse derived from the premeditated killing of a nearly century-old grandmother whose vitality and life management seemed even give time) causes a high bank manager (played clearly in the technical management of external dense histrionic and what was his role as Claudius in the work centering
Gerardo Soto), his wife, Kristina (Lucrezia Borgia kind of postmodern, that looks to see that part of the spoils can handle himself and cleverly constructed by the casual work
compositional Hilda Abrahamz pleasing because not many LIDES in tables tasty left a power in his acting performance); Nasch (sister of Claudio away from the family and converted into a rock tune with vices and tactics to get what they wanted and never kept his sharp claws, made by Julie Restifo
ductile), the runaway Ivan (played in a solid, well-permeable, which should be just as sharp and give your character for the great
Antonio Delli ) who with a verbose flow that makes you feel to others as "stupid" and maintaining hyperkinetic action, contrasting here and there the opposing forces of the "bizarre" that traps them all. At one point, the expectation rises to the certainty that Octavio (Nasch former partner and now a unique "pastor" of an evangelical church, characterized by Jose Miguel Dao
whose work physical, verbal, and gestural not generate the density malignant and conditioned truffle which is known to express in things but in his heart so faint that opposes carnal ambitious before the fangs of wolves who are the other characters that interact). The cause of the suspicious death of the nearly century-old grandmother who leaves a great legacy will be the core of interest, in the VIP room of a funeral, each seek their slice, find the control everyone else, each person draw out their gnawed close against the rest and, ultimately, the fate premeditated (I will not say who for the viewer to go and discover it) causes unexpected trigger a dramatic coda. The staging of concrete
Guevara effectiveness so that the flow of each scene point was that the plant without being excessive movements had centers of gravity, the visual of where each actor in and out means something, that willingness to the playful tone and dramatic was in correspondence with the plot and dialogue that indicating silence. Synthesis employs spatially hallmark of much of the assemblies in the Theatre Trasnocho
denoted -in which the seal of furniture, styles, austerity but quality alone makes furniture with an atmosphere that helps and a global image (
Marietta, Mahana By Marietta) power base from which discourse will emerge and the characters in each of his scenes. Restrained lighting, a sound atmosphere that sometimes forced to interact with acuity within climate emphasizing dramatic suspense and humor as well as the vision of Guevara
field to allow each actor was potentially a co-creator in this scenic speech made wisely, that
Certain conditions apply input capture, the public's attention in his hour and a half performance. Certain conditions apply
is comedy that when kneaded in a dramatic reading in the context of
"Making the private public" organized by the Cultural Trasnocho
us macerated key see that the "circumstances of the times" allows an author, a cast, a private, cultural, and consumer audiences polarized segment of the socio-economic ideology, have their valid alternative to access to a theater not escape , not a theater of positions, not a theater separate water but a theater that has a different perspective and that, within the tolerance, we must come to see and confront. A comedy which, although not the most polished of
Vidal, to express our playwright is seeing, feeling and pressing their sociocultural and political and can articulate their intellectual mark this be, doing. A applause! Venezuelan dramatist
In the latest installment of this blog, I explained some lines of thought about what I've been perceived as experimental theater versus experimental facilities in this urban polis Caracas shown in some theater seasons. Because the dynamics of what is produced, circulated and consumed in performing arts is sometimes so fast that it requires to see a lot and then writing exercise with chronic, critical or reflective inflections on what one extracted as result of the see / confront these experiences. Thus, the marquees up and down shows with an average speed of two to three weeks depending on the circuit / cultural institution where a theater group or company (local or regional) have a lot to show the public good, the result of their efforts creative works . Is not the role of the critic / writer label. Perhaps one of its roles is to emanate a comment so the memory enable us to lay their transit time and, why not?, To a position "subjective / objective" of what was the impact on your reception. In this week including going to see, began on Thursday, April 22 and close on Sunday 25. Since it was imperative to me to attend the Book Fair Chacao-great and varied stands in the Plaza Altamira, in order to view / purchase books about theater or any topic that supports the UNEARTE my classes, sure will difficult to complete the monitoring of another show (which was given through a montage piece for children and adults "Sex" River Theatre Group Caribbean to address the risk of Francisco Denis ). However, I feel that the visual harvest was good. Three shows in one week. And look dear reader that there is a stage that demands diversity huge effort to cover them in full. The assumption of an agenda, and go to most of the rooms and spaces is uphill, but that's part of who assumes the task of this fight. The summary is detailed in seeing the Seventh Floor group with the staging by the director, Dairo Piñeres Part German playwright, Bertolt Brecht, Rise and Fall of the City of Mahagonny in Rajatabla room. The assembly of the English playwright, Harold Pinter , Lover by the group Guarroteatro directed by Francisco Díaz in space Chamber "José Ignacio Cabrujas" Chacao Foundation and, finally, yesterday, the penultimate function of the work Palahniuk Chronicles by Teatro Forte grouping and staging the daring in Vladimir Vera Teatro "Luis Peraza." Also in the ink in my opinion "critical" stage the excellent work that has been offering Teatro San Martín de Caracas one of the best pieces of Gustavo Ott in recent years, which is and Madame Miss in the spaces of Teatro San Martín. Without doubt, it is compelling can hardly comment. This chronicle / critique is therefore directed to enter into scope of work: Paglia of Dramart group under the direction of Gabriel Torres was exhibited which had both a short and explosive season in both spaces of the Board "Horacio Peterson" the UNEARTE as at the Coliseo Taurino of New Circus. The group's work Guarro Theatre and Theatre exhibited by Forte . As it seems necessary to stress introitus three groups in three areas that I can qualify from conventional experimental rooms ("Horacio Peterson" and "Luis Peraza "), one represents the unconventional, the New Circus and an experimental space, as the room" José Ignacio Cabrujas. " The combination of what is exposed?, So how was resolved each stage experience?, Encourages me to think that the meaning and employment relations between what we will work with text or a classic authors and contemporary drama ranging from Harold Pinter the possibility creative expressive playfulness of the clown and displayed to the bewilderment and shock text / representation (text Chronicles of Chuck Palahniuk Palahniuk ), which opened as work from many angles is corrosive by its provocative value that can hit for its thematic approach that encourages or attachment or immediately repulsed by the ways of meaning that stands before our reception moral and ethics. This forces me to influence that, so I signed as the relationship between experimental and experimental theater rooms at least acquired a significant hilación and corresponding to what can be established between these two strands in my personal horizon of expectation. PAGLIA not often that regional groups have the opportunity to showcase their performing searches in the capital. A lack of events and festivals, the public and the critics appreciated when it bumps into a room with a thoughtful proposal stage, solvents and effectively articulated histrionic determined from the conceptual to the spatial. Paglia of Dramart group is one of those magnificent examples of conceptual aesthetic strength of warm and lucid art technical efficiency to what comprises the universe of "clown" is a sober style substantiating timeliness is carefree and simplicity plastic that wraps a professional made us feel that we have regal theater products for export to any international stage event. From Merida state, with a transit operator demonstrated with previous proposals such as: Leonce and Lena or Sins The 7 ½ among others, with the sharp training of its members Leonidas Urbina, Salvador Villegas , Gabriel Torres and seniority of the teacher (director / producer) Irina Dendiouk , this group takes the experimental text, body and space as alternating look beyond the cases, permanently deepen conventions Inquire about the limits of the technical and breathe regardless of risk and the time it takes to go one step beyond the applause / appeal to a segment of the public, and capitalize on theatrical experience who are in tune with the research of a risk that demands more time and more audacity. In all these synthesis products. All that effort there are few jobs and a range of qualities. These depend extrinsically receiver's ability to validate them but in the interior of each group, this is a case of rigor. Of all that hard borders scan capability of exploring the physical, emotional, subjective or rational that a certain text or line of work will expose must occur before a satisfactory answer and breath before continuing. As if a group is not bound, unbiased, not always limited sharpening and expanding its borders to stage it is fertile ground for conceiving a horizon and a live theater is never fatal. Paglia is a core work with what is understood of the techniques of modern clown. With the understanding that the word clown is a British voice to mean "clown", we know that between a performer dressed in the clothes, the color and some other resources (GAGAS) in scene ends not prepared to substantiate something beyond the epidermis . The clown is from my perception, the art of clowning at its most advanced and modern stadium. In their technique, the clown / clown must assume the kinetic principles to create conditions interaction between the actor and receiver are known creatively manipulate a "unconscious that preceded the provisions scenic, travel and the distances that separate" (Pabis, 1980: 56) and give your code gestures, body , verbal and kinetic silence, a "sub-conversation" that is in dynamic proxemics and other buffoons or the viewer. Smooth communication, where fables and short dialogues, factual features and the repertoire of gags are guiding a central idea but effective to suggest, indicate, show or point to something that ranges from the playful to the tragic, of illusory to the sublime, from the subjective to the melodramatic. It is one of the most demanding jobs of the vast world of the stage and their training demands long hours and long days of training so that what is simple is a fierce methodical construction of steps that must be consciously articulated to be perceived as organic and natural. Each sketch "(" outline ") of fabled situation created in Paglia was worked in depth, every inch of sustained action in response to significant efficiency variations thereof pledged to limit it, the laughter from the audience came loose and clean. In some reference web we find that the art and evolution of the clown / clown "in the history retains its characteristic social communicator of events using another approach, the humor." For its part, Ann Ubersfeld in his book Spectator School to refer back to the field of comedy and their signs, he notes that: "The comedian is all theater. It is possible to dispense with all elements of the representation, except the actor. It is the substance of the show, the pleasure of the viewer. It is the very presence, irrefutable " (1996: 169) and if we extrapolate the performer / officiating the clown / clown, this is wonderful, the power a deep-sea limits, and being as consistent with Ubersfeld - "the comedian is located where the ambiguity of theatricality, in the midst of installing mechanical reality (the scene, space, objects) a reality ambiguous, a system of signs that say "can not say, whether or not they belong to fiction." To make this not a treaty, I will expressed by Beatriz Seibel in Circus History to indicate that the techniques that a clown must handle complex and that, since its historical niche in its evolution from Greece while current "clown figure is related to multiple signs (...) "that" the makeup [for example] is used instead of the mask: a black outline surrounding a large white surface designed the eyes and mouth, with a perpetual smile and a "false nose" red (not always) (...) It is said that the first function of the mask is to mask, hide an actor when lurks an Inquisition. The mask puts distance between the person and character, like the clown makeup is strong time and helps you forget the old and sometimes even the sex of the actor, it escapes from realism to help you express what is in it's purest " (1993: 41). These considerations are valid exactly action as detailed as creative, conceptual, playful, expressive, and talkative of the show signic Paglia since both its members have refined a spectacular inquiry with all angles of sobriety without excess, to put the world turning internal communication with the elements used and create an open and ongoing interaction with glass of the audience who is immersed in the enjoyment and pleasure delivery laugh and think. The performance of Leonidas Urbina and Salvador Villegas was unified in one sense of taste, consistency, timing, accents, understanding, trust and vision. Front with a wink, unwrapped with objects, creative space, fluids with an eye to indicate / suggest or contrast, acute behind the mask, potent and dynamic force with each scene and very, very casual, called expectation and a sense of fairness worthy in its creative work. The direction of Gabriel Torres (guest conductor) knew them to permeate the whole were a unit of meaning, a piece of surprising humor and a show that we have the essence of experimentation but it is rather rigid. The "dream" and the fictional, it was real fun and a delicious salad that the viewer's taste and palate among the fortunate, this server. I will take the culmination program written in the hand when in the words of Gabriel Torres emanates us but for his essential Paglia: "The meeting with ourselves begins in childhood." Right in the center of my childhood enjoyment, and I felt this beautiful scenic work. The world of circus clown expression was for about an hour, the wonder and the feeling that we were all connected. Thanks. CHRONIC Palahniuk A group with a stage presence in Caracas that has few references. A young director who made the decision horizons expand, dilate pupils, grow and learn theater and wanted to re-understand visual techniques and that the universe will open and the decision to return to this city. A proposal is far from spectacular sandwich that will please the public understands that certain tare, apart from issues and arguments can not be known that by confronting them believe in a kind of angular movement of the arrest is the rejection of the seduction to the magnetization makes the billboard sintomatice that beyond conventional assemblies exhibit a more than salt and pepper in the form of comedies, that the word experiment and open their ability to communicate on what is assumed as quiet wilderness between supply and demand and it clicks between what many expect the formula to produce, operate and fully consume are three different aspects Theatre Forte, Vladimir Vera and the challenge of adapting books ( Choking / Ghosts) by American author Chuck Palahniuk stage framed in a response entitled Chronicles Palahniuk displayed at a time in 2009 to Celarg and, in alliance co - production with Experimental Theatre Workshop (TET) made a strategic alliance in order to bring our viewers surprise or disappointment, or confusion or a feeling that what they saw not only is the country with groups like the drama and carnage What about a stage work as Chronicles Palahniuk? Something that is not exhaustively on the piece itself, as part of my personal anecdotes. By going to their initial release some time in the Celarg , as the recipient was tired, I knew exactly what was going to confront, at the beginning of the function, is shocked. I did not detect exactly what happened. An uneasy feeling flowed me spine. No objective clearly apprehended if he was at a cocktail mixing ingredients paraphilias dictionary with a bitter desfachatura and a strong mix of satiric images. I get irritated and before the middle of the assembly crept stealthily from the room. Talk to the director and told him what had happened to me with their work. He, with an amused smile that left me somewhat stunned-understood and subtly urge me I should see her again. I ignored. The proposal passed its screen time with a mixed cast English / Venezuelan. I did not hear any further comments on this paper. Forget it. A year later I see Vera and Theatre Forte were in the room "Luis Peraza (TET headquarters) with a replacement exhibiting a new cast. I said with opacity of mind, "" good will is time to stop the fuss, subjectivity, prejudice and moral taboos to take my view and it can be put up on the run? "I did it. To findings but when I thought it was his last role. Oh, surprise! At the beginning of stage speech, image technology (a video) ipso facto made me look down and see the ground sideways. I thought and thought, "I do not think I will again!" I looked at with suspicion. Short video ended and began to function. Slowly, close to the place of representation but instead of reading front, I did one side (left) as it was before a space provided in a semi circle and a proxemics for what should be the symbiotic relationship between what happened since the area stage action to the reception area accented speech actions both textual and dramatic text made me realize that I had seen in the first reading of the season was far Celarg . Now there was a communicating vessel between spectacle / spectator who exercised a connection and fluidity of the parts that constitute this work (five monologues that structure Vera version from the literature of Charles Michael Chuck Palahniuk (USA, 1962) and almost incompressible-again thing, but in reverse, I started to catch. This time, I assumed no "rolls" and less stressful path to enjoy work, now, today as I write this note (May 2 and when Theatre Forte definitely lower its second season) start in a line format chronic / critical to the healthy thrill that I had apparently created a different feeling and emotion to what other shows I produce. Than a week after having confronted remember that not only applauded but turned buffoons my face into the cabin and in the solitude of the site, along with technical equipment, was Vladimir Vera smiled not hide his satisfaction. I gave him my applause as if it were the premiere. I withdraw quickly from the room. A few days later, I called him through a brief text message to cell. I told him that my complacency was not what he did issue such a short communication but a way to convey respect and that he succeeded. To my knowledge, experimental theater to its essence to break codes and conventions, it was plausible to place it in all its semantic and its full effect of "pluralization of theatrical signs" as the researcher would Juan Villegas was there, in response, as an action that says, expressing sincere, open, lucid and forceful. My applause to raise at that time / space was to recognize the intangible value to a young director, his group and the energies that came together and created this unique synergy where everyone-I mean theater groups and artists) received waveform and as such the vast majority of those we knew were there had been wise to hit the mark. This I did (think of yesterday to today) than indicated by the most senior of our researchers and former theater critic theater, Leonardo Azparren Giménez in an interview with El Nacional (Scenes, Culture, pg. 8, 11/05/2010) when he referred to journalists at the launch of the book publishing market José Ignacio Cabrujas drama ( Equinox Publishing ) do not feel symptomatic with what happens in the dynamic scene. To assert that: "National Theatre is experiencing a crisis of creativity since the early nineties" this outside destination. If it says why it was not in the room Luis Peraza and saw this show? If your Vox autoritas rubric that there are "creative crisis" Why not read and seen mounting and Madame Miss of Gustavo Ott ? In short, why say that the Venezuelan theater is plunged since the withdrawal of its monitoring and dynamic reading that does not express anything? Well, no! Respect but not share these ideas / opinions. Theatre Forte and Vladimir Vera by its angle, I think he does express such anti-crisis substance that gives breath dissimilar to those claims. I return. A week of seeing Chronicles Palahniuk write. Satisfied and pleased to have been a good risk detonated, a job with a corrosive aesthetic texture but significant, with a scenic speech without emendations prudish and spinning with the steel of conviction. Having observed nothing subtle work, an assembly with a heavy burden and incisive, aggressive but not timid and was capable of transmitting images verbal, visual, sensory without being part of the dominant culture that imposes its code to the consumer may - and did-express more than what you hear / see on stage but not the simple / complex background of signs and signals to the surface of the spectacle but in the dendritic synapses of subjective everyone's spectacular catapult that all messages , spits scope of ideological thinking not muscle-flexing by an author and his inner world. A playwright textual production and classified as "transgressive" and registered in the so-called "Generation X". In and send us an author whose personal life dimension peaks and valleys generated controversy. Now in a theatrical work that stops the breath after a style minimalist, without reluctance and zahiriente humor, slap us. As if, when I write my lines I feel it is the conviction of the American West tranquility that sometimes with this kind of search for peace breaks holy sacred and moral taboos seem to capsize, especially if the pastor of St. Peter's Church knew that their good welding occurs under slabs of marble and concrete In sum, I write this note also is the burden of crossing with other viewers artists criteria ( Sciamanna / Delli ) whose views made my assessment is not needed shield but by adding them and contextualize the spin allowed my experiences, training , knowledgeable, professional lifestyles, dissimilar critical capabilities that crossed and allowed to sketch an assertion: Chronicles Palahniuk left its mark on those who could see. Well it settles the newsletter sent us Theatre Forte group : "They are crows that take guts, eyes and hearts are eaten. Leavened bread, boiling out oven; chocolates with leaflets. Dangerous transients that our daily and with the characters in Palahniuk Chronicles " and yes, each monologue structure, each sequence of actions, each shed looks, each block of soliloquies that threw us viscerally to the ear as our visual reading, actors clustered into technical, precise in his inner world, keen to be in the palm of their hands the sensations emanating from the audience, pointed at provocation without taking extreme physical fiercely demanded excluding solar systems each of their roles with enough conviction that mind and body should be tight to vibrate with light, projected images and with bated breath, or exulting of the public, set up their scaffolding "outdated" and sweating, choking and nothing bashful, broken and armed with uncertainties in the possibility that characters / shadows were not twisted with us in an ebb and flow of stories, and sharp movements involving the worlds of faded Chuck Palahniuk. From the sober and temperate interior booming voice as long tessitura of a body that weighs "fragile" but with seared black humor expand and contract by Jesus Sosa , through the shrewd trivial but it appears to be more than that where the qualifying voice, body pulse that appeals to the watermark dimensional contact the see / hear from the builder of character created by Nadeska Makaganow , to be defiant arrogance while subjective character's bold thinking "anorexic / bulimic "embodied by the reflexologist Fedora Freites e, registering with penetrating characters offered by Elvis Chaveinte (like the knife murderer of culinary criticism bloggers) to a kind of supernatural being, spasmodic tone almost hadiths and" outdated " created by Maria Fernanda Parra up a clan of figures, without joining, articulate a thousand stories contemporary sound and are not in the superficiality of speech and knowledge of everyday life but that swarm in the dark and sordid than it is in the wretched of our society today. The staging of Vladimir Vera appeals to a "fellowship" unique sound for their strength in the use of technology and rely on deliberate discomfort. That is its cornerstone. The multi-directionality of the show was evident. I take it that once said Beatriz Sarlo when Jorge Dubatti reference in Philosophy I Theatre where, since its particular sensitivity as a spectator said: "the risk that theater has fascinated me (...) the risk of the mistake, the thing that the actors are moving in Walk the Line (... ) "and even the director is in a mined area, on land winding but with rods, pulleys, ropes or other mechanical and physical, raffles. The world assembly and propose is valid if the understanding is not experiment for experiment is the excuse. The validity is, from my perspective-changing criteria that are paving the way of surprise, that the dramatic text from a previous act (the theatrical text) but can dispense with it and build your own "graphic notation" and overturn in an event that touches or can not reason / sensitive receptor but not frightened to intuit and achieve it. Vera director took their autonomy and avoided self-regulated. I think a turning point caustic which is not what happens on certain actions, but what they provoke in the reception inside the actor and thus, of course, in the reception of the viewer. That's experience (of course, a corner of it) but never pleased. As a coda to this letter will appeal to what semiologist Ubersfeld Anne tells us Spectator School: "The work of contemporary staging is, above all, obscure the signs: the sign becomes opaque, rather than tell the world, begins to say the theater (...) Compared with those who strive to make invisible the sign, are all those stage directors who work with the opacity and encourage the actor to do the same. (...) The stage manager played with all degrees of opacity and transparency of the sign, from the clear evidence that clears up the sign - enigma, an obstacle which focuses the viewer's perception. " I think after this reference Ubersfeld conceptual theory is best expressed my short angle decoding of work offered by Vladimir Vera concrete today (Sunday) culminates in Room "Luis Peraza" by Vera and Forte Theatre in a space-time shows us that oxygenated blood from the theater is there, pumped with strength and vigor to the current body of Venezuelan theater. And my article on "Versus Experimental Theatre Experimental Facilities" in this blog (24/04/2010) start having media on which sustain it. Vladimir Vera breathed a director of anxieties, challenges and disagreements, it is necessary and vital at a time when the peace of the grave seems to undermine or to the cawing of crows. LOVER After completed its exhibition space of the room "José Ignacio Cabrujas" of Chacao Foundation in Altamira, this show ( The Lover of Harold Pinter 1948-2008) made by the group under GuarroTeatro Francisco Diaz address (Paco) allows me to consolidate a reflective climax as both a group, a visual staging and experimental room can conform to the reception by the public. The observation from what I aspire to be an experimental work with a classic text of the classic English playwriting as represented by this text written by Pinter in 1963 suggests that, from the treatment of the subject as the drawing of the characters the author is enrolled in the "avant-garde theater" of the sixties that the voice of Gómez García in Dictionary Akal is one that "anticipates dramatic trends of the future" ; current but what of the future "These go from the drama of the theater of Marinetti Jarry, Brecht's epic theater to visual and Theatre Double of Artaud. Anyway, all that kind of theater as a movement that seeks to be tearing forms and manners, conventions and understandings determining a certain way of doing the same theater. Therefore, if your Pinter drama tended to draw on specific aspects of cruelty, absurdity to build plots, themes and everyday situations where the apparent split is so repetitive and ambiguous, the "dehumanization of relationships "and that most of the time, take a game not clear what is real? And what is false?, in a certain perspective of treating the relationships of the characters in order to have a tragic leave a feeling of skepticism, a deja vu that undermines the moral and social, where passions interactions determined to have feelings of stress reification of that anguish to the outside world when they believe or are sure there is a stable base reified in securities that marriage makes the name of the game of love as a thin thread hanging over everyone's head. Behold a piece as Lover acquire a full sense of the viewer keep saying things today. The values \u200b\u200bof breaking securities, it no longer nodding that this is fixed and can translocate permanent when the desire to rip what you have to make permanent two people liguen fantasies, playing roles, situated nearer their desires parallel worlds , desires, and that what is really communication, communication. That game role, this fun way to expose their own individual fantasies within the privacy of each character in contrast to the field of public image which is "puritanical" conceived of marriage in a certain historical moment and the spins of confinement linking have it be cruel fantasy that the enigmatic invade the sphere of intimate relationships, puts something experimental which has flats in what I understand is still divided into many couples at this time when men and women, with links / emotional commitment and a situation of spousal acceptance, yearning to break, delay, disrupt the "everyday subconscious to borders no longer trivial but bold. GuarroTeatro perhaps assuming that a text these possibilities offered pinteriano summons the staging area in a flexible but capable of limiting to a voyeuristic gaze of the viewer as these threads of an emotional bond established with the social as couples marriage are touched by the Sneak cruel inner world of each other. In that role change, after the force of witty despair of doing / having, say / continue, jig and intermarry descaler and character mask placed on character, attitude and clothing animals each dosed assumed role as interpretive Mauricio Vilas Pino Zindi and try and try and trying their roles "tighten their lives, actions and reactions, pushing and simulated, knowing and accepting, exploring, and rejecting, accepting and enjoying each other cruelly into something they need to know to be broken: the convention of a incommunicado link it every day. Therefore, the direction and acting did not appeal to answer euphemisms external tactics, sleight with no less even, with the daring external. Stood at the center of the plot of pinteriana Lover and from there to taxonomy of these conflicting worlds of these creatures mangled, that relationship fatua, those perverse desires and perhaps more. That which was from my reception players placed a bet, a text and a staged approach by Francisco Díaz , translated as an effective electric shock to understand that they wanted with the piece, with the space and the relationship close accomplice to the public. With only bet on the frame shape inside / outside of these characters, to appeal to a subtle but misleading atmosphere, focusing on the climax and anticlimax of what you want from a lover and an open relationship without gloating placed to look gimmicky the public, letting the scene speak for itself, which after dialogue and concrete physical actions, by experience without being flamboyant achieved its purpose of saying things to look of all. What I really applaud is the ability to synthesize the director and actors in the realization of their effort stage. It is symptomatic that it was not Pinter play but make it yours. Of using a text to bring something we watch. That after the case is the reflection of who decodes and apprehending a message that you may have fun, you may take an occasional laugh, but in the end, the case is playing as a knock at the door of your consciousness. That's what I value to be creative. It's what I take from what I want to see how this cutting edge contemporary classical text is as experimental formal response as to place it in a space that opens and contours to the interest of creating significant parameters for text / staging: it is the viewer who determines the process to take, accept and validate. Behold it experimental or avant-garde should be able to motivate drowsiness, apathy and silenced the capacity to be surprised. Guarroteatro validated with little positive effect forcefulness their search for a theater that says something. My respect for this ability and my critical boost to those who are struggling in the circuit off, in the trenches of the difficulty of making not to receive praise and flattery but to reward from the sincerity the expectation of an audience every day should have a good theater. GuarroTeatro your work is done and people have seen them work, you know. May 9, 2010 
