While attending what is presented as a theatrical supply disposed in the canopies of Greater Caracas, sometimes I have questioned the use of the scene by groups, directors and designers, this case, from the perspective of the designer when you have premises given by the stage manager as "x" or "and" the text or performance. There are conventionally distinctive rooms, the tradition has been called the Italian and can be drawn on our collective and public from the arenas and ancient as the National Municipal Lecuna Avenue and, currently, we can help, of course, when no programming by the institution that "sail" for preservation as it is Fundapatrimonio-and access should be good, in a private vehicle, or surface transportation via subway, when we got in line 3 and emerge to the surface at Station Theatre. Rooms are public and private professionals a more rigid than others in terms of configuration and spatial arrangement in relation to the ability to adjust to where this will go public and the stage area. Almost always maintain its status as a frontal way, seldom handled at the theater in the round, bi-frontal or another option from the ideas of the mise en scène that made the puestista. Are, on the other hand, calls flexible without being labeled religiously with the label of "experimental" is an adaptability to the director and his vision to propose variables that will show your project, to provide dissimilar angles to the viewer will receive as a first impression by breaking the foyer, lobby or outside the building that houses the living. Some cases of experimental facilities therefore are directly: the experimental Celarg, from my optics, "Horacio Peterson (the former Ateneo de Caracas, today, the UNEARTE), the space of Old. Plural Cultural Rajatabla the same room, also off UNEARTE spaces such as the mini hall of the Laboratory Theatre" Anna Julia Rojas, "the room" José Ignacio Cabrujas "Chacao Cultural Foundation. Sometimes, the potential of alternative spaces or not, as the Board "Doris Wells" in the Casa del Artista, the theater "Luis Peraza (TET headquarters), the space" Esther Bustamante in the National School Cesar Rengifo ( at the corner of the Mint), among others. Have been lost, unfortunately, the Board of Actoral 80 in Central Park, the late San Bernardino Patio stiffer but suitable for married proposals Theatre mounts the English Golden Age, the Board "Marco Antonio Ettedgui" only to be limited space for training Rajatabla of TNT, and any other area which, because of the pressure, step by amnesia. What is unique about this is that the current scene with their sharps and flats, possible alternatives for a certain group of artists explore, experiment, propose, design, substances, namely not only challenges but also the spatial and forcing what would Peter Brook in his book The Open Door (1993:108) when he reflects about what it was doing theater in time of "totalitarian oppression" that "theater was one of the rare places where, for a short period of time, you could feel free, or escape to a more romantic and poetic existence or hidden and protected in the public policy, could join the laughter and applause in the acts of defiance of authority. " Perhaps more in tune and to what I want to be directing these lines is that there has been an area of \u200b\u200b"experimental", not as full activity to combine a "product / show" but that physical space where a group, a (I) creator (s) coalesce to give an unusual form in equation staging - technical conditions decoding space - re-building the same, subject of a conceptual framework and aesthetic use of the asymmetrical anti "Italian" to provoke, suggest, engage, create from the simplicity of pure act that gives a dramatic reading of a proposed building complex with all its verbal and nonverbal. The experimental space is not for this reason the act of creating a product other than what we see as conventionally staged but the use of enclosed space where four walls, ceiling, floor, one or two doors, a trapdoor, some props (fixed or variable) and a high degree of management of the orchestra (where the reception will provide the viewer) will transmute, change, rotate, permute, is free of any object or furniture or simply, with little will create the illusion that from the prologue of Henry V of Shakespeare proposed the viewer of his time (and quite possibly, the viewer The Globe Theatre ) that: "(...) Suppose that in of this enclosure walls are enclosed two powerful monarchies (...) Multiply one thousand man army cread imagination (...) they are your imaginations to be kings dress today, transporting them to and fro (...) (Collected Works, 1966, 516). That's from the imagination that experimental with the ability of the triplet author / director / actor and set designer unequivocal support that the experimental space, the mortar to cause the tearing of the static in certain areas and make them as tubes trial where an act of theatrical creation can go from something powerfully daring to be laughable, but with hints of a breakdown. Pabis to speak of the stage in Teatro Dictionary (1980: 183) explains that: "is determined by a type of scenery and the view that the director did in his reading of dramatic space. In addition, the set designer and director have great latitude to shape it to your liking " and, assuming expressed by Ubersfeld he notes that:" is at the space where the joint is made text-representation, precisely because that is a largely unspoken in the text, particularly perforated zone, ie, which manifests as an absence in the theatrical text. Following the conceptualization that gives us Pabis on what he understands as "experimental theater" (1980: 485) indicates that: "theater that is dedicated to finding new forms of expression, even work on the actor, a questioning of all components in the theater. It is therefore generally not concerned with financial returns away from theater and music (...) . " Point at the target! By these guidelines, how to understand what is in Caracas is interpreted as "experimental theater" of working in space "experimental." Well, I will stick to strictly formal Pabis when at the end says: "experimental theater should not be limited to an esoteric art and turned in on itself" and different from what would be a "theater lab." The business here in Caracas puts his stamp on the group / director / designer (designer) plus the pressure of having spaces show / display-conventional venues appealing to the Italian or experimental-that reason an act of faith break these assumptions paradigms that bind their vision of what ought to be something other than discourse as a concept, aesthetics, techniques, use of elements and so forth. The author or idea of \u200b\u200ba group should aim to substantiate as spectacular experimental proposal openly, without the hindrance of the time trial / search / exploration of what would the case of the "palatable" in the potential public reception. So at times one another collective commitment to work to set up a fund from the experimental and pilot project into space without the subtext of profit or market "resulting from their research performances. Access to a space "experimental" by a director / group here in this city in recent years has found that there is little to show as "experimental theater" even when they are not flexible space for its architectural character - space. The work sometimes coincide, but sometimes not. He feels that there are groups / managers appealing to mold and create something akin to "experimental" but still it is not pure, if it fits the observation. I would determine that not every group of independent theater and experimental work done if you're in a courtroom would be experimental as Celarg, the "Luis Peraza" or the plural not had therefore concatenation of concepts. Make money because you have to be independent of the grant is different from being an independent group. Being an experimental group without the subsidy is precarious. Be bold without dependency threads the small size of the gift is itself a challenge and an adventure because every artist is also a city that has maintained and / or maintain -Apart from the dignity of the office-survival in a world where we talk about socialism, communism, democracy, authoritarianism, but when tea and aspirin, because you have to pay. What if tomorrow the few places were closed theatrical "business" of the city? Had a look at public spaces such as squares, boulevards, parks, streets, markets, in vans, in underground spaces in apartments, located on private? Were these more or less experimental? Do these potential spaces would seal a forced experimental space? Do Venezuelan artists could imbibe the spirit again of the sixties and re - discover that the pilot is something that should be a permanent act today in order to enter the hypnotic effects of postmodernism? Questions questions questions, and yet the current scene with its ups and downs of quality, with its haste to be here and now in the marquee on duty, working to create and not create to pretend you are working creatively. Are many theater groups in this city whose north is not to be betting on the great room or to prefigure in the little holes that let a programmer in those theaters called "experimental." In them from one as Xiomara Moreno Productions to GuarroTeatro the Labyrinth Theater to emerging groups such as K Productions Theatre to Dramart (Merida) which are his own. Some more grip in experimental incisive than others. Others with more wisdom to tolerate the haste and stress explored as building block and not as filibusters of opportunity in the eye of time, the time of programming or the sighs of the pressure off because the twelfth came. Both are the theater that we have to see. Are there. You need only look outside the flashy billboards and schedules from public or private institutions is encouraged to promote themselves. If one follows the movement as a spectator underground feel / perceive that here in this city, there is theater as if we were on a festival stage. 24.04.2010
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