The country is always to uncover surprises. These are no novelty in that failure unless they have had groups, companies, directors and producers not to go beyond a certain group of authors who, generally, being contemporary, seem to go all the representatives César Rengifo of the "Holy Trinity" - JI Cabrujas, Roman Chalbaud, Isaac Chocrón-Edilio Peña Nestor Caballero, Rodolfo Santana José Gabriel Núñez, with any luck median, which in one way or another penetrated from the last two decades twentieth century to date. Authors and playwrights such as Eduardo Azuaje, Javier Moreno, José Tomas Angola, Xiomara Moreno, Carmen García Vilar, Carlos Delgado and Sánchez, Gustavo Ott for just a strip show in a theater without being invisible, have gone beyond the unprecedented recognition to the visible in prizes, performances, publications and be, indeed, to the detriment of what was once categorized as "repressed drama" being the fashionable playwrights to probe the different marquees of theaters nationwide. This is just a sigh introitus to say about us little tables, especially if they try to explain that, in the consciousness of those who have the leadership to produce "shows trade "are those under the genres of comedy, drama or tragedy, always seem to be willing to look outside and never inside the country. Thus, the National Theatre is caught between oblivion, contempt, disdain and at worst, ignorance. It is time to assert not ours. As Mexicans: "ours first, second, and finally our third, the rest!" attitude not a tax, not to follow the shadow to the wheel of any political ideology of state, with bis "nationalist" feel that we have to rescue themselves and ignore it, the foreign. No. It is simply knowing that we are faithful and consistent where we have issues, issues, and countless works of authors who hope eventually to be brought to the tables. That is the reconciliation with what it means to be truly national without being extreme "nationalist ideological." Greeting and the effort of Professor Umberto Orsini who understood this understanding and insight, the project design breathed Theatre tells the story of Venezuela in the Bicentennial . A concrete action for a particular purpose, and yet, rooted to rescue themselves from dramaturgical values \u200b\u200bnot lavish a mega investment but with few resources, a dignified attitude and a sense of understanding that time and circumstances warrant to bail out a group of authors whose pieces can be pushed aside and say what was at one time ConSono a reception by the public. Thus, in a series of staged readings allowed to show as evidence of moments, events, events, circumstances which were treated by artists such as Luis Peraza Domingo Navas Spinola, Jerome Pumpa Victor Manuel Rivas, of Nicanor Bolet Angel Peraza Fuenmayor. Alongside them, other references dramatic as Chocrón, Caballero, Rial, Britto Garcia Rengifo or . The country, nation, society, history, "the past" that was the conquest to independence, the federal settlement to the war, from the first Venezuelan resistance against an empire in the struggles for emancipation and thus, the great mosaic of events that contributed, purge, forged from our identity to our national character. A great event that should be permanent theater space in particular in the context of ancient theaters (like the Teatro Municipal, National, Juarez, Cajigal , etc.) mediate the country as a way to revive and give the gloss of buildings are icons of that proud but not arrogant Venezuela where playwrights, theater should be a reference to breathe briskly that ours is as valid as outsiders, because we must persist in the national memory can not be left to be fashionable new topics / arguments / authors of postmodernity. A Look at Olaya Buroz Directed by Gladys Prince, a key laspiezas perazianas such as Oley Buroz (1950) convincingly returned to the tables in the room CELARG Experimental. A clear set of half measures, clear in its substance to take up the work of one of the most prolific writers of the Venezuelan theater between 1940 and 1970, a teacher, a committed artist and a man of the theater that was linked to the essence of multiple institutions theater in the country. Dramaturgy relegated to oblivion but still has things to tell the time today. An author and a theater to be re read to understand issues, key issues and national history. Whether Luis Peraza was taken with boldness even from the reality of a dramatic reading, to connect with an audience under 30 years of which I am convinced, no lights who was that author? What were your works? What did he mean by parts? Under this project, Gladys Prince convened a staging point that does not conform to trim a static read, made me remember what the actor July Alcazar told me before entering the room: "drawing with imagination." That's what one wants to see when you start to hand em text, create atmospheres, outlining ways, forming margins to the possibility meanings emanate from the yarn by the author, in short, a whole breadth of areas that, by be under the reading frame is allowed and that tends to be nationalized if it goes to an assembly with verbal and nonverbal elements outlined. A reading which was not the fifty minutes but left others enjoy the pleasure of reuniting with Peraza and his vision of one of the historical characters of the republican era when the country sent Carlos Soublette. A woman thinking clearly beyond the contingencies of married life. A plot that can be read two ways: one, the country and its time of relations between government who would like some sort of approximation to a vision of public demos and one that points to the intimate drama sentimental passion of a couple who is affected by aspects tribial ranging from home to family stresses, hence the emphasis of the author's eyes to the universe of private demos of the character. Read with rhythm part, played with balancing between in what could be understood as the characters weave in construction, management slack space with that nice tone that gives a set and won histrionic conjugated to specify in record time, the staging peraziano read this text. Reading characters hilación given by Veronica Cortez (Olaya Buroz) was rich in nuances, hints, silences and poised to create the utterances of their role, for its part, Alma White (??)( swear it was Carmen Garcia Vilar) (Soledad) and Soto Gerardo (Carlos Soublette) received the subtleties own saying he demanded, with their times, their subtexts and good voice impost. and Vicente Quintero Luz Adriana Bustamante in their roles as slaves, relevant, with grace and insight into intent / action which generated pleasant moments for the audience. Finally, Daka Jorege as English and Minister Jesús León (Head of Customs) were within the meaning of what was to be exbibir reading their work, movements and intentions. The presence of Daniel Jimenez as a troubadour who sings and creates opportunities for musical union, gave a reading / semi staging of freshness. The contribution of Rafael Sequera motivate a simple setting was correct but that play gave the actors to create the minimum clearances for the job. A plausible and good work, being only function, at least, we ceased patented tip look to the authors. There a large quarry which exploit not only for this kind of project proposals, but to put more power in our national theater productions.
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