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
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 
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