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
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! 
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