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NINE HOLES OF THREE NOTES JAVIER MORENO

The Venezuelan contemporary drama - in particular, that concerning exposure from the nineties of the century XX to date, has been drawn out by a wide range of writers that we can seldom find referenced in literature. In some way or another, are authors, some with poise and persistence and reached his seat in this universe of cultural art, others puffed good courage and insight to look at every day, living the highs and lows of a do with degrees of difficulty, but that appear or disappear but whose names have depth and, finally, a group more or less defined than trying to stay in space / time but the recognition and obstacles (ranging from where to test, where stage, where be issued to obtain the minimum of credibility in the sector) have been inserted but his creative experience lower than higher on the assumption that being an artist is not easy at times. All alike have outlined for whom we have had to know, seeing them treated and followed up exhaling great sensitivity and keen intelligence about their perspectives on the social life of tacit combination of equations of proposing / modify - receive / contraproponer for what is the dynamics given between creative and cultural world and if you breath is more than most, this is projected into all areas of society where you are registered and why should not it, to push the boundaries in this that is called a globalized world. It has not been easy for those who know full-time playwrights a job that demands from them a vision less selfish and more authentic about what you should subscribe as an ideological stance about what works on the local or global social reality. Most of the time, any playwright is novel or has been set (or have) in his heart the feeling of creative work undertaken on boundaries where ideas must be verified in practice immediately. Sometimes that praxis is marked by work with management, performance, production and even teaching. Even know of a thickness of playwrights who have had to perform tasks other than the theatrical event itself. Survival must be balanced with the ideals and this, in turn, with the possible answers they seek, or conspire to give meaning to life. Both sides have managed a rich vein of plays that makes compelling reading, recognizing its dramatic values, observe and reflect on their axes, book and even follow them when they had the good fortune of seeing their spectacular converted text or text only the most elementary cases, they are published. One of these authors (full-time I see from many trenches of being "animal theater) but no longer so young, is a Venezuelan playwright called Javier Moreno (Caracas, 1960). Professionally trained in the ranks of Theja Group. Have been exercised as artistic director of the Regional Company of Guyana, a guest of Xiomara Moreno Productions Group puestista and in different groups and national companies which is quite close to reaching the milestone of thirty productions. Teaching has taken from areas such as the Theatre Laboratory "Anna Julia Rojas" or the missing IUDET (now UNEARTE ). If I'm wrong, until a producer, in short, that man of the theater which we know is not in this world to boast but to contribute. His dramatic production is interestingly wide (as far as I could ascertain, boasts a total of twenty-six texts) whose titles range from: Siegfried against Gigante to Muchinga ; of Roman to Bella Lost ; of Coromoto to Cattle; of Onetti 's Tale to me no more Platiques ; of A monster with a heart to Calma Chicha. He has appealed from backports stories, classics and novels, written from children's plays to dramas and comedies and even experiment with other possibilities. That is, a playwright consistent, persistent and if it has not been recognized with a loud high-profile prize (except the City of Drama granted by the Municipality of Libertador in 2004) might say, without offending, which has been one of those authors dramatic relegated by the tight circle of key theatrical elite. Has been overlooked in many space group, has been simplified to near or just mention or suggest in another line with the most current theatrical historiography of the country ( Azparren , Monasteries , Leah Barrios , Mannarino , Izaguirre, Chesney and others) despite searched cause with some of his works, points that can express the ability to synthesize a while and be in this country. His work has not been a factor of interest to be published editorials strongly for public or private even less studied, analyzed and contextualized by the academy. While it has been published (at random in some other foreign magazine as Spain Directors Association (ADE) with the part, The latest videotape Robert B (1985) or the Joint magazine of Cuba with the text and Gata Anselmo (2005) has been stretched to translate into other titles momentum role as achieved with the launch of the book for some time Three Hard Parts. The remaining production is waiting for the black and white issue and much of this, that he made the necessary staging. Playwright that fits as well as personal reflection frame for Joint Magazine (Cuba, 2005) entitled as "Dramaturgy recognized versus drama "repressed?" which meant that "it seems that the drama is not consecrated, that he called" repressed "was in a time full of optimism and aspirations, but also skeptical about their own ability to project and be competitive with the well-known. The authors most conspicuous of the late 80's and much of the nineties seem to represent the willful intent to apprehend and contextualize changing patterns of values, myths and beliefs that in a democracy "open", allows them to understand and define both why call "reality" individual or social. " So from that "optimism to disappointment or vice versa "Moreno has been building his imagination, discourse forms, themes and characters. A journey not easy, but this provision does not get caught empty fertility, keep exploring, articulating, dissecting and pursued with singular dramatic thread, a theatricality not without risks, falls, hits and visual. I watched Javier Moreno as a clear expression of a group of authors who have tried to take seriously the understanding of their time to capture the socio-cultural space where it interacts as a creator and exercise as a playwright with a textual output should not be taken as items of exchange use but reflective we understand the task of generating contributions and experiences on what is and has been required that generation which I'm sure that has not yet been fully understood. Javier Moreno reasons or other, is not the place it deserves to be in compliance with producers, groups, managers and public agencies and private cultural institutions that govern and order both spectacular and the enclosed work space from home publishers. An author who, like so many (including most series have had M. Purroy , E. Palencia, JT Angola, as fairly seen, Vivas JM, R. García , M. Carmona, R. Hernandez, J. Martins, R. López Hidalgo, etc.) are captured in their moments, they meant by their actions and to respect them / see if you know how to be agents core focus of the new time. However, these (and others whose names I left out) no one is taking with courage in the sense of apprehending them very seriously to study and even less that anyone's working on the scene to vitalizing reaffirm the fact that a Venezuelan confer transit theater did a century to another, in a country-ours-that goes into another cycle firm (perhaps harder, much less optimistic and certainly full of things to say-but that is compelling to follow and understand, read and act out, analyze and spinning from and through his speeches (both the historical and socio cultural homeland which embraces us all equally dramatic to try to define the voices of the dramatic artist) to give a more accurate and precise brushwork that rapid brushstroke boastful of what are we? and necessarily as we try to be serious in this country theater. Heading dramaturgical style of Moreno of syncretic I assume as it feeds on various subjects, for he has assumed a quality computer that does not stop even to rethink. A moody, but not flimsy drama has been able to press dissimilar visual grasp the true understanding of our social and cultural realities in the last quarter century. After his pen writer (and his footsteps as a director) it is seen wanting to take their time (the one we are now living as an artist, being and citizen) and not outside or in the worst case, which has been sealed and deified by others. After each plot, plot situation and in particular the profiling of its characters has been shown to fuss or trying to show blocks of nuanced reality. His commitment has been text after text being a laborious task to prevent forced simulations but be aware that there must be a creator who is consistent and in tune with the national pulse on what some try to chew and returned multiple social discourses as political, socio-cultural or socio existential graph goes from atomized of the individual to the expansive group. That commitment frisk him sometimes with humor, sometimes with irony, sometimes with playful sarcasm, but I sense that never ceases to assume that weighted concern to say things without us produce what we see of his works we consider as textual order is not significant. After his themes, plots and characters are left where they located a modulation screened this writer projects a message without the load biased from the shock. Author full of personal faith in their profession and their perception of specific aspects of reality and imaginative management. He has been an intuitive demiurge years separate these apparent knowledge that are said and accepted as a constant but, at the same time, Moreno has been able to care not what others say on whether or his work but reasonably , important what is said in fair proportion of its activity as a creative dramatist and accepting the challenges of not knowing in stark parallels with other individuals of our Venezuelan theater movement and dial without prejudice, his. Author does not seek to be hermetic and cryptic or even less apocalyptic terms to explain the topics topics and ways to draw characters and situations that surround them, places them in context and, within that universe acquire its fullness. Management uses a dramatic structure in both direct and timely things to build on the complexity of the constructor of its parts. In each dialogue there is a careful mending which combined the use of assessments and use didascalon delimited, no holds or exceeded laconic. Has been understood that, from the imagination and appealing to the reader's ability and / or director to assume a reading of text and / or staging of his works as the essential expression that's what you want and do not propose more, and if I had a reading above textual / start, because that risk is beyond the function of those who read / act it takes but does not lead to a distortion of what this author has outlined. Sometimes the odd title may seem rhetorical in its formation and use of intellectual appointments but this must be seen from the understanding that Moreno want to say things more corrosive than circumstantial. His characters are symptomatic of the various dimensions of being and inner worlds in collision with external forces-whether in the form of relationship, own or social belief, the daily rituals on the existential problems or disgust with the ways that this situation appears to impose, rams become embarrassing for those who are immersed in the abyss of his worldview author and creator. Since the closure of the 80 to what was the stroke of the decade of the nineties and certainly so far this time of s st, Moreno was marked with his compass and his squad, his retina and neurons, a dissimilar way to grasp what is ours. His stay has been quiet but sharp in that each period gives the Venezuelan theater pieces accent stripped of ambiguity where his gaze is to contribute more than the mere exercise of consideration to be perceived as an author or are pressed expressed under the pressures that must be done to be necessary: \u200b\u200bI do like operator detailed its dramatic quiet, groping with muffled step, each pulse that our society and times of crisis entails. Sure, that way! That's what makes him strong and not erratic. Be. Do not brag and puff to gain merit by dint of being exposed as a mere peacock scriptural dramatic fashion. To round off the molding on Moreno breath flowing lines will take on their thinking (see more depth to your blog http://javiermorenoteatroydramaturgia.blogspot.com and, specifically, in his paper entitled Mirabile dictu where it settles ideas and comments about their fate operator, we are told, for example: "I have a group of works not so conventional, short plays, experimental evidence and tests on many different subjects. extracted from this bag "Psalm Black" and "The Coup" both were originally created at the request of a friend in two different situations but equal (...) None of these shows caught on at the time and I kept the corresponding six pages for each work. It had offered the various actors, but none stepped comb ... Now is a program of alternative theater, almost guerrilla, wonderful words, wonderful listening. Eye: For the skeptics I have two one-man shows in the bag. An Oneti ¨ s tale and I Platiques more . Everything is put to work (...). " As it does denote, Javier Moreno is sensible and standing on earth knows what it brags it has learned to be concise and not expected to take advantage of the circumstances and the acceptance of others, has been his understanding that dramatic production should be-for now-as "alternative", "guerrilla" or even capable of bypassing the wall of modesty and humor that qualify to have that "wonderful to say" when a trial dramatic has not yet built body of work may compromise the exercise of seeing it grow with the support of friends. So in the trenches of the sensitive, perceptive, where he hopes the trial can polish a practice that should precipitate and that in its daily refining can be recognized / assumed as a real author of the nineties / and of this century. It is not an endorsement or foist of praise fill his conduct and attitude is basically give theater critic it deserves a place many years ago. Moreno , is quietly putting-in the quietness of his dramatic blog-other notes, for example, Package Advanced Chiropractic ladies .... Be read as a distracted because Moreno Vouyer is selected in that of offering the "critics" their parts or their writings. It is a type "timid" in the words of the teacher and actor, Rojas Trino, but also dense with whom we do this practice sometimes with Taliban and obtuse, sometimes half when issue galimática comment, criticize or categorize the who truly believe in this country and that this false modesty we strongly abrogate a power not held to assume roles of "critical" and / or writers. I feel that with everything you have to make a real push act not what a critic should do but approach without subterfuge the creator and talk with, hear, hear it in its proper dimension and if there is time, for study, to see them on stage and follow in his career. In any case, if it is clear that Moreno allies are actors and some other author, director and producer. That said, the distrust / trust some and in others, weaves his speeches but not hidden. Expected to take the body, life is blown, to be given opportunity to grow and generate tables other lives in what is the act of print publication. With the release of nine holes (drama comedy), a more recent pieces previously unpublished in the textual editorial, Moreno briskly jumped to the forefront of the scene Caracas in the spaces of the Experimental Hall Celarg shortly season started last May 14, 2010 to "down" on 06 June, assuming with the two faces that he observed in his professional traffic: the author and creator creator director. Under the institutional umbrella group which has served as artistic director in recent years ( Xiomara Moreno Productions) presents an inspired piece of program-dimension hand of a sentence of the piece The Bohemian peasant poet century Czech humanist XIV / XV, Johannes Von temp whose writing Moreno took a phrase that reads: "Every man perfectly created has nine holes where are most repulsive filth . transpolar Something to infer or change from the perspective of a medieval world of the argumentative universe where a farmer is able to "contemplates [r] the human being not as a product of the divine creature, but as a figure close to God as his own ability to create perfection gives it that Death should be respected. However, the strenuous dispute with Death you will also see the fallibility of humans, their spiritual deficiencies and physical and take, finally, his defeat, "according , Eva Parras Membrives . Appealed to an intellectual playfulness to spin after a piece that signals here and now of a man and a woman caught in the net frame of nine tables (which, like a semi detachment were coded under signs that say the spectator parts defined of the plot as follows: " right eye," "Genital ", " The nostril", " The keyhole ", " The mass grave," "Hearing "" mouth "," La oreja de Van Gogh "and" world's ass ") whose end will drive continuity actions referring to the" holes "natural that every human being, are filled outgrowths moral views, cancellations, continence, sputum mental, physical violence and psychological beings in a situation of opponents, who seem to complement each other but in the end as at the beginning, rebel as he himself expresses them the Moreno talk about his work: [the great] "predation intellectual life of a young immature displaced by a professional, a compulsive social climber. The only weapons that opposes the victim reflects the awkwardness and impulsiveness of the bay, always appealing to an atavistic sense of decency, in the absence of scruples of the besiegers. "A clever puzzle where the biting drama and cruelty is synonymous with" neutralizing "each other. No easy way out in this piece, the "generosity" is crushed, forced entertainment, suppressed by the "home invasion" of a hostile agent ( Dalia ) arrives, seduces, it sprawls in an environment that does not belong and devouring, to the end, spit with the leftovers that have been its victim ( Raúl .) From this perspective both the reader / viewer is left feeling uncomfortable all been declared a "trap" whose deadly web was assembled based on the lack of moral principles not only Dalia but also Raúl accepted. A more contrived by one than the other. But in any case already accepted that the avidity (sexual, appearances or material) in both characters. Are people who take the side of being predator and predators existential. Their appetites are expelled odors and growths of the soul, mind and sex in order to extort money from one another without measuring consequences but hoping that something comes to life in such a meeting. material greed by Dalia what has what has the other is offset by the need to look and Raul weakness. Values \u200b\u200bsuch as personal, property, home, living, inner world, what moral or belief that it is good or bad are torn down, shredded and behold the drama of Moreno puts his sharp wire to remove copyright zahiriente more about relationships between people of a world that is not difficult to imagine in real life, this world that every day we are exposed more bizarre, cruel and bitter can be heard in subway cars, in line to pay or food bank or heard in and after the stories of acquaintances, thus reality seems to overcome fiction. The take it granted a playwright and theatrical sense of it is something that says it, create it from something that will inspire, so much more meaningful and if you create it with nothing to provoke him, betting generate more approaches to what will tell others and from this point, the operator installs a focus playwright poetic situations, events and issues that possibly no one has dared before. This piece has an attractive given the hook angle be suggestive not only the fabric of its plot and theme that are well crafted by the author, but from the standpoint of being a staging proposal made by the lost effectiveness. A challenge that is not inferior his experience as a director but I feel that his piece in the hands of another director would have had another reading, another dimension that would have given a more effective focus to know where and who should stop / cut text, like assemble a concept less imbued with the author, and have pointed out a pulse more incisive with the response of staff acting. The resolution of staging left a degree of not closing completely. There was something that was diluted in the visual builder. Levels had flaccidity and loss of effectiveness of the drama with the passing of each scene not concatenate it with the other part. "Rhythm, atmosphere, tension / strain between that intimate space almost close to the receiver? I can not say as witness the release assembly. In any case, the rate acting and the atmosphere should be in tension reached a crescendo not sufficiently secured. The placement of the scenic stretches space dividers acting as yet, be cause hilación pass with time of each frame tended to dissolve. The organic conflict did not work so effectively. It is the responsibility of those who design, maybe, of how I should come together to cause an effect in changing the public's reception. Suggest mobility does not mean that the unity of place and the time to be effective but comes a slow spring of conflict. The light helped to write parts within the visual structure. What was the ground movement was sluggish in their quest to grab tensions and again, triggered acting to weaken the pace. The choice of staff was a matter of acting director, but here's something to say, the response character composition by Raul Frank Silva was in the superficial, there was no mark of feeling / suffering what was happening . The shades were the same throughout his exposition of character, I meant I saw that they were equivalent between a sequence of situation to another. There phrasing yes, but its modulation was not consistent. Has a presence and talent but here he was not caught that his character's inner world. Their expressions and body gestures are automimetizan with something prefigured, not perceived changes to the procedure. There will to do well but from the point of release and my closeness to him in the area claim that no convincing representation globally. For its part, Mayte Parias more focused, he climbed the peak of building a character who appeared weak at the beginning but grew to be going from each box. There was in it, the actress nod for herself and her character, as I remember him expressing the teacher Enrique Porte -, its shares that had a visceral sense that micro reinforcing actions in the external. His voice was not forced or treble or rather the modulation intoned believable: there was in his work with the character, turns and sequences of change in what was proper to leave him taking over every space and situation. Thereafter, his insightful ability to assemble each section of its voracious and aggressive eater amorality was overwhelming. In it the character of Dalia was well expressed. By contrast with the achievement of Silva, the actress proved to be the basis for what would need to see development, climax and denouement of the plot of his interpretation and therefore the character. In short, the leadership must refocus the work even more histrionic this template loads so dramatic that given by the group were to stabilize and overcome the functions to be followed up (even a post season). With this show of nine holes as the collective Xiomara Moreno Productions as the dramatic work of Javier Moreno and professional effort Mladen Horvat (original music), scenic ambience created by Valentina Herz / and Javier Moreno the rest of the team that joined here, make the national scene has another face expressing the Venezuelan theater if you have representatives who say things. Take time and go to Celarg and see two of their holes as the world has its abject.