ALWAYS THERE FOR ALL new flooring! THEATRE FOR YOUNG PEOPLE 
For a certain group of officiants of dramatic writing, the prospect of playing a song where there is an enclosed space that puts a group of characters unable to escape, an area where two or more humans feel deeply that they are curtailing their agency or they know trapped at potential risk (whether in nature physical or psychological) causes a release move and enable imaginative make from dramas to comedies that play deep nonsense. The mere fact that a group of people (be they ordinary citizens) with dissimilar socio-economic conditions faced worldviews generated subconscious playwright, an explosive build a creative palette where drama is plausible. This simple fact of the human condition itself. As more species are gregarious, however, know that we share something (living space, food, sex, or other things) makes the rules of tolerance and balance between what I want for my welfare and I think it's others, quickly collides when pressures make these two areas (the individual versus personal individual persons) vying for the same direction. Group to survive in environments of extreme uncertainty makes a group of people with living standards and conditions established by the most unusual burst appearance. Play, display, picking where those borders begin or end where every human, regardless of their gender, belief, ideology, sexual preference, economic status or cultural background and vision of life-is capable of being an unsung hero or just a pushover. The theme of tolerance in the group under pressure is always something of interest. The acute angles of personality are put to the limit. An enclosed space where there is no apparent escape, makes emotional investments to be gentle transform into a monster or make seemingly from a misfit to be friendly and able to give consistency to the rest trial. Laboratory is an issue: you never know what results and if these are known, much less what are the variables that make the predictable result is always one hundred percent. The company is caught in its vertical concrete boxes where they live and assemble what is called home, home and then create a construct concepts and affective / emotional / feeling that we call family wanders society constrained in moving metal boxes up and down in those big boxes where they are housed is well made these families or to engage in business associations, educational or cultural among many others, come together or walking in metal boxes on wheels with a view to going back and looking to expand beyond what's in those boxes fixed call home or work can not achieve, the company continues to build cultural technological media boxes to show the company how they behave, live and are and can be anything from a simple television, a radio, a cinema or theater to the huge stadiums sports. Boxes and within human beings. A space that needs the other but sometimes they do not support. The personality of every human being is complex and this is triggered peaks unexplored when they are or have been subjected to finite limits and full of uncertainty when one of those boxes abeldrío restricts their social. The human psyche is so unpredictable because despite being a kind civilized standards, rules and behaviors established beliefs, myths, taboos, ideologies and beliefs to make generational, by a simple wild card can not make decisions independently , must interact with others for which shall display or flourish without trying, your true essence, allow the dams to retain their neuroses and anxieties as to be any interference to the other and then, only then in confinement in a box physical (Lift, car, home, office, stadium) the individual ceases to be and be seen as someone separate from the rest and knowing who is and must act with the rest. If these collide taboos, if there are entrenched beliefs is potentially viable this out unscathed after a certain period of time along with other totally opposed to each other, if their inner world was saved and intimate thing likely to result from the objective that helps to footer content to the subjective touch the other's subjectivity. A case where several human beings belong together under pressure of not knowing when they can leave, they will not have security if you outlive your needs, desires or appetites individual collision with the rest is certainly a rich topic in more dramatic than you write, and then variables, the author's imagination will become an explosive fuse that drop will pop up over the strings of the positions . Even for those who observe them as a species if social scientist who sees these things in their cases of tension. For drama, the issue of closure is to continue exploring the open universe dissimilar micro crisis on individuals and their perception before it as to the group. That drama is able to raise as manage this territory will be subject to a greater ability to grasp / understand the current social world operating mechanisms, constrain and sculpt the psyche of both individual and group identities. The truth is that one of the edges to be investigated by the national drama could continue digging how the Venezuelan state can be output when the trinomial conduct cathartic, soul and mind is subjected to other individual areas that seek to maintain and preserve their own value systems and beliefs. The thematic issue addresses
Mariana Cabot (winner of the contest
Love Letters company pen, Mont Blanc
in the year 2000) slides into this kind of boundary. Betting on the risk of generating writings (scripts, scripts and even texts) which dares to put a magnifying glass instinctive, personal insight and understanding to build a fiction that feels it can be received by the reader / viewer as their own. It is an exercise in extrapolation for both, where the drama should be credible and why not?, Until the public can place images within it. From my perception I appreciate this kind of creative attempts of a young generation of writers because they get tired of exploring, ask, answer and place from and to your imagination (and supported with a particular dramaturgical expertise) to undress without stylistic affectation the intricacies of how within an isolated and subjected to given conditions any human being is transformed her into something unexpected, which reacts differently to what is supposed to behave as a social animal when he knows he must live under strength, and implicit rules of group norms. Take into account (by extension) that
Jorge Dubatti in Philosophy
Theatre I (2007, 162) states: "In practice
theater installed a field of subjective truths, which can meet the inter- subjects that produce, carry and transmit "Mariana Cabot
assumed as such a part of what it claims
Dubatti but from personal experience and ability to handle loops drama of designing a "theater
[that] holds
subjective forms of understanding and inhabiting the world ." It then ask: is: a theater where it should be shown as simple as truth or fiction of subjective truth? It can answer only what the viewer through their personal experiences and direct confrontation with the proposal for a show after which it must decode for themselves and make it valid or not it is. It is from this micropolitics of social relations and work groups where they connect. An edge-which, I repeat, has plenty of material to be cut. Mariana Cabot
The fabric of the drama and we as viewers will cut according to our validation criteria where besides entertain, allow for a comparison with déjà vu or referenced by others. What is certain in any case is that
Mariana Cabot joined artistic forces and production and finalized within the period from May to August 2010 this issue, "bait" to offer to a specific consumer segment identified theatrical feel to consume what production dynamics displayed as scheduled by the Cultural Trasnocho
for Space
Plural. There, young people and mature visual socioeconomic, cultural, political and psychological (very different course!, Despite nearly belong to a certain target consumers) could see not only the text / dramaturgy Mariana Cabot
but its momentum as a theater director who tries to open paths professionally. The theme of the intangibles of human nature subject to uncertainties within a closed space is synthesized in a show full of youth and freshness but with ups and downs in response to what was the dramatic atmosphere to the uniqueness of the histrionic group . With Floor 9 (a "script" in the words of
Mariana Cabot (you can find more of her in
http://www.analitica.com/va/arte/oya/6344090.asp ) when somewhere in the Costa Rican imagined / But described as "script" so that gives us in the playbill), we see a proposal that was articulated under the baton of
Mariana Cabot as an idea to turn it into micro drama whose quest was to bring that horizon of identifications, like it or not, makes the social scene fellowship under unexpected pressure, a point that even some aspects should be explored.
Floor 9 has become a show directed to probe the psychology of dozens of individuals in the public call the following function is to act and function after patenting drama that occurs as the theme of urban connotations of meaning dissimilar for everyone. Mariana Cabot
is therefore not one of those playwrights that attracted the theatrical energy bursts without disdain or fear when in the interview that is performed in
Analítica.com says: "I write from a very tiny
, stories, poems, essays, short films, feature films. In everything I do, writing is what I enjoy most. It's a feeling of freedom, peace, silence that little could be defined. And writing for the theater is just write what I see and I guess in humans, write personal stories of others and other invented. Wanting above all things give something of value to public co . " It can say that, Piso 9
was to design a parallel universe of "otherness" capable of being plausible or not who is to receive but, equally to his liking or not, you can generate a magnetic or reflective touch given it becomes "a metaphor
internal closure live daily." Few are unable to do social fellowship if we submit to pressure from a box that is we should take from one space to another and even less when that box only measures "
1.5 m by 2m " as we reads the press release issued by the group, could change our lives especially if it touches chronological decembrinas as dates. In the words of the author: "
The work itself out of personal experience and not just because I have been locked in an elevator. The elevator and confinement within it was an image that I came to realize that every store, every hide. This work was written during a silent retreat I did in a magical place called Pachamama left in the jungle about ten minutes from the Pacific Ocean in Costa Rica. I wrote over eight days of silence. Thus the work also is an ode to the silence, beauty and importance of silence to which we are so little used and which we fear both. " This "script" "Script" or, endorsed by
play Mariana Cabot placed as a group of characters required to "unmask and discover through their experiences, a world that is not only full of pain, tears and sadness but also joys" in this case / elevator that like life, goes up, down constantly but sometimes, it stops and I there when the "life time" speaks for itself before one and to others. And again appeal to the author who is best able to synthesize this universe of characters Floor 9 says in the interview that his piece is narrated:
"the story of seven characters who are trapped, (...) in an elevator. An autistic, a bickering couple, a divorced man and a woman with cancer with her daughter and sister schizophrenic lesbian. All together, in that small space, stop exploiting their emotions. "The elevator and the closure reflect everything that we maintain. Therefore, the work also is an ode to the beauty of silence to which we are so little accustomed, and which we fear both. " The resolution of staging
Floor 9-for-creates this third season quickly to the public the impression that social discourse can sometimes would show as "theater of subjectivity" in which the social masks are made test. This is go Aside from whether the ability to
Mariana Cabot had or not had an excellent medium strength as puestista to resolve the mechanisms of their writing. Is the feeling that they can overcome anger and seen as a spectacle might even have been handled with greater insight. It is not just enclose actors who play a dissimilar range of behaviors, feelings and worldviews but in what must be a fictional situation everyday characters (people) do and express mediations, Urdan covenants, agreements weave, handling understood, agreed dimensioned passionate emotion and even intellectuals is a relative to be more than "living letter" but show that organicity beats being taken as reference for those who have the opportunity to verify this. Thus, I note that it will never be easy to design a staging area to synthesize the closed box enclosing individual micro personal universes will in turn build another closed system confined interactions which involved such broad and unusual variables that must be as authentic so that no shred of doubt projected onto the other universe (of audience, much more open and diversified which also lived in another box that is assumed as "theater" or theater) the singularity of human behavior and simply put as limited and defined a drama where they will operate its assumptions forces characters (played by a group with different skills and life experiences) to be bound together in a defined purpose and whose interest was not live but to enter / exit as fast an area that would transport them to other social spaces where they would know that they would demand another level of behavior. Promote a proposal stage in order to gain a kind of laboratory
perception "psychosocial where they happen / occur dramatic human events and, from there to connect with the audience (reception area - validation) is to confer the work of management, a skill that can be dangerous if it exacerbates the melodramatic aspects of humor or overflow creating a farce territory in the worst case it may lose its original meaning. The work of Cabot Mariana
address to Floor 9 achieved by large space of representation that the limits of credibility is sustained, that the areas of absurdity that regulate and cynical - bitter that exposes each character or psychological troubles some are in shock but credible accommodate with other characters. There is a compass of atmosphere in the rate given for each of the buffoons in that small space. Here plant is not large but compact movements which should raise an event live theater and more often the hand of the direction he did. As stated by the famous playwright Mauricio
Khartoum "know
theater." But everyone must know that abrogates the right to use it as a tool to say / convey things. From the conception of space (scenic design) to sound design, lighting the type of clothing that the characters were used in the service of connote elements relating to each of these beings. Therefore, the sum of work in staging was specific, effective, relevant.
Mariana Cabot as director achieves in representing almost two hours to catch the eye of the public to what she wanted to. Only one item to discuss why there was increased synthesis with regard to the dramas of each of these beings? I say this because this could give more power to microdramas specificity and uniqueness of the show overall. Things you can adjust. Since dispense with silences, dialogues that are sometimes repetitive and even somewhat superfluous to what is drawing the coordinates of movement towards the frontal planes in relation to the angles where actions occur secondary. An all oil to strengthen the effectiveness of significant thematic unity. Finally, histrionic response composed
Daniela Valdivieso Daniela in her role), José Joaquín Araujo
(as Leo), César Velásquez
(Fung be Rafael), Valentin
America (perhaps the older and with a theatrical journey of greater density, characterizing Clemencia), Elys
Rendón (as Sara), Pilar S
Eijo (assuming the interpretation of Guadalupe) and Fernando Azpúrua
(in the role of Angel) the limit must be correct emission unit in their troubles, issues, and concerns that every character he demanded, some with more domestic work where the truth of things was hold, others with more job epidermal composition that made these fluctuations should have been compacted as a score by the direction but sometimes the performers (according to each function) fit more thoroughly than others and sometimes seem to be left by the inertia of a function routine. This must be looked after because every time stage must have the original truth that manifests the curtain rises or off / on the light of the theater hall. This character really should not have cracks because actors are offering the public something more poetic to what happens in ordinary things of everyday life.
Floor 9 young people's theater. People who risk Theatre, Drama that from their perspective proposes an event and this is welcomed by dozens of spectators who will be validated in his heart. If it does not, it is a Freudian slip. Floor 9
with text and e-
Mariana Cabot managed to project a true angle can be observed without bias and with the authenticity of which are with the group acting, taking up the challenges of the imagination in the tables. Decent work and why not?, May be useful experience to see but not lived in those rooms metal up and down the concrete boxes of this cosmopolitan city dehumanized many times and where we almost never allows the act "cathartic" to hear us and validated together without prejudice.
