NOTES FOR THE MEMORY: THE House of Bernarda Alba 
One of the most delicious productions both in return was the fact the beautiful and compelling tragedy of the poet and playwright from Granada, Federico García Lorca
(1898-1936) was substantiated in the month of July in Conference Room Two of
Celarg with magnetic
staging of The House of Bernarda Alba . For any optical this show - which only had a short time - became one of the strongest theatrical projects consisting of the first half 2010. This was not fortuitous but is validated by the compaction of a group of artists, designers, directors and technicians who punctually career, creative integrity and decanted conceptual aesthetic insight that amounted to
counterplay Theatre (established in 1987) under the direction of
plumb Orlando Arocha (Maiquetía, 1954) would lead to this staff to the exact pulse got both the dramatic dimension of the English authorities as the selected text. Theatre of counterplay
already mentioned cultural journalists, reporters, researchers and critics are not just a group that has twenty-three years of constant battle in domestic and foreign tables have been generated, but beyond that driving Arocha-forming element that has opened the gates for the rise of young prospects for both the field of art of the actor as to the territory of address, part of the litter of puestistas that one way or another have left their professional growth can cite: J.
Bouley, V.
Albarracín,
and
Mario Sudano JJ Martin , among others. Counterplay Theatre as a production unit, such as body art and art collective has been driven by visual
Arocha Orlando from the moment they decided that both the classical theater, art, and contemporary Venezuela should be a north outlined goals that expose a challenge not easy but that there would help them emerge as group leader in the step cycle s. The S. XX XXI. Under these and other artistic and theoretical assumptions have been taken up by tables with focus rigor, to convey significant meaning and understanding of codes of communication that axis of the text and is based on a resolution scenic imbued with ideas for the receiving public. This can be noted that the counterplay
Theatre has been known for its strong commitment to build towards the north where their vision / mission creative outlined since the mid-eighties century XX has been firmly established to date. The palm of prizes, awards, national and international as well as keep up with the exploration of the boundaries that theater should conform to no typecast is another of the distinctive elements of its institutional heading group. The sum of their products is broad and blunt. Authors unusually low labor and texts made by other directors and groups form a distinct unit of what lies as creative ideology. Sometimes, according to the socio cultural / political / economic
Theatre counterplay express it risks their positions of beliefs of what should be capitalized TEATRO not only to provoke wonder, aesthetic enjoyment and intellectual reflection but operating in the mind the taste of the actor and, especially in the viewer, a processing reaction that demands rationality inquisitive, open sensitivity and stamina for the challenges of breaking with the times to be receiving when they take long-term projects as is the concrete representation. What is undeniable is that last July,
counterplay Theatre bet by one of Lorca's iconic pieces such as
The House of Bernarda Alba (work written in 1936, two months before an ominous execution "After the military uprising of the English Civil War" as a double condition of being to be related to the Popular Front, committed intellectual and openly homosexual. This Lorca infinite and multifaceted in its scriptural universe, human and an "ideological acrimony" has been described by Francisco García Lorca
in his book,
Federico and his world as "the poet more sensitive to social problems among English authors of his generation "(1981: 407). Always tempting and fascinating to a group with strong artistic as a director who has the maturity / experience to deepen multi-faceted that a work as
La Casa de Bernarda Alba can propose to each time and each group of people who sit in the theater, a channel of communication with a human being destined to become immortal and transcend beyond the effects of the postmodern masificadotes and more Moreover, the incidence of the heterogeneity of a drama that sometimes borders on trying to "shed the great human themes." The essence of Lorca
take these days is that it allows an artistic theatrical explore how mature and refined are to enter with heads held high into the path of compromise and cohesion synthetic operator substantially to a whole .... The structuring of each paper and that mysterious "collective resonance" of a people beyond tempting to say that he has behaved in a traditional way from the local or shutters can be opened to universal, transparent communication placed under the conceptual umbrella an artist who knew how to decode and calibrate a Multivalent meaning to the understanding of Lorca's work. From memory you sign what is perceived as a function of the season that had the
counterplay Theatre in Celarg
. The first thing that comes to mind was the choice calibrated template formed by leading actresses acting in theater, national television and even medium and emerging performers to work on the boards. However, the fact that this list shows names like Diana Volpe
(Bernarda), Haydee
Faverola (Poncia)
Antonieta Colón (Maria Josefa - Bernarda's mother), Carolina Torres (Magdalena), Ana Melo
(Amelia), Gladys Seco (Martirio), Jennifer Morales
(Adela), Maritza Briceño
(Maid) and George Llanos in the roles of Prudence and begs denotes Arocha
calibrate and select a choice that not only imply that each of these artists had time in his acting work to embark in a journey of short-season but that of his composing looking weave a maze of contrasting personalities who could fit not only the test task to put together some response but where they felt the proposal to seek
Arocha make a correlation between the traditional regionalist Iberian world to approach (projection "?) to a" Latin American vision of women united in a bond of love and respect to a generator of life mother and role model. " I'll take it signed by the brother of the poet / playwright (Francisco García Lorca, 1981: 375) who references: "..." The poet says that these three acts are intended for a documentary photo » and even with this work "is believed to see in it something like the correction of a poetic vision of the theater, while step toward the kind of realism that has been considered as normal theater itself ...", these extracts can I infer that the proposal was given significant meaning from the individual membership group acting up the plane by this group was able to assemble a scaffold histrionic axis from the referentiality of the house which sits an oppressive atmosphere as onion, layer sets after layer where you can read things like the weight of "sex, fate, tyranny and death." Every actress from the potential of their work - And it reminds me that given by the late Maestro Enrique Porte
in
Actor Workshop years ago on what would be the actor himself and work as an actor with the character - which means that a group of these actresses did conform with skill which demanded
Arocha when articulating the division of roles and what should be the horizon for each paper. Even let me make a paragraph about what concerns us in Pabis Patrice
Theatre Dictionary around the "character read and seen character" because I could verify these aspects from the excitement of the show is, that there histrionic rendition that assumed the purpose of representation on the understanding that this "only exists in the common mind of the actor, the scenic spot and the viewer" (Pabis, 1990: 423). That visual was obtained from the proxemic understand the distances between each body, through filigreed network of glances, gestures and intentions, even, I can add that since the syntactic corpogestual determination of a segment of the template acting which ended up generating in the audience that real sense that these actresses substantiated a "infracomunicación" which, in case of Haydee
Faverola , Gladys Seco
, Nathalia
Cortez and Columbus
Antoinette was patent. For Diana Volpe
interpretations and Carolina Torres
I can say that their roles were somewhat spherical (in the view function) in terms of rhythm, voice modulation and a devolution another point. However, the cast was attached to high tension despite the drama demanded and the type of nonverbal communication between the actresses could have been more dense. The public reception was great which he expressed his satisfaction about what they had to project itself as a rich composition and giving dramatic substance to the whole of this stupendous scaffolding staging of
The House of Bernarda Alba . The only staging will indicate who was at the height of exposure as a show sober in style, clean, aesthetically and fluid in its period of implementation. Plant movements where each scene was calibrated with the following communication and dynamic light created by Jerome Reyes allowed cadences of nuances that gave it that it drives like atmosphere, but that we understand who is in correspondence to the tune dramatic acting and the concept that stands the address. Joaquin's costumes
Nandez and makeup Andreina Arteaga
cohesion contributed to final disposal ideas of management. Show that should have kept a more extended period on the card so that our audience would enjoy a regional assembly that brings honor to the Lorca drama.
One of the most delicious productions both in return was the fact the beautiful and compelling tragedy of the poet and playwright from Granada, Federico García Lorca (1898-1936) was substantiated in the month of July in Conference Room Two of Celarg with magnetic staging of The House of Bernarda Alba . For any optical this show - which only had a short time - became one of the strongest theatrical projects consisting of the first half 2010. This was not fortuitous but is validated by the compaction of a group of artists, designers, directors and technicians who punctually career, creative integrity and decanted conceptual aesthetic insight that amounted to counterplay Theatre (established in 1987) under the direction of plumb Orlando Arocha (Maiquetía, 1954) would lead to this staff to the exact pulse got both the dramatic dimension of the English authorities as the selected text. Theatre of counterplay already mentioned cultural journalists, reporters, researchers and critics are not just a group that has twenty-three years of constant battle in domestic and foreign tables have been generated, but beyond that driving Arocha-forming element that has opened the gates for the rise of young prospects for both the field of art of the actor as to the territory of address, part of the litter of puestistas that one way or another have left their professional growth can cite: J. Bouley, V. Albarracín, and Mario Sudano JJ Martin , among others. Counterplay Theatre as a production unit, such as body art and art collective has been driven by visual Arocha Orlando from the moment they decided that both the classical theater, art, and contemporary Venezuela should be a north outlined goals that expose a challenge not easy but that there would help them emerge as group leader in the step cycle s. The S. XX XXI. Under these and other artistic and theoretical assumptions have been taken up by tables with focus rigor, to convey significant meaning and understanding of codes of communication that axis of the text and is based on a resolution scenic imbued with ideas for the receiving public. This can be noted that the counterplay Theatre has been known for its strong commitment to build towards the north where their vision / mission creative outlined since the mid-eighties century XX has been firmly established to date. The palm of prizes, awards, national and international as well as keep up with the exploration of the boundaries that theater should conform to no typecast is another of the distinctive elements of its institutional heading group. The sum of their products is broad and blunt. Authors unusually low labor and texts made by other directors and groups form a distinct unit of what lies as creative ideology. Sometimes, according to the socio cultural / political / economic Theatre counterplay express it risks their positions of beliefs of what should be capitalized TEATRO not only to provoke wonder, aesthetic enjoyment and intellectual reflection but operating in the mind the taste of the actor and, especially in the viewer, a processing reaction that demands rationality inquisitive, open sensitivity and stamina for the challenges of breaking with the times to be receiving when they take long-term projects as is the concrete representation. What is undeniable is that last July, counterplay Theatre bet by one of Lorca's iconic pieces such as The House of Bernarda Alba (work written in 1936, two months before an ominous execution "After the military uprising of the English Civil War" as a double condition of being to be related to the Popular Front, committed intellectual and openly homosexual. This Lorca infinite and multifaceted in its scriptural universe, human and an "ideological acrimony" has been described by Francisco García Lorca in his book, Federico and his world as "the poet more sensitive to social problems among English authors of his generation "(1981: 407). Always tempting and fascinating to a group with strong artistic as a director who has the maturity / experience to deepen multi-faceted that a work as La Casa de Bernarda Alba can propose to each time and each group of people who sit in the theater, a channel of communication with a human being destined to become immortal and transcend beyond the effects of the postmodern masificadotes and more Moreover, the incidence of the heterogeneity of a drama that sometimes borders on trying to "shed the great human themes." The essence of Lorca take these days is that it allows an artistic theatrical explore how mature and refined are to enter with heads held high into the path of compromise and cohesion synthetic operator substantially to a whole .... The structuring of each paper and that mysterious "collective resonance" of a people beyond tempting to say that he has behaved in a traditional way from the local or shutters can be opened to universal, transparent communication placed under the conceptual umbrella an artist who knew how to decode and calibrate a Multivalent meaning to the understanding of Lorca's work. From memory you sign what is perceived as a function of the season that had the counterplay Theatre in Celarg . The first thing that comes to mind was the choice calibrated template formed by leading actresses acting in theater, national television and even medium and emerging performers to work on the boards. However, the fact that this list shows names like Diana Volpe (Bernarda), Haydee Faverola (Poncia) Antonieta Colón (Maria Josefa - Bernarda's mother), Carolina Torres (Magdalena), Ana Melo (Amelia), Gladys Seco (Martirio), Jennifer Morales (Adela), Maritza Briceño (Maid) and George Llanos in the roles of Prudence and begs denotes Arocha calibrate and select a choice that not only imply that each of these artists had time in his acting work to embark in a journey of short-season but that of his composing looking weave a maze of contrasting personalities who could fit not only the test task to put together some response but where they felt the proposal to seek Arocha make a correlation between the traditional regionalist Iberian world to approach (projection "?) to a" Latin American vision of women united in a bond of love and respect to a generator of life mother and role model. " I'll take it signed by the brother of the poet / playwright (Francisco García Lorca, 1981: 375) who references: "..." The poet says that these three acts are intended for a documentary photo » and even with this work "is believed to see in it something like the correction of a poetic vision of the theater, while step toward the kind of realism that has been considered as normal theater itself ...", these extracts can I infer that the proposal was given significant meaning from the individual membership group acting up the plane by this group was able to assemble a scaffold histrionic axis from the referentiality of the house which sits an oppressive atmosphere as onion, layer sets after layer where you can read things like the weight of "sex, fate, tyranny and death." Every actress from the potential of their work - And it reminds me that given by the late Maestro Enrique Porte in Actor Workshop years ago on what would be the actor himself and work as an actor with the character - which means that a group of these actresses did conform with skill which demanded Arocha when articulating the division of roles and what should be the horizon for each paper. Even let me make a paragraph about what concerns us in Pabis Patrice Theatre Dictionary around the "character read and seen character" because I could verify these aspects from the excitement of the show is, that there histrionic rendition that assumed the purpose of representation on the understanding that this "only exists in the common mind of the actor, the scenic spot and the viewer" (Pabis, 1990: 423). That visual was obtained from the proxemic understand the distances between each body, through filigreed network of glances, gestures and intentions, even, I can add that since the syntactic corpogestual determination of a segment of the template acting which ended up generating in the audience that real sense that these actresses substantiated a "infracomunicación" which, in case of Haydee Faverola , Gladys Seco , Nathalia Cortez and Columbus Antoinette was patent. For Diana Volpe interpretations and Carolina Torres I can say that their roles were somewhat spherical (in the view function) in terms of rhythm, voice modulation and a devolution another point. However, the cast was attached to high tension despite the drama demanded and the type of nonverbal communication between the actresses could have been more dense. The public reception was great which he expressed his satisfaction about what they had to project itself as a rich composition and giving dramatic substance to the whole of this stupendous scaffolding staging of The House of Bernarda Alba . The only staging will indicate who was at the height of exposure as a show sober in style, clean, aesthetically and fluid in its period of implementation. Plant movements where each scene was calibrated with the following communication and dynamic light created by Jerome Reyes allowed cadences of nuances that gave it that it drives like atmosphere, but that we understand who is in correspondence to the tune dramatic acting and the concept that stands the address. Joaquin's costumes Nandez and makeup Andreina Arteaga cohesion contributed to final disposal ideas of management. Show that should have kept a more extended period on the card so that our audience would enjoy a regional assembly that brings honor to the Lorca drama. 
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