COIN TWO FACES: SAILORS AND THE GOSPEL OF THEATRE 
As I expressed in the previous game, the exercise of critical must commit to memory the fact that the stage is in effect is well chronicled, a reflection or an analysis that involves the task and Who produces dynamic? Where is exposed?, And How is the reception of the artistic product? Remove these questions seem simple, but it is not. The memory sometimes you who commit it notes (the public receptor) a position of like or dislike that according to their myths, values \u200b\u200band beliefs in addition to an open or closed makes certain elements of the relationship production, circulation and, especially, the consumption of a creative work is undertaken with relaxed enjoyment, aesthetic pleasure to meet a spiritual, emotional or intellectual rather than another. Aspects also who makes up what we call the proposed dramatic / theatrical work and / or theatrical production. There are subtle differences in my opinion in each and if a group, company agree on the selection of a particular author means other derivations play most of the time remaining veiled consciousness of the person to a space (theater) to confront the creative effort. Even the factor of the reception is so particular that nobody understands even the forces working for such and such a spectacle permeates the taste of a segment of the public and can break the cellophane that which is called individual taste and become in a blockbuster. And beware, I am not referring to groups / artists who already enjoy a certain popularity in the sense that without being hegemonic as a social cultural historical moment of a particular city to force it to flow, magnetism go to see that show no sign of the importance of the ongoing promotion / advertising to be deployed in print or audio, but for the much vaunted 'buzz' that between each viewer becomes a mounting an event to the rest of others. Think of the currently operating theater circuits in a city like Caracas where you can distinguish not only their rooms and how managers manage their resources so that certain events are given in a manner consistent with the horizon of expectations of the potential audience accustomed to the theater. It is well to reflect that if a room is active, the program manager will have several options (groups / project mounting / replacements / releases) to decide how and when to articulate a supply gear that is not only attractive but also cause the effect of positioning a target of viewers who feel confident that between the cost of entry (which can even be from free to pass through the singular fashion of "input collaboration "to hold a price segmentation according to the capacity of the space) and what you will receive an offer to convince consumption from the neophyte who attends for the first time to see a stage show more seasoned viewers (which is chroniclers and critics inserted specialized). Either can or leave satisfied or, conversely, generate a kind of fan that opens from the pleasure to disgust. We can say then that is something subjective reception of each. But certainly, the pleasure / pleasure / enjoyment / joy of a viewer can be multiplied by thousands, if and only if - beyond has to do with the cartel, a work or a fashion show where operating behind the positioning of a group name or a director, even beyond the most effective advertising promotion that it has been established this consumer-known theater found in his confrontation with artistic aesthetic quality assembly in structuring the scenic fact that acting response exposes undeniable qualities ranging from a balanced staff
histrionic relevance as a conceptual design intended to - encode and re - encode the text to mount, a solvent decision to build each role to play by the buffoons and something strange but sometimes may impact or not, I mean the time duration of the show. These brief reflections (there are still many more in the pipeline) are appropriate for spinning that the critic / columnist theater should consider when approaching to see / grasp some scenic proposal is exposed by a pop group or, for the most skillful theatrical collectives which make continuous and active life in this metropolis. What it should be for the critics is consistent enforcement role, restrained analysis, reflection, depth and raise in his speech an ethical attitude which will give the patina of credibility to what you see after the fact, assume the act of writing and memory lay in their respective arenas of opinion . In what was the period between June 15 and today (September 16), 2010, the theaters Caracas has been very lively in terms of quantity. There are circuits and server rooms that even this approach has failed (eg Teatrex
) and, moreover, by the Los Naranjos and opened another private room that I have understood is being taken within the field of management / program for actor and director Basilio Alvarez
. In short, no offer stretch factor to it when exercising the activity of selecting what is described as "billboard unified" the newspaper El Nacional, we have already emphasized that there are rooms and circuits that does not appear with Quote this card. The consumer choice comes to us in several ways: email, cell phone text messaging, customized invitations, the odd poster or banner and up, call the theater's number (case of
Teatro San Martín de Caracas ) where tells you what there is in programming. Again, in the space of nearly three months, supply Caracas has set stage theater works of all kinds and for every taste. The work is for the viewer or critic is born to seek the possibility of using something more than a quarter of this offer and realizing that this offer can be overwhelming.
COIN: TWO SIDES. CARA A: The SAILOR . Easy assembly hereby space teatrino
Theatre Lab Anna Julia Rojas ago a couple of months (July) in short time. Under the direction of veteran actor (former member of Rajatabla
) and emerging director Germain Mendieta
in these conflicts, she became personal risk and under the patronage of own Laboratory, the staging of the word - picture of the poet Fernando Pessoa
. In the playbill own ideas why this show?, Tells us
Mendieta that "I assume eager to do, above all obstacles, some of what we were accustomed and, on returning to believe in the real theater, no tricks or false. " Something significant that we read between the lines as it is quite true that an iconic part of the theater we see these days appeals to the grandeur of the scenic or sight apparatus playful collection of clothing or without forgetting, the increasing presence of technological effect that seems to create a theater of appearances with his own speech that transmutes the essence of the word, the sign and expression of the bodies in communion with a text that appeals to the
himself as justification stood Mendieta: "(...)
air Ricardo Lombardi, discipline the teacher
Peterson and ingenuity with which I [
Mendieta ] this show. " Certainly, this director in a closed environment he created a staging of the universe compacted pessoiano want to argue with it the visual staging balance calibrated with a compact, light only to suggest more measures that emphasize, a plant of simple movements, quite plumb the air to indicate the word must have its charm and is able to interweave that understanding the poetic play of the poet heteronyms Lusitanian that "the character" expands its limits or shortcomings in what was to build each paper in its proper dimension. Mendieta's work
was just in the realization of a spatial construct within which summed up where he could take and leave as a significant derivative of light (Victor Villavicencio
design ), the woven symbols flash the simplicity of color and fabric falls in the design of
Raquel Rios, and the use of certain objects. Also will add the artistic work of seeking to project a small staff acting. Within your role-play record made direction was made clear in a frank assertive work rested on empathy would expect both a viewer not accustomed to sit as a spectator in this room to anyone who already knows and understands that there are limitations space with insight can compose a graceful and subtle power that can capture the public's reception. The non-effectiveness of his work as director was in that did not require further work which actor himself - I suspect that when the actress tried to spin their search of the actor with his character, did not have a more settled as a reference background to boost the projection of character, therefore I think (and this is only a subjective assessment) that if management had insisted in working more with each actress Cerradicas separately and then articulated with power emanated as a significant message from the histrionic overall have been more effective. And yet, I will limit the overall compositional effort was rocking to say the plane. I here that offered by Cristina
Latt (First) and Olivia Parra
(Third) no subtleties to be cohesive arise from the floor on their gestural and less on voice projection cadences, melody and nuance. Could be more concentrated (for this was the day I played observe) and establish so if you did
Karla Fermin it from their silence and their movements were the expression of poetry and the gracefulness of the word art is arming a whole very suggestive. In short,
The Sailor was created in an attractive sign that the theater is not hegemonic, the theater of truth and simplicity will be with her powerful presence (though few have heard of it) elicit a moment of delight for anyone who was lucky if any found.
CARA B: The GOSPEL Bulgakov. It is rare to find in recent years in the theater marquees of this city a reference for the work of Ukrainian
Mikhail Bulgakov (1891 - 1940). Even being a European author in a literary, dramatic and critical, whose titles can reference
satirical novel The Master and Margarita (1928 / first letter burned by the author / 1931 / A second draft setting out an articulation of its plot and the final version of 1937 where this installment is definitely structured, it is said that using his wife, this piece reached a final polishing and-4th version by 1940 to four weeks of his death) which has said it was "the best novel of the Soviet period" or the most controversial of his plays billed in full Stalinist period as it was
Ivan Vasilievich (1936) on which is inscribed as "grotesque comedy" which acute and fierce to be sort of metaphor for the ruthless dictator figure that dictated the destination of millions of Russians. It was from reading
The Master and Margarita the group
Panthea Theatre under the direction of master
Francisco Salazar devised a frame assembly which places a day in the life of what would become known as the "prefect of the Roman province of Judea between 26 and 36 of our era," Pontius Pilate (Pontius Pilate) which we all know in the New Testament was the one who took the trial (Yeshua) Jesus of Nazareth once the priests of the Sanhedrin stood in their hands, which would be the fate of the preacher of Judea. A drama that drives the viewer to witness and witness subjective background of what is the value of an act that has consequences: guilt versus cowardice to an undeniable truth. The Passion of the Christ will be at the bottom, a set of contradictions that not only relate to the characters but acts as a parable against conditions of treason / dichotomies between moral values \u200b\u200b/ ethics that a citizen can find decisions to address political or social dilemmas, of course, always within the context of each individual must assume a role and responsibility in making these decisions. An incisive as corrosive "chronic" one of the most significant events that mark a milestone in the history of Jewish culture and open the portal to what would be after the death of Jesus, the controversies of the Christian religion in the Western world . For group Panthea
Theatre staged this production (season 03 to September 19) within the experimental room spaces
"José Ignacio Cabrujas" Cultural Chacao (Los Palos Grandes) and best reference on the idea of \u200b\u200bthis project scenic which can be extracted from this collective blog (http://pantheoteatro.blogspot.com) where we read an interview derivative
Ángel Gómez: "The staging is determined by the acting process. [
Francisco "Pancho" Salazar added that] "The guidelines go on the scene, drawing from direct contact with the actors, the score that they are generated, which defines the movement on stage. "Mounting attempts in a small space to create two rooms, one real and one dream, the period costumes are not only eclectic, according to the director, and uses some recorded music composition" And for those who do not know about history and relevance of this group may be added that: "Panthea
emerged three years ago as a research project the actor's art, a subject that has passionate
Francisco Salazar since its inception in Artistic Creation Center
TET. "Our interest is the work of laboratory training and acting," added the director, who began working with just two actors. Panthea
first assembly was A camera (Huis Clos
) of Jean-Paul Sartre
, in a second round of
functions are called A Season in Hell . "There are few groups that apply and questioning the audacity to build a proposed staging with very firm pillars, this group is proving it with every experience and although not entirely safe for the average viewer is a hint that they know what want and firmly fight openly with establishing which impels him. With
The Gospel According to Bulgakov the viewer is not free to understand Laughter is not drama or something that will be there to be taken easily, is an acute challenge and demand that has questions and answers on a bi-directional, meaning that emerge from the creative work / aesthetic / conceptual art stage given by the buffoons in a direction where the subtleties embroidered and cracks indicate structural signal; an assembly that generates the analytical approach of the viewer and challenge (given the proxemics, understood as the "relationship between personal space and features each individual and used to know and understand the needs of each in different types of situations ") the actor himself and with others buffoons and even the public-which inevitably generate a non-indifference to the reader / viewer but a subjective and intimate involvement with the threads of the drama and with greater rigor, with the subtext that from the direction you want to project. The direction of
Francisco "Pancho" Salazar was spun around in their formal and technical aspects to ensure a synthetic form and substance from which both the ground motion, the density of atmosphere designed by José Pérez
and basic elements of setting and costume make up a significant level on which the work of the staff made up acting
Arnaldo Mendoza (Pilate - Berlioz), Steven Rose
(Yeshua), Israel Moreno
(Afranio - Voland), Natasha
Puches (Margarita), Markel
Méndez (Teacher), Ana González
(Secretary Puches ), Jonathan Rodriguez
(Secretary-Judas) and Alejandro Miguez
(Matthew - Ivan) were ready to fit into the needs of each function, the construct of individual role. Since I managed to attend the premiere, reading histrionic performance was more convincing me in the work of
Israel Moreno for his warm performance where the nuances, the internal tempo, cadence and voice modulation and body organic function of signing the coordinates of each paper, rose above the rest of her castmates. We also acknowledge the ductility of
Alejandro Miguez who was always with his character and he showed it throughout the entire performance. The final credit, grant to the interpretative work of Jonathan Rodriguez
who with warm smell of their physical coordinates and the pulse of how it would cope with the rest of his colleagues sharpen a unique profile role. I hope that with the passing of the rest of the cast features refine their roles and artistic density to warm so that everything looks compact and free of hesitation own day "rise of the curtain." I will take as the climax to what the group itself
Panthea Theatre sent us a press release to tell us about this work
The Gospel According to Bulgakov to take "this contemporary classic for viewers to witness an old story, which controversial characters everyone knows, but told in a new and sometimes contradictory "
As I expressed in the previous game, the exercise of critical must commit to memory the fact that the stage is in effect is well chronicled, a reflection or an analysis that involves the task and Who produces dynamic? Where is exposed?, And How is the reception of the artistic product? Remove these questions seem simple, but it is not. The memory sometimes you who commit it notes (the public receptor) a position of like or dislike that according to their myths, values \u200b\u200band beliefs in addition to an open or closed makes certain elements of the relationship production, circulation and, especially, the consumption of a creative work is undertaken with relaxed enjoyment, aesthetic pleasure to meet a spiritual, emotional or intellectual rather than another. Aspects also who makes up what we call the proposed dramatic / theatrical work and / or theatrical production. There are subtle differences in my opinion in each and if a group, company agree on the selection of a particular author means other derivations play most of the time remaining veiled consciousness of the person to a space (theater) to confront the creative effort. Even the factor of the reception is so particular that nobody understands even the forces working for such and such a spectacle permeates the taste of a segment of the public and can break the cellophane that which is called individual taste and become in a blockbuster. And beware, I am not referring to groups / artists who already enjoy a certain popularity in the sense that without being hegemonic as a social cultural historical moment of a particular city to force it to flow, magnetism go to see that show no sign of the importance of the ongoing promotion / advertising to be deployed in print or audio, but for the much vaunted 'buzz' that between each viewer becomes a mounting an event to the rest of others. Think of the currently operating theater circuits in a city like Caracas where you can distinguish not only their rooms and how managers manage their resources so that certain events are given in a manner consistent with the horizon of expectations of the potential audience accustomed to the theater. It is well to reflect that if a room is active, the program manager will have several options (groups / project mounting / replacements / releases) to decide how and when to articulate a supply gear that is not only attractive but also cause the effect of positioning a target of viewers who feel confident that between the cost of entry (which can even be from free to pass through the singular fashion of "input collaboration "to hold a price segmentation according to the capacity of the space) and what you will receive an offer to convince consumption from the neophyte who attends for the first time to see a stage show more seasoned viewers (which is chroniclers and critics inserted specialized). Either can or leave satisfied or, conversely, generate a kind of fan that opens from the pleasure to disgust. We can say then that is something subjective reception of each. But certainly, the pleasure / pleasure / enjoyment / joy of a viewer can be multiplied by thousands, if and only if - beyond has to do with the cartel, a work or a fashion show where operating behind the positioning of a group name or a director, even beyond the most effective advertising promotion that it has been established this consumer-known theater found in his confrontation with artistic aesthetic quality assembly in structuring the scenic fact that acting response exposes undeniable qualities ranging from a balanced staff histrionic relevance as a conceptual design intended to - encode and re - encode the text to mount, a solvent decision to build each role to play by the buffoons and something strange but sometimes may impact or not, I mean the time duration of the show. These brief reflections (there are still many more in the pipeline) are appropriate for spinning that the critic / columnist theater should consider when approaching to see / grasp some scenic proposal is exposed by a pop group or, for the most skillful theatrical collectives which make continuous and active life in this metropolis. What it should be for the critics is consistent enforcement role, restrained analysis, reflection, depth and raise in his speech an ethical attitude which will give the patina of credibility to what you see after the fact, assume the act of writing and memory lay in their respective arenas of opinion . In what was the period between June 15 and today (September 16), 2010, the theaters Caracas has been very lively in terms of quantity. There are circuits and server rooms that even this approach has failed (eg Teatrex ) and, moreover, by the Los Naranjos and opened another private room that I have understood is being taken within the field of management / program for actor and director Basilio Alvarez . In short, no offer stretch factor to it when exercising the activity of selecting what is described as "billboard unified" the newspaper El Nacional, we have already emphasized that there are rooms and circuits that does not appear with Quote this card. The consumer choice comes to us in several ways: email, cell phone text messaging, customized invitations, the odd poster or banner and up, call the theater's number (case of Teatro San Martín de Caracas ) where tells you what there is in programming. Again, in the space of nearly three months, supply Caracas has set stage theater works of all kinds and for every taste. The work is for the viewer or critic is born to seek the possibility of using something more than a quarter of this offer and realizing that this offer can be overwhelming. COIN: TWO SIDES. CARA A: The SAILOR . Easy assembly hereby space teatrino Theatre Lab Anna Julia Rojas ago a couple of months (July) in short time. Under the direction of veteran actor (former member of Rajatabla ) and emerging director Germain Mendieta in these conflicts, she became personal risk and under the patronage of own Laboratory, the staging of the word - picture of the poet Fernando Pessoa . In the playbill own ideas why this show?, Tells us Mendieta that "I assume eager to do, above all obstacles, some of what we were accustomed and, on returning to believe in the real theater, no tricks or false. " Something significant that we read between the lines as it is quite true that an iconic part of the theater we see these days appeals to the grandeur of the scenic or sight apparatus playful collection of clothing or without forgetting, the increasing presence of technological effect that seems to create a theater of appearances with his own speech that transmutes the essence of the word, the sign and expression of the bodies in communion with a text that appeals to the himself as justification stood Mendieta: "(...) air Ricardo Lombardi, discipline the teacher Peterson and ingenuity with which I [ Mendieta ] this show. " Certainly, this director in a closed environment he created a staging of the universe compacted pessoiano want to argue with it the visual staging balance calibrated with a compact, light only to suggest more measures that emphasize, a plant of simple movements, quite plumb the air to indicate the word must have its charm and is able to interweave that understanding the poetic play of the poet heteronyms Lusitanian that "the character" expands its limits or shortcomings in what was to build each paper in its proper dimension. Mendieta's work was just in the realization of a spatial construct within which summed up where he could take and leave as a significant derivative of light (Victor Villavicencio design ), the woven symbols flash the simplicity of color and fabric falls in the design of Raquel Rios, and the use of certain objects. Also will add the artistic work of seeking to project a small staff acting. Within your role-play record made direction was made clear in a frank assertive work rested on empathy would expect both a viewer not accustomed to sit as a spectator in this room to anyone who already knows and understands that there are limitations space with insight can compose a graceful and subtle power that can capture the public's reception. The non-effectiveness of his work as director was in that did not require further work which actor himself - I suspect that when the actress tried to spin their search of the actor with his character, did not have a more settled as a reference background to boost the projection of character, therefore I think (and this is only a subjective assessment) that if management had insisted in working more with each actress Cerradicas separately and then articulated with power emanated as a significant message from the histrionic overall have been more effective. And yet, I will limit the overall compositional effort was rocking to say the plane. I here that offered by Cristina Latt (First) and Olivia Parra (Third) no subtleties to be cohesive arise from the floor on their gestural and less on voice projection cadences, melody and nuance. Could be more concentrated (for this was the day I played observe) and establish so if you did Karla Fermin it from their silence and their movements were the expression of poetry and the gracefulness of the word art is arming a whole very suggestive. In short, The Sailor was created in an attractive sign that the theater is not hegemonic, the theater of truth and simplicity will be with her powerful presence (though few have heard of it) elicit a moment of delight for anyone who was lucky if any found. CARA B: The GOSPEL Bulgakov. It is rare to find in recent years in the theater marquees of this city a reference for the work of Ukrainian Mikhail Bulgakov (1891 - 1940). Even being a European author in a literary, dramatic and critical, whose titles can reference satirical novel The Master and Margarita (1928 / first letter burned by the author / 1931 / A second draft setting out an articulation of its plot and the final version of 1937 where this installment is definitely structured, it is said that using his wife, this piece reached a final polishing and-4th version by 1940 to four weeks of his death) which has said it was "the best novel of the Soviet period" or the most controversial of his plays billed in full Stalinist period as it was Ivan Vasilievich (1936) on which is inscribed as "grotesque comedy" which acute and fierce to be sort of metaphor for the ruthless dictator figure that dictated the destination of millions of Russians. It was from reading The Master and Margarita the group Panthea Theatre under the direction of master Francisco Salazar devised a frame assembly which places a day in the life of what would become known as the "prefect of the Roman province of Judea between 26 and 36 of our era," Pontius Pilate (Pontius Pilate) which we all know in the New Testament was the one who took the trial (Yeshua) Jesus of Nazareth once the priests of the Sanhedrin stood in their hands, which would be the fate of the preacher of Judea. A drama that drives the viewer to witness and witness subjective background of what is the value of an act that has consequences: guilt versus cowardice to an undeniable truth. The Passion of the Christ will be at the bottom, a set of contradictions that not only relate to the characters but acts as a parable against conditions of treason / dichotomies between moral values \u200b\u200b/ ethics that a citizen can find decisions to address political or social dilemmas, of course, always within the context of each individual must assume a role and responsibility in making these decisions. An incisive as corrosive "chronic" one of the most significant events that mark a milestone in the history of Jewish culture and open the portal to what would be after the death of Jesus, the controversies of the Christian religion in the Western world . For group Panthea Theatre staged this production (season 03 to September 19) within the experimental room spaces "José Ignacio Cabrujas" Cultural Chacao (Los Palos Grandes) and best reference on the idea of \u200b\u200bthis project scenic which can be extracted from this collective blog (http://pantheoteatro.blogspot.com) where we read an interview derivative Ángel Gómez: "The staging is determined by the acting process. [ Francisco "Pancho" Salazar added that] "The guidelines go on the scene, drawing from direct contact with the actors, the score that they are generated, which defines the movement on stage. "Mounting attempts in a small space to create two rooms, one real and one dream, the period costumes are not only eclectic, according to the director, and uses some recorded music composition" And for those who do not know about history and relevance of this group may be added that: "Panthea emerged three years ago as a research project the actor's art, a subject that has passionate Francisco Salazar since its inception in Artistic Creation Center TET. "Our interest is the work of laboratory training and acting," added the director, who began working with just two actors. Panthea first assembly was A camera (Huis Clos ) of Jean-Paul Sartre , in a second round of functions are called A Season in Hell . "There are few groups that apply and questioning the audacity to build a proposed staging with very firm pillars, this group is proving it with every experience and although not entirely safe for the average viewer is a hint that they know what want and firmly fight openly with establishing which impels him. With The Gospel According to Bulgakov the viewer is not free to understand Laughter is not drama or something that will be there to be taken easily, is an acute challenge and demand that has questions and answers on a bi-directional, meaning that emerge from the creative work / aesthetic / conceptual art stage given by the buffoons in a direction where the subtleties embroidered and cracks indicate structural signal; an assembly that generates the analytical approach of the viewer and challenge (given the proxemics, understood as the "relationship between personal space and features each individual and used to know and understand the needs of each in different types of situations ") the actor himself and with others buffoons and even the public-which inevitably generate a non-indifference to the reader / viewer but a subjective and intimate involvement with the threads of the drama and with greater rigor, with the subtext that from the direction you want to project. The direction of Francisco "Pancho" Salazar was spun around in their formal and technical aspects to ensure a synthetic form and substance from which both the ground motion, the density of atmosphere designed by José Pérez and basic elements of setting and costume make up a significant level on which the work of the staff made up acting Arnaldo Mendoza (Pilate - Berlioz), Steven Rose (Yeshua), Israel Moreno (Afranio - Voland), Natasha Puches (Margarita), Markel Méndez (Teacher), Ana González (Secretary Puches ), Jonathan Rodriguez (Secretary-Judas) and Alejandro Miguez (Matthew - Ivan) were ready to fit into the needs of each function, the construct of individual role. Since I managed to attend the premiere, reading histrionic performance was more convincing me in the work of Israel Moreno for his warm performance where the nuances, the internal tempo, cadence and voice modulation and body organic function of signing the coordinates of each paper, rose above the rest of her castmates. We also acknowledge the ductility of Alejandro Miguez who was always with his character and he showed it throughout the entire performance. The final credit, grant to the interpretative work of Jonathan Rodriguez who with warm smell of their physical coordinates and the pulse of how it would cope with the rest of his colleagues sharpen a unique profile role. I hope that with the passing of the rest of the cast features refine their roles and artistic density to warm so that everything looks compact and free of hesitation own day "rise of the curtain." I will take as the climax to what the group itself Panthea Theatre sent us a press release to tell us about this work The Gospel According to Bulgakov to take "this contemporary classic for viewers to witness an old story, which controversial characters everyone knows, but told in a new and sometimes contradictory "
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