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GOOD NIGHT MAMA NOTES FOR THOSE WHO WISH TO DISCUSS REFLECTIVE

Beyond the excessive bids for issues that have divided the country in terms of theater well-known problem: ideological polarization, economic crisis, censorship here or there, brazen glow of a cultural management of the upper echelons of ministerial culture, the fact is that here and there, on any media (blogs about individuals theatrical generic Web pages or any unusual gathering before or after a release, but unfortunately there are only activated and not something to convene a permanent dramatist and his peers) should really be an arena extended and less underground where topics such as theatrical aesthetics, relation between producers - artists, new dramatic theme, what choking / suffocation stage activity lack of resources or lack of rigor / conceptual theoretical reflection?, aspects of what is a pop circuit for old ways of doing theater? What is meant as a creative laboratory for energizing the National Theatre since we are in the s. XXI but the canons of the past century XX? What is to be young, because the insurgency of new litters of creators are remote or obvious and only important thing is to keep giving the place the digestive theater, etc.? not encourage an action, a movement, an activity where the consecrated, recognized, looking up, those who feel invisible, who believe that making activity for children to talk to who makes art theater. In short, a consonant space to fit the convergences and dissonances, the views and counter but in a healthy dialectic where the atmosphere is known timely hearing, known plant with its arguments and in response, known to have philosophical and ideological opposites where tolerance and respect give light to the art, technique, aesthetics, mechanisms to promote, circulation and consumption are dissected to revitalize what in the Fund seeks: a national theater united and strengthened. Only one person at this present moment is throwing stones into the well. The director and professor at the UNEARTE, Vicente Albarracín. There is for some people in the theater environment, the voice of the National Theatre totemic or that is best suited for at this time to start playing with the nest if before when I was a more imbued operator did not, nor my opinion is the most learned the most relevant or most powerful in all areas of media (twitter, facebook, badoo, Skip, sonic, Hi5, etc. that make a quiet view of the overnight break their hits on the scoreboard entries to be able to guru of current). And yet, I appeal to me the need to respond to some of your questions and if questions about some issues like wildfire because people will join and those who oppose. But this is something that the real reality of our business is virtually dead. Should not detract from Mr. Albarracín when from their perspective / experience offers from teaching roles - rather than active creator and know that it once was and hope to resume this difficult-frisk practice arguments, views, visual thinking it could if it makes a good cut and a rigorous analysis indicate the body of the iceberg that seems always alert but The unsinkable Titanic sinks hegemonic reasoning do that much damage but do little to fill the breach of the conventions, the bankruptcy of conventions and understood that the theater is this and what not, that art should be this way and secretes other demonstrations, that the practice should be more obedient to the pragmatic than mystical and rigorous guidelines adimentados with passion / imagination / creativity because the rule requires that the box office as I am professional and I owe him still seal the demands of fashion , for a size specific pre successes as well I am successful, my poster art, successful, my product, successful, the room where I stand, crowded and therefore, I am still the north and the chimera and not special and sacred to others out there are under the label of the invisible, the rookies, the "revolutionaries", the pseudo intellectuals that all that does is chew theories but bored with his productions to the viewer that is portrayed at the box office. The new column by Mr. Albarracín (see it on his blog (http://vicentealbarracin.blogspot.com/) addresses the topic of "Visible Theatre, Invisible Theatre" Interesting topic! Open fires stating that: "How many works of theater is in theaters this weekend in Caracas? very difficult to know. Depending on where you'll locate a works, some theaters, actors, and even if you like, you know that there will be other rooms, other works and other actors that you will be completely invisible. "I replied what is to be invisible? or Who do you invisible? To be obvious, given a successful show "x" or "and" which results in some specific cases the consumer after purchasing the ticket at the box office this potential viewer (which most of the time is drawn as a "target" (segment) consumer) that is faithful to you does not mean that he also knows of your success, artistic-conceptual level and aesthetically (if there is, of course!) only covers the standard expectation of the public but not in the interest of other spectators as their need for cultural consumption (reception) is sensitized to address the promotion / advertising, which cost more than the ticket-of this proposal, and he who believes that autoinvisibilizándose is invisible? "The billboard actually exposed in a few cultural centers such as Caracas, Valencia, Maracay, Puerto La Cruz, Maracaibo, Porlamar or Guanare where activity is visible and notorious with its ups and downs in print and broadcast media beyond the banner, the banners and flyers) and less even without that promoting direct foaming of the poster art mobilizes centripetal magnetic force than the force of his incisive media campaign? What is the billboard? Is that promotes from print, radio, television, banners, flyers, web pages within cultural segments of pages on line, or cultural segments of a particular news channel, or simply the tired "Radio Bemba" .... ? The promotion of a performance / theatrical production must be distinguished from paid advertising. The first group involves organization, be proactive, be in tune even with the social networking even more, some marqueting that even with business partner-that I've seen on stage, where a product been announced before, during and after but not debase, prostitute or distort the message, artistic intent or aesthetic concept - concept is given by the director or configured by the actor in his creative act in front of the viewer. True what you say Mr. Albarracín "Depending on where you'll locate some works, some theaters, actors ..." but does anyone here can tell me what today Friday 29.10.2010 billboards and public officials who promote theatrical productions for this viewer if you have a group stage movement, playwrights, directors, actotes, designers, directors and producers who are making their artistic life in the west, in downtown Caracas? What can you choose a job that meets scenic, aesthetic pleasure, are "digestive" if applicable, or gratify the intellectual if, in a brief season of at least three groups are within a ten productions scattered on this that called "Gran Caracas? and what about the proposals outlined in Miranda, Aragua, Valencia is an effort to hand the public in the metropolitan area? When a sample is generated, meeting, festival, either as the culminating last week organized by IIAV (International Exhibition and Puppet Theater of Caracas / La Red de Los invisible) and where people cultured, stretched, tastes and expectations they jumped from the nose or as some critical praise but all fear goes and spits sarcastically "theater of the XXI century"? Wow, hard not to? Depending on where you locate ... If you see a few actors (the media) against those who for various reasons no image into wedges, novels, movies and more. "Easy or difficult to be visible or invisible? The fee to discern is wide as a sheet over whether this is made of a patchwork of fabrics of different thicknesses, qualities, textures, colors and more. The theater is not material to cut. It's art! Difficult for some; complacent for others, for those nasty, offensive to a minority and very, very accommodating, even for a large drug-majority of the public if left trapped by the siren song that makes sailors run aground and sink into this choice when the oasis their expectation is in other seas .... The voiced by actress, producer and manager of the Teatro San Martín is valid - see what he says to Mr. Albarracin, and taking over, "Mary Brown, Artistic Director of Teatro San Martín, says they are accustomed. That has always been so. They have focused on work "Capitol here", capturing the audience with flyers, banners, a Billboard is visited in the theater and the occasional press release that are published when space permits newspaper "these are the mechanisms, actions, action for action, find and keep the potential audience, captive or, first go to a theater. All together, expect the product stage is to your liking, that you forget the box office after its confrontation with the fact of art (theater) and more often without knowing it, may have run into the room, editing, actors, the text, the director, the elements that make theater that's valid - theater and not a call for a Stop Suffering!, a Mercal theater, a small market Persian .... Finally, what is and is not. But sometimes, in the same theater the west, without visible promotion and no advertising, is not necessarily public, but the center of the West and even in some of its strata of this that overcoming transport problems, insecurity, a place to relax and talk, look and see others make fellowship before, during - and even later-stage act that they have been revealed. Promotion / advertising, marketing, marketing, strategy / positioning actions inside and outside the room ... well, the act of making some are lime, others of sand. Taking words borrowed from Michelangelo Santagada researcher at Reception theatrical between aesthetic experience and the ritual action (2004) states that: "The collective setting of the room, the ritual context of the show, the various artistic conditions of conception and development, would suspend or relativize the everyday concerns of the beholder "I forced a turning point and suggest that if the call determines the coordinates of the Mary Brown claim that" it has always been "turning the other would say the title of the article by Mr. Albarracín that" Teatro invisible visible theaters "let us ask ourselves a reflection that Mr. Albarracín?, because I do not see in Trasnocho, Teatrex or Premium Theater in Los Naranjos be as invisible as that would in the case of Anna Julia Rojas Teatrino, the Board Esther Bustamante, the auditorium of the School of Ecuador or what occurs in streets, boulevards, markets or unannounced, at his side but you know you are facing a real expression of street theater. Consolidated theater theater versus peripheral, versus excluded theater theater arts, theater, this theater versus that. Islands in a river mouth of the great produce, circulate and consume. Theatre bottle for desperate thirst for the superfluous, carbonated soda water in theater digestive paid over 150Bsf but has the beautiful image of actors and actresses media. Muscle-flexing but successful theater, theater versus provocative but not attuned to the urge to laugh at a spectator who vomits when you touch their taboos, fears, acorseteadas ways this is what commercial theater and experimental theater. Where the accent? Where did you look? More visible to stay in the establisment of what is accepted with a Vagina Monologue Soliloquy penis or sentimental. Please come to the event viewer friend this afternoon and be judge, executioner, defendant and prisoner of your expectations ....

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PUBLIC AND YOUNG PEOPLE THE HAT Rattlesnake

A man of the theater as it has been and still is Vicente Albarracín has a finger on the skin ulcer of the production equation - circulation and consumption of theatrical product that is billed in the country. He asks in his blog ( http://vicentealbarracin.blogspot.com/ ): " see so few young people in the theater I attended " as I am animal theater, I answer to myself: go without something over 65% of the appraisals of alternative spaces and almost 45% of the seats in traditional rooms, which specializes as a spectator - I attend, the average age is between 22 and 30 years! Criterion "biased or limited view Albarracín ? Does the Mr. Albarracín attend only a certain number of rooms / spaces / circuits and their steely gaze (the function applied to that found that participants appeared to unassisted young audience? Further stated that: "Our theaters despite have much to be proliferating influx and thus have an average age of adulthood, which is not representative of a country with a mass of young people so great. This is me as strange, but when you look at whether our student actors Successful attend these functions, I worry more. "Doubt and confusion assailed me again as a question: What are the tastes and trends of choice that has this dramatist / coach when making such a claim, when from my personal perspective as a man who on average about three times a week at different areas and not verified as a consumer of the work of groups / projects / projects / productions that are not current hegemonic theater? Why not in the halls of TET group ( Luis Peraza, Teatro San Martín Theatre Laboratory Anna Julia Rojas or so-called "alternative venues for only the most visible limit in a unified theater billboard advertises ( not express promoted to differentiate who pays for the column x a mass medium and not on particular cultural tips when in turn help promote one another show is not influenced by large groups / companies and producers) should reflect not only what is produced / displayed as or as once Tulio Hernandez called them "rooms off off Ateneo de Caracas ? Is it that Mr. Albarracín reflected elite consumer of certain proposals and does not look a bit beyond what the dominant groups offer and delves into what would be the peripheral theater (do not say "marginal" because it could misunderstand the conceptual and require further discussion is not referring to circulation / consumption for specific segments and classifications that can be sweetened to this or that product stage) and scan only for acute episodes or something of interest happens beyond what the outside of the great halls is promoted as a theatrical activity Caracas? In some sense I agree with Mr. Albarracín that students are apathetic to consume art theater, and yet, why does my eye tells me that in certain shows made up of groups and emerging with a trace of something more than five years are nearly 90% of its seating capacity of young people crowded? A sample is the button Create Youth Festivals (organized by Dairo Piñeres and a team of theater workers, managers and technicians all under 35 years) as FESTEA (organized by Maigualida Gamero (promoting insurgent groups, directors, actors and novice designers seek their niche in this jungle of recognized) . What about the public begins to follow a collective and consolidated as a super group Skene when mounted at the Teatro Trasnocho ( plural) the work Wave? or Morris Merentes when assumes his third entitled Manteca teatrino in the Theatre Laboratory Ana Julia Rojas or What that groups such as Pilgrims Account here or there is no fuss, no riots emphasis on consolidating media section and style both collectively and as a group, forms and philosophy spin on product packaging stage ( reading of Lazarillo de Tormes in Doris Welles Hall Artist House ) which I know is being seen and tasted by many young people? What is young? Why do young people go to certain assemblies and not others? Where are the professional theater dog nor even to see young people or consecrated? What are the criteria for a man of the theater that decision decides to break the professional audiovisual field when he could add and not ride the scenic survival promoting the generation of young but bold use of reflection and ability to question and decide to accompany the group / theater project because you feel identified? Why is not able to reflect more rigor to some dynamic and suddenly stop and come to see what F orte Theatre at the hands of Vladimir Vera assumes with James work or Submission and realizing that the risks of creating break-even with the brace of bourgeois taste that is implanted from schools / universities, you can spit while things shake / wonder, surprise / disgust or simply because the privileged knowing look around the audience, that mass report heeded the call of that theatrical work is made by people who over 35 years? Which a young spectator attending discursive see the force of a great job as indecent acts of Water Production in Palo Scene 8 by Moises Kauffman could be read to the effect that for a segment of students / young people the effect box office (ticket price) can escape its possibilities. But we also know that very young / student (ages fluctuate between 15 and 23 years) can spend more on themselves superfluous things the current rule of consumerism before going outside and after attending an "x" or "and" event - if you dare to set aside some money (allowance / gain employment, scholarship) and invest in yourself to enjoy your pupils dilating and expanding their cultural baggage when you have the privilege of finding a "big" and knowing self-assembly as part of those chosen few who could go to this or that function, season, replacement, reassembly, etc. since in his memory will remain indelible mark of a polished professional installation, a response impeccable staging and production verifiable only at major festivals, ah!, besides the fact that after this show is the universal respect of one of the great English-speaking playwrights such as Wilde was . Well here, I feel that Mr. Albarracín touches an aspect to be discussed and analyzed outside the context of the dynamic that stifles Venezuelan theater of the last twenty years training and public awareness. There are now more and more young people attracted by the fact of the theatrical, audiovisual, technological media, design, computing, fashion, etc.. Passion in them, but certainly does not is all to be over a period of training, a professional. Not that the professional is one who receives and / or appreciation of their work for which has been formed but as one of the old school it meant: he professes his job! The university is a space, the workshops that dictate groups and companies are alternatives to make up some knowledge, some techniques and create the need to pursue the war of improvisation, not 15 minutes of fame walhordianos but in getting and staying , making it useful and not accessory, reports and studies beyond a role credited with this or that school or academic field that bundle of fiber, ink and fine words; is being becomes driven by the call of passion, the impulse to create, by the magnetism of transformative imagination. I believe and understand and that I agree with Mr. Albarracín the scene has to be populated with young people. The cinema, museums, concerts, poetry readings, street and people should be the laboratory for their hedonistic expectations, but will be bodies in a culture that can penetrate the negative, alienating, chew and then spit worn and no horizon , a youth self-indulgent, vain, without personality, criteria and reasoning in a living body is like a box where the head of laughter and his face will go in search of oxygen from the fact this will tell you there is no future. As a climax we sign up to be a warrior of nowhere with Mr. Albarran Acín when he said: "I owe my training largely to the excellent and varied theater that I saw when I was in my twenties. Sometimes 4 or 5 functions in one week I could see. Coleaba I always remember, I was invited, was to dress rehearsals, was a friend of someone, sometimes paid, because those tickets that cost was also much for my budget. Even in the festivals, that prices could be high sometimes, always had free tickets for participants and much cheaper for students. Displaying the complicated situation in which we work We do not know what would be the best solution. But what I have clear is that we must seek mechanisms that connect the theater is being done today with the generations that in a few years they will be doing. And when I speak to new generations included all: That a lot of guys that somehow and somewhere being formed to take those spaces. The theater will be theirs. Not us. In the best case we will be a blur in a newspaper library " If we all share of responsibility: in the classroom, on the street, in the ethics that builds our doing, the ability to stimulate and generate new sensibility in stagnant models apart old school, challenges and adventures to resuscitate the young and already believed God, Parnassus, Law and Standard. It is time s. XXI. The young audience was thought by many and is still looking for these mechanisms. Lorca in his work The audience and the filmmaker - Pasolini thinker lagoon that argument was as follows: the young audience is the student groups. They will guarantee the new revolution to the Venezuelan theater. Sticking up for them without fear. The challenge is dangerous but is not adventure. The teacher of the Liberator, Simón Rodríguez it was stated: "Either we invent or we err !"

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Rarely, the scene regional boldly assumes an author and some of his works in order not only to challenge their creative ambition but for the purpose of searching if communicating vessels between the audience and stage are in tune. Other times, the challenge of taking a text and an author (can that be taking the text and its translation stage spectacular, the text is in one version and / or adaptation, allows frame and argument or, essentially, a resonance between the desire director of staging and artistic team / technician can perceive in the lively response that unique representation as a wonderful communication to each other, validate the known there, united in communion of the theater) is compelling because time political partner, economic partner must be subject to questions or just because that work and had a period of silence since the last time she was taken to the tables. Regardless the reason that drives a group of theater artists to consider one of the biggest names in contemporary universal drama and one of his most conspicuous courage means that this life, that energy into the group is still burning and that means it is at that precise moment that the staging / movement of the product as a bell sound theater tell one something on the horizon of public expectations of his time. This consideration only a pretext to try to talk to what my personal opinion, was confronted last month by mid-October in Room Theater Center West "Herman Lejter , headquarters of the Regional Theater Company Portuguese who, under the direction of Hannibal Grunner , undertook an effort to realize the artistic, aesthetic and conceptual one of the most prominent playwrights of the century XX as it was, Luigi Pirandello (1867 -1936) with the notorious version performed by the work itself Grunner The cap and bells (1937). I think if I remember correctly, this part is not assumed in the tables of the country since the now defunct Prima Cultural Center Candia directed by Martha take him show the viewer what capital capturing public and critical interest. Pirandello was one of the authors Italian when it is able to read and view as a dramatist who knew how to say things to the public and artists face the challenge of his works, as has been known to magnetize a snowball effect crescendo making, author / work / proposal / receive touch and communicate intimately perfect if the product has been well understood theater as a proposal for art and theater as a battering ram to express meaning to, or received unanimously by the receiver but most of the time must be forceful when cove at the junction of the public compact allowing the essence of why the researcher Raymond Williams heart that the ways of being treated this playwright must consider " a total mode of representation, a method conventionally stylized representation, a subtle understanding of the action and characters belong to a world of dolls ." It is from the first version of one of the pillars of Pirandellian drama should be clear: "The mask and the face" to know what cord to indicate when the actor addresses the interpretive action. Knowing that, the theme engine The bells cap is held on the thread of "the social hypocrisy that makes them succeed and nothing has happened here" as coda closes the program presentation given by hand CRTP , it is compelling that, returning to Williams to cite Pirandello himself - makes us feel that " While a man lives, he lives and is not himself. Well, for a mirror in front of him and make him see himself in the act of living. Or is amazed by its own appearance, or look away to avoid being, or spits angrily to his image, or raises his fist to break the mirror "In short, there is a crisis and this crisis is my theater." That is the question for saying that the version captured the Pirandellian philosophy and even ingenious plot and characters, time and reflexes are similar situations (not the post-war Italy but the scene with his Venezuelan Carora timid of people and dual speeches year 1942) and which characters trigger springs with the proper bourgeois comedy harasses us more often because they still do not know what to distill Robert Abirached in his book The crisis of character in modern drama (1978 : 229) is " give this new breath, without transforming its mode of operation their integration into society (...) the pirandello (...) without breaking the laws of representation, has left us to consummate the outbreak of the old scenic views as the "new theater" of the fifties " but certainly can be extended to the dormant representation of old / new ways of understanding / theater show where the key issue that drove Pirandello of " refraction of character on one or more mirrors, oblique or parallel more generally, establishing an exchange between life and pure theatricality, taken as such: the deformation of the character, the gaps that divide it into divergent series, the invasion of reality into fiction and vice versa, explosions aberrant memory ... "(1979: 230) key was oiled so that, from the direction ( Grunner ) the refined version derived compositional window in each of the constructs (characters) that this group portugueseño he managed to deploy in an hour and 20 minutes with technical insight and clarity of scene, warm accommodation between internal / external and in that awkward stage synderesis bring the art of masks of hypocrisy but this is a somewhat warped deformed: the case of workers exposed pristine Carlos A rroyo (Sanchez) Edilsa Montilla (Beatriz Crespo), Plaza Jesús (Delegate Spain) and with a little less but imbued with the same content Wilfredo Peraza (Alfredo). In the case of Elizabeth Prato as Ramona, spinning right job, clean, wise and ductile because she was a substantive element of the skein argument Pirandellian. One thing is The Diamondbacks Hat is that beyond the acute version of Grunner and great job acting the template obtained by the CRTP becomes obvious being in tune with the author's own reflections ( Luigi Pirandello , The Humor ) when he says that " A poet, not to believe in the reality of his own creation, can represent it as if he believed in it, ie proving to have no awareness of their unreality, can represent as real a world of its own totally fantastic, dream regulated by specific laws and, under these laws, perfectly logical or consistent. When a poet is put in these conditions, the critic should not look as if the poet puts forward is true or dream, but if it is true as a dream, as the poet did not wish to represent an effective reality, but a dream I had the appearance of reality, we understand, reality fantastic ineffective "(Pirandello, 2006: 92,93). And that is that, when from the armchair critic treatment if there is something logical or illogical or speculate this and that, only that it is from this autonomous world the poet has created a truth has its rules and behaviors. Speculation or inferences, or meta-messages transpolar making the criticism are exogenous to the dramatic text in tight joint with the basic text which builds the start and the worlds that each actor has spun on the shaft of the show. Speaking of this show, just say it was simply impeccable, with a plant where nothing moves temperate site was fierce, that balances the game scenes were in tune with the atmosphere that the story demanded, the Kelynson lighting was just giving Berrios nuances, action zones and demilitarized areas. The costumes and scenery by the director, I think the essence of time over the first thing in the second, for why it was overloaded but essentially refer? Scenic painting (William Ocanto) were recruited in the aesthetic concept of global fusion. The music and arrangements ( Carlos Salom and Wilfredo Garcia ) and communication consistent with what was expressed from the scene. The music composition and production given by Julian Ramos relevant. Effective work, consistent work, a proposal without excesses, a theatrical time just a histrionic work compact, delicious histrionic performance and response from an audience that was looking for only laugh laugh but to be there, face to face with your company encouraged them to theater art to know and understand that compromise is together for better or for worse. Conclude taken the words of Pirandello to say: "Our soul lives the soul of the race or the community that we belong, and we subconsciously feel pressure as foreign to judge, to feel as alien and to act, and just as dominant in the social world of simulation and dissimulation (..) and we simulate and conceals unfolding y. often multiplying. " Well

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IX INTERNATIONAL EXHIBITION THEATRE PUPPETS IN THE COMMUNITIES OF CARACAS

organizers called it: The theatrical festival of invisible. But this is not because groups, companies and artists (local, foreign, community, emerging, independent or who have checked in to stage in various disciplines ranging from children's theater to puppet parade to the theater or community room for activities where clown or minstrel in unconventional spaces) capture the eyes and interest of an audience, usually does not have a varied showcase of entertainment on a permanent basis but, this event has taken responsibility for a social return on your to do to reach places where most of the groups that are assumed to be professional Consolidated receiving the gift or grant only considered because it is part of a letter of engagement agreement (the consideration) to subscribe to receive the coveted cultural contribution. Responsibility and sense of commitment who can not (for socioeconomic reasons) go to the circuits of cultural consumption (halls, theaters and festivals) in which spaces are portrayed much of that segment producer / consumer watching the street, square the park, the boulevard, nursing homes, hospitals and, in particular, places where people - people are trapped in the relentless routine of living, to seek improvements in quality of life (education, health, transport, security, services, etc.) perceive art and culture, relaxation and fun for your children and the elderly, the family should be left aside. First the stomach after morality seems to me to say a sentence Brechtian, but also culture to extrapolate because the need for survival because it is the light of spirit and peace of mind if there is communion with the joy and life. A festival which by its nature seeks to be no icing cake, but an attachment for the citizens know that this is also quality for your environment and thus for his life as a citizen, is a labor of land. Research Institute of the Arts Development in Venezuela (IIAV) under the gaze tenacious and impenetrable as a spirit that exposes the maestro Alberto Ravara leading a young team but worker, has pledged that the theater must dignify the above signed. Be no easy task when every year, dealing with public bodies and enterprises of municipal institutions, Government Ministries and simply ask only one thing: support. And it's not just something that translates into Bs but on adding strong effort in many ways to make the event as it expresses more than a circumstantial case where groups, developers and artists are next to the dispossessed and the most disadvantaged social class but the striker is cultural action for the revolution sensitivity and the transformation of a society that sees consumerism and evasion situation works that little change their environment to create atmospheres of knowing that community / culture / education are ways of enhancing the mood as the clouds of the problems of everyday dissipate the family to see a group of artists get that smile forgotten the child turns his gaze not toy guns but it looks like the creativity and fancy gadgets can be overcome discouragement and hope, and paid the old man in the autumn of his life again I can feel the lightness of those years and gone but returning after knowing playful part of an audience like no age but if that ability delicious light with laughter and a comfort that few or rarely accompanies him. IIAV with nearly a decade has enjoyed support and most of the time, that feeling that their efforts should be adding more and more energy due to unfulfilled promises and delays waiting for sponsors who are just looking for political mileage and make them appear not look beyond their noses. Just a management opportunity when he sees that the city seems to give back in an indirect way that urgent financial support, logistical or coupon to an entity organized as represented IIAV. "Myopia or utilitarianism? "Bureaucracy or disdain? "Entrenched cultural pretensions manage to become apathetic to wait or knowing who has the power and hope from the threshold that makes boldly that those seeking institutional support have to go, talk, explain, and go again, expect and insist that a promise is realized in concrete set for an event that everyone will benefit? Whatever the answer only the managers and directors of these institutions (above) know, the fact is that eventually people will know who every year is where they do not contribute one iota to create something tangible or something permanent in the form of a project, a cultural policy, or a verifiable cultural programming. IIAV not believe in bureaucracy or delay in the country believed possible in Venezuela who knows that the "Revolution" is not about money and promises of strong action but, tenacious and permanent. Be it the Ministry of Popular Power for Culture, Fundarte, the Metropolitan Alcandía and even private companies (with emphasis) that should make flag to support initiatives like the cycle to cycle Alberto Ravara with this show in the communities of Caracas and has taken that label of "invisible" add the lime and sand to build an action, an achievement, a reality that no matter what is there for anyone who wants to see, enjoy it and combine it with what apparently are the years of demagoguery institutional culture of these entities should ensure that art and culture in the Greater Caracas area and why not?, of the country. ARE THE INVISIBLE VISIBLE In a lively, festive and crowded the backdrop of the IX International Exhibition Puppet Theatre in Caracas Communities raised his flag and call joy since last October 8 and will continue on multiple places until next 24th of this 2010. His appetizer was in Central Park in an open space where groups attended The Banana frog (Nueva Esparta) with the simplicity of argument but transmuted into the filigree technique piece The Guard soldier from Raúl Gustavo Aguirre and Damian interpretation Antíguez . Children followed the proposal of IIAV entitled The original rag doll Alberto Ravara and address of Armando Volcanes . Then, the proposal Manuela Sáenz: memory and presence text Ravara and the creative strength in the composition of characters and frame a segment of the life of "The Liberator of the Liberator" with interpretations of Ana González, Lilybell Trejo, Jhorman Jiménez, Carlos Sanchez and Frank Wiese . Theatre with a touch of history and memory for the public to know that the exploits and heroism is part of everyday life in our homeland. Successively had excellent Cuban artist clown (in the province of Cienfuegos and more than 30 years in battle plays) Yoel Ramón Pérez Ruiz who on behalf of the group to Puppet Theater Cien Fuegos, delighted with his stage work Chapline , lucid, polished technique, fluency and synthesis with its touches of magic captured a unanimous applause from young and old. His presence within Mission Culture exposed as the quality has ways and means to make art of simplicity take all your imagination and the universal power of immortal Chaplin still permeate our eyes and senses. The group exhibition of dolls Theatre Barinas (Barinas Edo / Venezuela) with his show of puppets, rod puppets quickly won laughter and empathy for all. Working with his treble to laugh and tones with hints for even the toughest public but could not catch up with the kids thanks to the rhythm, tone and festive chisposo that overlapped in a playful moment we know that the experience of the dramatist Quin tero Lewis made broke the puzzle so exultant that first meeting of this show that begins to rise as foam and done well but clearly visible in the heart of those involved and who are their recipients. Assume

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AS THE INVISIBLE VISIBLE

from scenic creative action as a tool of access for a wide range of number of groups, artists and artists whose work, searching, yearning to be delivered by the passion of the passion of the art theatrical mechanism transformation, is undoubtedly one of the flags more flamboyant than a festival like IIAV organized and has been allowing participation / presence in a space / time where the line hegemonic theatrical industry for decades has tended to move some, segregate others and as directed, to start, invisible to the other. Be unknown, to be recognized are labels theater in an environment where the elites and the cultural pressure groups make, or ones, feel minimized and others, are assumed as necessary and that the theatrical event representative of a country seems not to speak diversity but of presences and paradigms but never democratic access to the question what the theater we all? theater, or people's court community should be displaced by the theater conceived as "art? The validation will be complete when the insulinization ideological separations art - aesthetic not become sinks diluted basis of investigation and risk of a group or movement in a political context political, economic and cultural. Thus being in a single exhibition space where is the so-called "theater marginal" because the theater arts / drama institutionalized will always be the tip of the iceberg for researchers, historians, critics, men and women theater (the theater environment) or cultural institutions of power and almost never holds the invisible theater their own reasons to be showing that also has his speech, his audience segment, validating aesthetic / artistic and especially, the universe of creators whose commitment is the engine of change in a process where both may be in areas different but validated and visible, with appreciation, with presence and with their own impact on the scale to grow with their peers in a relationship of equals where there are no frauds but that minimum of respect in a country where they include the power to exclude another. I do not think theater has the visible and the invisible theater. There is theater that has an orbit of interests against another orbit of interest. One another may converge or diverge. The turning point for the ditch is not visible (marginal / shifted / force) is as valid against the invisible (recognition, awards, and institutionalized bonded) can start from the premise of the unity consciousness of man / woman / young man whose idea of \u200b\u200ba theater for all and all is not driven by those who somehow want to create divisions and so in this meandering insulinization concepts begin to reverberate to the intellectual playwright and place that is theater and theater elite void . There seems to be quietly about those who kill and stigmatizing others. The reason for acceptance of a Festival, displays or meeting where label of "Theatre of the Unseen" is one way to draw attention to those who for years know that the Division and not creatively plurality has made cancer and metastasis in this country so that the word is valid unit-government ombudsmen to address , for a conjunctural moment have the power to support, sustain, fund what in his view is the "process" or "is in tune with their end of politics" that has risen to such transitory states of decision and , but more seem to support the endless red tape and barriers or may not be registered with the party in power. IIAV for the ninth straight year that the group has pursued a man and women organized in independent groups or frowned upon by the "theater hegemonic" allows to create a door to disseminate, promote, create showcase, create new audiences, fill out other mechanisms for creating reflection, analysis and criticism, is to make visible what is not (or "outsider") acquires its presence required / necessary for the paradigm of separation between art and theater theater else is popular in theory but cone trends to be established as more solid conceptual approaches between theorists / researchers and is " theater art "compared to what has been treated as" commercial theater "in its definition / praxis, even placing the peak between theater institutionalized versus emerging theater (read subsidized) that seems to cause resentment among the theater community in a divided country and a country that for decades (and I say this because since I joined this universe, the phrase is in "theater crisis ") begins at once and for all tending to veer toward a road where credibility is the consolidation and effective mortar theater that we all want.

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Sometimes the critic's function is satisfied and rejoices when attending a theatrical work where sensitivity, creativity and artistic talents are combined so that the aesthetic pleasure and intellectual pleasure can go hand. Are the times that the function of criticism is not before the exposure of a creative project that is sustained by a playwright classic, contemporary or national recognition. Are those times when the scene is flooded, to put it in some way, to ease, imagination, grace and a flash that allows dramatic and musical communion with the audience after the combination of exchange of glances, some effect of empathy with smiles and furtive that intangible touch of sensitivity that makes the role, role, depending on who should generate discussion / analysis on the fact may not be spectacular in the foreground but agree with that statement "pure" reception that any novice or expert spectator-exposed to be immersed in the enjoyment with what it gets from the audience. With the finding of Pessoas stage project, show Musical Theatre co-production group Full Theatre and Artistic Creation Center TET (which I had the opportunity to perform two readings: one, when it was exhibited in the Room " Luis Peraza, a few months ago - and which I noticed some inconsistencies in terms of performance histrionic actress Alma White impost their work, use of organic nuances and apprehension Ophelia Queiroz character but that was remedied with the understanding that the hearing function was part of a season and was not the generality of the total for the amount of global exposure on that date when it was exhibited to the public) which made the atmosphere Lusitanian nostalgic feeling of the poet, Fernando Pessoa (1888 -1935) has spun that subtle charm with emotional and sentimental immanent in each of those who were there as spectators watching and enjoying the emphatic simplicity that emanated from the compositional work, histrionic, musical and recalling one of the greatest European poets of S. XX. The second reading stage of this work it again mondo now see a second season but this time in the Experimental Room Gallegos House (CELARG) in which intimate space, near and whim of a playful atmosphere charged with the song (Fado beautifully synthesized by the music performed by Gonzalo Mendoza (Acoustic Guitar) and Rodolfo Aranguibel (Percussion), but also by the power of voice, casually histrionic emotion to compose and assemble fairness was a role as Mary The fado singer, a character being " a singer banished banished for being reactionary to society "dares to be an accomplice, listener, singer's voice cracks with time and be as human as a heroic poet whose verses are not in black and white but with the spirituality of the flesh knowing their weaknesses and anxieties and the superb delivery that we plated Standard Monasteries physical vitality which makes the movement is graceful, the courage to put together two roles and to add a block emotional and conscious ability to be another pivot shaft leave this work to more than one in the room, not just as satisfied but . Do not want to talk about Fernando Pessoa, his monumental poetic work, the universe of heteronymous, beauty and nostalgic for their homeland after each paper, but also that strange and sensitive position, elusive and critical, sensitive and fierce of a bard whose work catches for eloquence of a surreal modernism able to place emphasis on the soul accent who reads, remembers, or just approaching its unique biography . But since this particular universe plot, drama and the characters are drawn by the efficient work of playwright / director, who Rubenz Katty if much fuss, without dorarle pill anyone in creating a textual monument is capable of shredding the conventional stage if it was able to split hairs and provide a human detail, touching, rich in images, ideas and synthetic in its perfection of structure not drama did the right thing: put characters with dimension, generating a situation and lead to an atmosphere in tune with the core of feeling. The direction of Rubenz (a talented puestista that is not being valued by the national scene perhaps because it has done more work than to promote his knowledge) was assertive in the management of space, known target nuclei if written dramatic had and in every acting job stress, that marks so that from the commitment of the actor with the character, flowed a badge that characterizes each other. A show that left a good impression on friends and strangers. A commitment to express that art without being high peak also has overtones Honduras and sensibility that seeks to commune with what we call the theater. On the performances of Alma White say it was much more concise and consistent to the love of a woman he admires, wishes and hopes of the strange figure outlined in its facets of split personalities but only the poet Pessoa and human. A viewer-facing composition more than did see / hear and feel in the internal dimension as concrete physical actions. Alma White as a we admired and applauded in other stage projects and was able to capture that with each "raising and lowering of the curtain" was not an actress but a character who was able to tell us things. Finally, the interpretative task of embodying Manuel Chourio immortal scenic Pessoa, was sparing in its duality to compose / expose that inner world and the Multivalued trasnspersonalidad pessoiana it may hint to the apprehension of the recipient is someone deeply read / informed this figure of Portuguese literature, or so it was this understanding of personality and humanity of the poet. Should have more force from the immanent after the subtlety of every action and thereby create the organic proxemia the rest of the cast. His voice is subtle and gives physical leave correspondence with the image of Pessoa. Is an actor that we intuit thoughtful and interested in their craft and this blurring is not as exposed as artwork to us but we expect later in terms of other challenges, Chourio grow as a professional with all this background and experience that claim as a promise of the younger generation that the country demands acting. Pessoas are ultimately formed, in my personal assessment, in a delightful moment that gratified the senses and compliment the expectations of how to spend some time admiring the pleasure of the theater.

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SSEP AND YOUTH THEATRE GROUP (Part I)

The scene seems to hide sometimes theatrical effort manifests a handful determination groups whose particular trace, at least three essential aspects: one, are groups with short life within the National Scenic task (between three and ten years of existence in the professional segment), two, exhibiting a percentage of directors, designers , producers, actors and actresses whose resonance Creek not yet recognized in the field of stage even when they are training (in group settings such as TNJV , Theatre School "César Rengifo ", the late indet. University-now National Experimental Arts (UNEARTE) , workshops are held at the TNT Rajatabla Group or graduates of the School of Theatre "Juana Sujo" or Laboratory Theatre "Anna Julia Rojas" , just to mention one of the many areas where they perceive they can acquire skills and skills for direct practice with the artistic ) and, thirdly, because nuclei were clustered as theatrical creation, try to find a niche for the equation, production, circulation and consumption makes them credible groups both for managers / managers of theaters and halls of this city, bet by ceding a few days for their shows have to sum from two to three weeks (if the success he gilds the horizon with the assistance of the public) display. Something unique to these groups that some call-ups, other novels and some semi is that both print and audiovisual media provide support in their sections on arts and entertainment. His tenacity does make efforts to manage financial resources in a sector that management may feel convinced him that time in their rooms, there is the fact that there are few times you get another umbrella group of grant or funding Address part of Culture, IAEM, culture cabinets Ministry of Popular Power for Culture or private. So we see that the ingenuity and proactivity of multiplies in some members group, it is not unusual to detect the young actor or director who sometimes serves as producer, the designer is a filmmaker, even, surprisingly, to a triad of functions should make the young dramatist as a director, producer, and if things get tough , then act. Flyers, lobbyists here and there, are looking for ideas to renew and rise up with a different patina to what they feel they must be renewed, changed or moved. Many of these groups remain silenced by indifference from critics and most often ignored by cultural journalists specialized in the field of theater. The youth groups are something rarely considered as serious as being in a consolidation phase, prestige, fame, recognition will come to a trickle. One reason or another affect or premium to the general public to consider not risk losing money in the modest box office to collect these artistic endeavors. But if we stopped next to these and other opinions and finding us to acercásemos Who are they? What proposals offered as performing? What take creative risks? Who is behind as support to make them afloat?, And what kind of artistic training, aesthetic and conceptual management exposed?, Perhaps we would begin to think that the youth theater, the theater charged by a generation of relay has the same spirit (Passion) and the same wood (toughness) which now groups already established / dedicated holders. The public and critics should not assume a castrating their mistakes, but support, guidance, monitoring and observation of their efforts. They are the future of a theater which is always tends to qualify that this decadent, empty, absent, divorced risk perpetuating hackneyed style, irreverent to try to gain attention, weak in terms of rigor, technical and theoretical ideas and concept to sustain a scenic speech convincing. In short, you do not hear of consolidated and established the group that begins, that no brew is left in the tails of the public when a montage of young people do not cove in consumption patterns, which does not express certain academic or journalistic criticism when terrified to see such and such a creative adventure, that has not been said in the barracks institutional management on a given state group when a file simply decide whether they support or not to receive the coveted "gift" to grant or not to have heard of some managers room when one of these groups simply shows his intent offer your product to the "prestige of theater." It is quite possible that the formulas of experimental theater is in some way or another tempting to members of this or that group of young theater. Also is fairly verifiable over a fear of not having the bellows of strict prefer comedies, children's theater, or some drama (contemporary national or foreign) to guarantee the consumer a certain temptation when you decide what time to go a weekend at the theater. Think where we confront a segment of these groups and realizing that they are not large rooms. His reality is constrained most of the time places like the Theatre Laboratory teatrino of "Anna Julia Rojas" where Carmen Jiménez was able to open its doors to many youth groups, is sometimes the room Experimental Workshop Theatre (ETT) Chambers of Teatro San Martín de Caracas , the Experimental Room Celarg , once in a while, the Chamber Rajatabla and hence the cost is hard for these groups. I delimit a distinct difference: it is the same theater theater young people doing the amateur theater. The latter by (Gómez García, 1997: 806) defines it as "Any activity not performed by professional theater." I also support the definition of University Theatre settled in Akal Dictionary of Theater Terms to distinguish it from billing the University Theatre Gomez-Garcia that he describes as "made in area of \u200b\u200bthe University" (1997: 816). But here let us pause a moment, what happens when a group has been formed by university students formed a production that is exhibited in academic areas but that goes beyond what we know the commercial space? How can you understand that a group of young artists from clumping together coherently and displayed in an academic when some of its members is still a member of this house of studies but has been formed earlier in the framework of other studies center acting ? How do you perceive is actually a young drama group / youth if a part of their staff is conformed by one or more creatives (director, designer, producer or playwright) already in the professional field and has received recognition, awards, and media monitoring and criticism? A theater of young people can be categorized as "independent theater? Is "avant-garde theater, What happens when that group has no office or legal but it is circulating in samples, meetings and festivals alongside groups certainly professional? García Gómez determined Professional Theatre is one that "is performed by professional actors. / The performed by professional companies. / The high artistic quality " (1997: 814). But in this situation in Venezuela Where begins and ends the concept of the professional? Who defines theater young people? Is the quality and trajectory? Do palm obtained, successes? Why insulinised everything we see and perceive as theater? This would give a walk to discuss whether the theater of the younger generation can and should be the renewal of theatrical future of the country. Some time ago when there was (mid-eighties / part of the nineties) the power of the National Youth Theatre Venezuela a retired critical as ever thought that this project insuflaría renewal; placed the rip of "rest in peace" and went on to continue idolizing consecrated to the gods to turn the quiet golden conceptual and theoretical discourse fineness of marble monuments where he established what was once described as "syndrome of mutual indulgence, "that is, they support / support and so I feel a part effective for recognition with them, to transcend. This criticism they detect in their dreams and explorations of a if possible!, And made quiet alliances or in parallel in the task to perceive / apprehend them as holding the bases on which built their searches, in parallel, this review will accompany with an intellectual work which built analytical scaffolding was true to what it was this artistic journey, over time, both (groups and individuals) grew professionally but maybe deep down, the fear of the generations that touched the door the rise of the stairs or was ignored lest once crossed the threshold of the recognition, they affect what was hegemonic theater moved to a theater, or simply because they understood that although competition was generating caucuses gave his hand gives around and back to others. Finally, only those who expected signs of Gorgon's gaze not petrify the theater made by young people and thus I wish to express an emphatic no to the ominous chant of grant dependency, not a lack of rigor and optimization - artistic technique, a not for complacency when the deafening demand digestive theater / commercial demand them to the theater of art is not essential but which to cheer and to continue their support at the box office is the "commercial, a definite no to self-sufficiency, no to the absence of a prudent but not to the absence of translatable serious commitments to projects that can draft aside the garb of amateurism, the university and foster the experimentation (if that's what attracts them or be independent), a non-conformity to the do to just get an extra economic here and there, in short, can be a lot not, but from time to time some of these have not been converted - and this can verify certain realities group by name) for promotion and recognition. Perhaps the sense (somewhat dislocated that says that "the end justifies the means" seems to agree with him when he is gold easy and difficult lead. And youth theater groups are the alliance towards a future that can bear fruit if know to understand the mystique, passion, study, perseverance, permanent work, experimental and transdisciplinary play it may be just some of the aspects that a child between 16 and 25 can build on that wonderful land that the theatrical arts in this century Venezuela XXI. By: Carlos E. October 2010

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