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. Caracas
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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