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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