already close to the centenary of the birth (April 2011) of one of the great American playwrights of the century XX as it was Williams Laneia Thomas (Mississippi, 1911), we can observe how the marquee theater in Caracas, an assembly workshop interest has focused on training and creator of the pieces signed by the notorious author, screenwriter and novelist winner of the prestigious Pulitzer Prize it would be better known as Tennessee Williams . A playwright whose optical knew revealing as to grasp the strength of the psychological and existential tensions that form part of the invisible / visible in a sordid world that for many is only part of the underworld of physical places, passions and ideas about sexuality and morality U.S. after the war. Who has not heard of or had the luck to see represented here in Venezuela or abroad titles like A Streetcar Named Desire, or The Glass Menagerie, Cat on a Hot Tin Roof? In some form or another is part of the cultural heritage of the contemporary world because its drama is in the garb envistió film and this led to the power of their situations and the magnetic strength of their characters have permeated the collective unconscious. For this and other iconic Williams is an author of a nation and by extension, today. The topics discussed by this writer dramatic play one way or another, for example, "unrequited passions," the fear of emptiness and loneliness of man "to fluctuations in their environment as being and the social changes that will persuade it to respond to them. The ability to communicate a dramatic situation from the dialogue and the power of fractured souls are potentially part of the legacy of a man whose right scalpel as a playwright was able to cut and expose before the eyes of a surprised and expectant audience. The wisdom of having been a teacher and journalist acute as the fact of his underground sexual duality made the minority could speak only of shadows whose eferbecían by the pressure of no correlation, the latent anxiety that touched oiled sexual intimacy each of his characters and thus find correspondence with depression can be life and if this is lightened by evasion, alcohol, sex, repression of the instincts it will be like pressure cooker explodes at the sight of spectators that somehow or other beings of flesh and bone. And no matter what their pieces have bumps in the decades Williams was the man who envisioned the destructive tensions that every bears within himself and fed with the impulses and anxieties of not finding answers for psycho affective communication (empathy) can lord it scene when one of his pieces to be placed before the pupil who created free. That's the Tennessee Williams that today still lives and breathes in each of its textual products. In last night in the theatrical exhibition Luis Peraza Hall, home of the Experimental Theatre Workshop (TET) we had the special opportunity to see and hear one of the pieces of this author as it represents short pieces entitled like rain Tell me of which showed four ( I can not imagine tomorrow ; The case of petunias trampled ; Auto-Da-Fe and Tell me like rain and let me listen ) which in its fragmentation or if seen in totality by attending at least two different functions with disparate casts, you can make the audience Caracas (especially young viewers) approaches unambiguously tennesiano the universe. Talk to me like the rain is from every point of view, a good result derived from a workshop installation by actress Diana Volpe . Coherent work, a solvent and plumbing acting filing a thick number of actors and actresses, many of them with a proven track record in tables, film and television with others who seek training tools for tackling the difficult and demanding job of writing characters- had the opportunity to showcase their talent as an actor, physical and imaginative powers give life and create artistic plausible this fascinating world of dramas that only an author of the size and scale of Williams knew offer from the fifties, sixties and seventies of the last century that responded to his personal way of apprehending and encoding aspects of the human drama would clay, plaster, stone base for the actor could place each piece in its proper space and thus make the game of passion empathy on who should be the end of the chain: the receiver (the public). Thus, an experience to see this product is not as simple work to meet the workshop process, but see it with a different perspective, perhaps inferring that the Venezuelan artistic potential is fogueandose and well being led by the wisdom / experience of a "veteran "actress who knows what he knows because he has lived and still living but not from the theoretical from the practical art of the actor in roles identified in this here and now of Caracas and scenic reality check here if you stated is true or not. It was not only the desire of a group of young well-targeted in this training made progress in tables but from the tables that give surprising and fascinating than molded in form and substance of individual and collective delivery would prove that after a lapse of assembly shop requirements speak for itself from the physical context is the setting, that setting out tables that its dynamics within the art of rapport actor / character was real, the emotions / desires / anxieties / frustrations and other aspects could be some material to work convincingly by what should be a period of an hour and a half after which the results speak more than young energetic or power of mind and vitality that have united as a group they knew who would substantiate that the act is viewed as stories crease in the receptor that situation of pleasure, joy, enjoyment and, more beyond their reflections on the art of dramaturgical T. Williams was the actor's art can build self-made characters universes whose mission was able to lead / shake when there is the understanding that these are challenges that were overcome as the technique, testing, persistence, commitment and desire would make the resolved was plausible, effective and convincing. A large group but split in two so that everyone could have their share of responding to the challenges that the workshop and the outcome demanded that the piece Tell me like rain from becoming a proposal suggesting that this country has a great potential talent in a few years given its share the actor's art enrichment, but from the ground that are not only pleasant faces and bodies but authorities aware, reflective, analytical thinking and acting towards a better assay of the trade. The reality of writing a chronicle / critique is sometimes overcome by the fact that they should find him and even written here, seeing the laborious job of a photographer friend ( Nicola Rocco) to seek the best angles in the odd scene in his blog that when exposed to your business skills so that words can not synthesize it was pressed to the demands of their lenses and have to keep an eye on the shutter and the other on what is developed because the strength of achievement was certainly well done as fantastic as a response to the composition of action units, such as atmosphere, as a single unit building of character, proxemics, the economy of the drama, the internal density each sentence / dialogue, in order that all that was the realization of a show that even being classified as assembly workshop was indeed a worthy and effective production given by all actors and actresses, as it emerged sober deftly spun what apparently is a shortage of intrigue but if that internal ripping each character and the stifling of their own situations impel the actor / actress to be able to build a scaffolding of gestures, glances, movements, hints, silences, spring action, sequence of tones of voice, inflections and other items intended to inform the public that poetry and sensuality can come from something as unexpected as one pleading voice of love when it already is on the verge of succumbing , that a simple twist of a stable personality can blossom into sensual boundaries, a psychopathic turn can create a collapse of accepted paradigms and that love can speak like rain for solitude is not isolation. My admiration and gratitude as a spectator to the work of the group that will play exhibited in the first function (1st Season / Hall TET)-which will be rotated depending upon role and will continue in a second round in the spaces of the Theatre Laboratory teatrino " Anna Julia Rojas ", next to the Bellas Artes Metro station, and, of course, I encourage young people to confront and stand out as from other academic areas but not very serious, art and technique of the actor of Mull, prepared with method and precision to be observed by all. Highlight the work of composition, from my personal appreciation are strong in terms of handling voice and corpoexpresividad, organic intensity to draw from within that world that gave life to construct the character which was felt solid, adhesive and plausible because it was a unity of meaning and its domain architecture incised gradients psychological or action and that it earned in the responses of Rosanna Hernandez (A), Balducci Sunday (two); Yuri Pita (Dorothy Simple), Darwin Barroeta (Police), Germain Manrique (Boy) Maria Alejandra Rojas (Ms. Dull) and Pablo Andrade (Male) and finally Pablo Andrade (Male). Their physical forms and visual potential sensuality and even generate significant force to the text because they feel on paper. Regarding grounds for Nakary Bazán (Mme Duvenet), Abel García (Eloy) may have had more strength in your inner self (Nakary), less hesitation with the letter and accent shades (if Abel), to generate density atmosphere when they are creating dialogic exchanges or when in silence so that the load voltage does not erode and be more attentive to the matching unit subtext Auto-Da-Fe was the segment or short piece where they played intervene. In the case of María Gabriela Díaz work is twofold: one, that world to hear and pass from the body that is changing the face of things to know / hear and then assemble the response in the face nuances which sometimes it was sometimes rather indicative expressionless but was not submerged in the deep transformation of its decision. Must be attentive to the tone and timbre to make the statement and what is unsaid. In short, with its technical achievements / artwork and weaknesses (corrected) group is worthy of applause and it was given spontaneously by the public which indicated that both labor and management response block group that goes from the lights of Jerome Reyes small stage solutions of stage of Gerardo Terán and the wise wisdom of a direction that left more than the resolution was from the actor to the public and not foist from ego bet master creator to the receiver set to give the endorsement was significant that this kind of formative experiences give her special touch to what many young actors and actresses are looking to perfect. Bravo!
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