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PIETA

Máquina Hamlet is a dramatic text divided into five acts, similar structure to that of Shakespeare. Müller Like any text, the work stems from an attempt to "destroy Hamlet." The momentum of destruction has always been one of the key drivers in the writing of Heiner Müller. "My main concern when I write theater is to destroy things. For thirty years I obsessed Hamlet, so I wrote a short text, Hamletmachine, with whom he tried to destroy Hamlet (...) my strongest impulse is to reduce things to their skeleton, tearing the flesh and the surface. (...) To penetrate beneath the surface to see the structure "(Müller 1996: 160). Statements like this could have been made also by Bertolt Brecht himself, other directors and playwrights of the twentieth century, who Müller is considered heir and successor in many ways, especially in the use of one of the fundamental devices Brechtian epic drama: the distance. For Brecht, this procedure is to remove the reality represented in order to perceive a new perspective to reveal its hidden side, as the start objects perceived several times not to be seen: we have lost the ability to see what that is before our eyes. Make visible what is invisible, it can not be because no hide, but because he is always present, in order to perceive the structure, the skeleton of the things referred to Müller. The distance back to this familiar, that by being in view of steadily longer perceived
About Hamlet Machine dramatic text might say that is a text of ideas. And yet that statement is a simplification extremely poor. In fact, "we have one of those rare examples of dramatic literature are pure. The idea is contained entirely on the word, perfectly attached to its surface and filling the whole volume "(Barks, 1987: 88). And as dramaturgical styles brought into play in the play, "the first, most obvious in parts 1, Family Album, and 3, Scherzo, is a surrealism that often recalls both the text itself as plastic content of the stage directions to "the public" by Federico García Lorca "(Barks, 1987: 88). The other style visible in the text appears in Act IV, Pest in Buda / Battle for Greenland, "and the two brief but decisive interventions Ofelia, Parts 2 and 5, which is distilled from those runs so typical theater German so often heard in the work of Bertolt Brecht and Expressionism appropriate. This mixture of expressionism and surrealism atmosphere consists of horror in which it develops the work "(Barks, 1987: 89). In that sense, the text of the work allows the appropriation of the poetic order: You may read that text and make a sort of personal journey. Is a very tight and, somehow, very proud of his own secrecy. From the point of view of its construction, consists of a sort of collage from a large number from diverse sources, "in Machine Hamlet there are many events: from words of Walter Benjamin, to various texts of own Müller which are imported from other works as well as texts of Shakespeare, John Reed, Theodor Adorno, Hölderlin, reports the Manson clan, and so on. "(De la Puente, 2007: 4). Although the experiences of the horror that portrays Hamlet Machine acquire global resonances, the staging of the work that the Argentine group "The Peripheral objects" held in Buenos Aires from 1995 to 1998 at the Theatre Alley wishes ", new meanings and reactivates the contents of the text. For the strength in violence-related images at times explicitly to the events that affected our country, "the assembly reference was directly to the artists and the audience that witnessed "the state terrorism in Argentina. Alejandro
Tantanián-actor, author and theater director and former member of "The Peripheral objects" - he explains the work done by the group in the process of adapting the text to the problem Müller Argentina: "What we did with Dieter Welke German playwright ¸ A specialist in the work of Müller, who came specially to assist in the assembly process was a work of deconstruction of the original text. We spent three weeks doing a work table. The idea was to start Müller text, try to understand it and break it down into a sort listing of minimum units. The text was then divided into forty units. These units were given by a central theme. Each unit will assign a title. Once done, these units traspasábamos certain images that had to do with the reality of Argentina. The assembly process and chose a sort of list of a certain amount of images that allude to the title of each of the units, the themes of the same and therefore certain parts of the text. On the surface of the dramaturgical work was a picture related to the Argentine. Not necessarily always related to politics, but with our situation at that time as a group, artists within the theater in Buenos Aires, as people of a certain age, sex, social class, etc. As the reality of Argentina, and our situation as a group of artists working under the conditions we did, were part of the fabric of the setting. This list we developed involved an anchor in our own daily lives. And those images somehow, ruled fairly in the process of staging "(de la Puente, 2007: 1). This reference to the looming reality of Argentina literally in Act IV of Hamlet Machine, when in the assembly of The Loop, "we worked specifically with the experience of state terrorism in Argentina. It is the act in Muller makes the jump from the drama-the drama in the literary, dramatic, theater-a case history with. When Müller's happening in the text of a Shakespearean drama of Western history, this description almost Entomological a demonstration: a public revolt that can be any revolt, all and none at once, which is also stated that all are not nothing, in the sense of its effects, no significant changes (...) In this act is clearly where we made an anchor in reality, especially in state terrorism in Argentina. And also look to expand further, we reviewed the horrors of the twentieth century. In this point in the play, the audience attending the slide show: there were pictures of the last military trial in Argentina, but we showed pictures of the English Civil War, both world wars, concentration camps, conflict in the Middle medium, etc. The tension that had built in mounting possible that such violence was shown in the display still images, was the same that was unleashed in the room. There was no difference between stage and audience, which was included in this spiral of violence. In fact the audience was armed, in the making, continuing the provision of the theater audience, then all we formed part of the film, and the violence was triggered by "us to us" because apaleábamos we manipulated the puppets that were both our own extensions: they were anthropomorphic and had our faces. There was an idea that the spiral of violence, which is a concept that is in Shakespeare and Müller-climax has almost no stops "(de la Puente, 2007: 2). What we hold here is that the experiences of horror, such as those conducted by state terrorism, are part of subjectivities, in the depths of the people, wounds, scars and wounds in the bodies of social subjects. And for that reason to Peripheral members Objects was necessary not only show pictures of the most horrific experiences of the twentieth century, but also take care of the resonances, echoes, the reverberations of these collective experiences in their daily lives. The staging of Hamlet Machine in Argentina of the nineties, booming neoliberal, should take into account what was happening to them in terror, or, put another way, how it's questioned. Subjectivities of the protagonists of the assembly-in the same way that the public who attended the function, it became subject, was problematized and questioned.
That which produces a play, in terms of their impact on the public is a vital aspect of authors such as Heiner Müller, as "a drama does not come on the scene, has no place in the scene, but between stage and spectators" (Müller, 1996: 155). The German playwright incarnate a theater to compel the public to take sides, to the extent that "the theater can no longer assume the role of clarification. In theater it is more (...) to involve people in processes, to involve them (....) That people ask: how I have behaved in that situation? And they come to mind that they are also potential fascists if a situation occurs such "(Müller, 1996: 156-7). A kind of theater that challenges the viewer intimately, a drama which accounts for the worst kind of fascism, one that is daily newspaper, which is invisible to the major historical processes, but exactly why it underpins them.

Maximiliano Ignacio de la Puente
Buenos Aires, Argentina (teacher, director and playwright)

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मर Antonia Torres unpublished poem based on "tsunami"

There is a flaw in the center

rotten fruit at the bottom of the basket

a face burned by agents of horror

a trail oozing under the bandages.

There is an error in this.

A stone in the gears

oiling mechanism.

are objects, letters, lost keys under the rug

trash, broken bodies hiding in the lime.

No sacred heart to redeem.

No prayer to amend or explain.

There is a puncture where the breath is strained

a disaster where the boat is leaking.

There is a crack

a cracks in the center

There

dripping understanding

burning tar word.

Blueprints For One Person Go Kart

THE CHILEAN manifest in Postmodern Dramaturgy

In the new drama, there are themes, motifs, recurring topics: incest is the subject of weight purity Mauricio Barria (2003) and Benito Escobar Noblesse oblige (2005), the food, ingredients, his recipes and preparation, broken pieces of some of Escobar (1998) and impudence Barria (2005), in Dog! Ana Harcha (2004), the myth of Narcissus is reflected in the novel by Manuel Infante (2006) and one of Escobar House (2003). Particular creates an image that mimesis is the image of the Pieta, which we see in impudence, in broken pieces of something and the severed head with the trunk of Juan Claudio Burgos (2004). As shown, elements of different levels of significance, which are inserted into the dramatic texture either as a substrate, plot or imagen.La question is whether these reasons are used as resources transtextual with the renunciation of action or creative literary called the snobbery that often involve such operations, or as mere topoi, that resource "that, going into the portfolio of ready-made disclaims invent that figure or that situation that the vivacity of the postulated" (Eco 2004a: 249, emphasis in original). Eco defines these moles as communicating messages "pedagogically" conservatives ", the mole is fixed, and therefore reflects a pre-existing order to work" (254). This approach is not consistent with the position of rupture of the texts appointed and, therefore, deserves further reflection. In these notes we will try this exercise in relation to one of these topoi, the Pieta, a symbolic visual structure in principle does not appear linked to the imagery of the last turn of the century. But why the Pieta? Culturally, we associate the sculpture Pieta of Michelangelo (1475-1564; work of approx. 1499), marble fixing the symbolic concepts of medieval iconography. The image of the Madonna with the body of his son, has multiple versions showing the body of Christ across his lap of his mother. There, on the one hand, a anaphoric reference to the symbol of torture and iconographic reference to "X", with the crucial, the two human lines that make a sign unique. This sign has acquired in the history of our culture different meanings, has become a mystery-all As regards the mathematical symbols with their powerful influence on the language contemporáneo1 - and ban a number of semiotic systems, traffic signs, no smoking or wandering animal, for example. A sign of two lines intersecting in a basic structural opposition and, therefore, extrema.Las versions that have made the Pieta could be classified into two groups: one which shows the Virgin and the body of Christ alone, as the classic image of Michelangelo, then, that represents these two central characters are surrounded by others, whether they are mentioned in the New Testament, Mary Magdalene, John, Joseph of Arimathea, Nicodemus, or other often complex story. A special case is represented in the so-called Brera Altarpiece (sacred conversation) (1472-1474) by Piero della Francesca (1416-1492). Here, the Virgin holds in her lap the child crossed with a red cord, anticipating signs of torture. Flanking saints and sages. In the foreground, kneeling and covered in silver armor, observe Federico de Montefeltro, who is presented in profile as in the portrait of the Uffizi Gallery in Florence. In the background, and the characters, are in perfect architectural symmetry, the shell and the egg suspended, symbolizing fertility divine. The ingenious arrangement of the sacred deixis achieved, in the stillness of the picture, taking us from the last virginal conception, the time the mother will have to hold the body of the child to return to the bosom of the contemporary iconography earth., stress is on the figure of the fallen man. From Eugenio Dittborn boxer, the man's penis amputee Morin, or pizza delivery, stealth advertising bailarinesyamantes brand Kookai youth clothing and accessories, Christ was made flesh of the anonymous man suffering XX2 century. La Pieta shows the darkest moment of passion: the transition from the cross to the grave. But this time, that there is darkening, as the counterpart terrible delivery, is the loss of all, in the eschatology of dust scattered in the desert, as stated Barria. The absurdity of the meat shines mother grave, that of raising anything for nothing, because at the time of the Pieta image resurrección.Pero there is yet another tragic component that Christ has cried and the cross: father's absence. The tragedy then has two faces: the darkening final and irreversible, and that their absence is a necessary condition for the concept of Pieta. The Pieta of Michelangelo, it becomes so perfect, so complete, because all around is the total absence. This does not know one another Pieta painting can provoke the same effect. The master Florentine Pieta is pyramidal. The marble assumes minimum geometry in the space of three dimensions: the four faces of the pyramid. At least that universe architecture life loses the battle, because beyond the geometry, there is only nothingness. If there is a stone that can be compared to this is Greek tragedy, the devastated by Buonarroti. Only contact between the extremes of beauty and horror produce lightning tragedy. Antigone and Polynices also formed his Pieta in the wilderness beyond the walls of Troy. She piously holds in transit to the land denied. He sees the girl spreading the dry powder over the dead body of his brother and singing, singing all the deaths from his belly, also the father is absent. In his old age, Michelangelo sculpted try another Pieta, the Rondanini Pieta (1555-1564). In the statue, unfinished, the bodies are displayed in a vertical tremendously painful, that the Virgin tries to retain the body of his son in his own body fighting gravity of the earth. "The work is just as artistic creation (...) is close to nothing, is formless, atonic, inarticulate" (Hauser 2004: 437). The rearward Mothers effort is as futile as the artist trying to bend the laws of the universe. Roberto Matamala Elorz


Chile, Santiago (Analyst)

Clitoris Has White Stuff Inside

GENDER IN THE CONSTRUCTION OF THE REVOLUSION OFELIA Boal

Article corresponds to a section of the fifth chapter (Conclusions) of a thesis to obtain the academic degree of Master of Arts with a major in Theatre Direction at the University of Chile . The thesis was defended in May 2005. The dissertation title is "Imaginary Ofelia or evil."
consists of an analysis of the character of Ophelia in three plays: "Hamlet" by William Shakespeare, "or the dead mother Ofelia" de Marco Antonio de la Parra and "Die Hamletmaschine" by Heiner Muller. The analysis is based on gender theory, as a starting point, to conclude by applying queer theory in the analysis of "Die Haletmaschine." The choice and interest in the character of Ophelia is related to the configuration of this character in its original context ("Hamlet" by Shakespeare) is due to characteristics of the archetypal female. Thereby the study of the evolution of Ophelia along and along its rewriting of history is related to the study of the evolution of female archetype built by the male gaze in Western history since the sixteenth century to the present day .
Thus it was evident that mutation in the construction of the character of Ophelia in gender referred to as a constitution from deeply rooted in the cultural construction of sexual difference is reached independent character traits associated with gender construct. This is evident at first glance this mutation occurring in the character something that suggests the obsolescence or at least the crisis of a concept that has operated for centuries as a category-defining identities in Western culture. The crisis in the gender category evident in the writing of Müller charges that this concept no longer provides a framework for accurate analysis, in other words Müller's writing reveals the possibility of, at least in the imaginary plane, universes without gender.
No longer a disturbing idea when sexual difference has traditionally been a key reality in the management of a cosmos under the hegemony of masculinity and other powers that have proposed a subject / power defined and well delineated. Happens to be declared then in addition to gender crisis, the crisis of a given subject axis of power and order. We can say this because the constitution of the speaking subject and builder of reality has been historically linked to gender, male. In writing Müller, surely unintentionally kinship with the foundations of postcolonialism raises a subject of enunciation is not hegemonic, and the most interesting all, a speaking subject who renounces dominant status. Only preserved in the subject of this writing the power of speech, or speech as a last remnant of identity but does not exercise any domination by the utterance. The display of the word then operates as a trait associated with humanity and will, to the pain and cry more than the power. Thus the displacement of the equations relating to power results in a democratization of the word as power even linking it to the area of \u200b\u200bthe victims. Spoken since the defeat, from pain and ambiguity, so the pair deconstruct discourse / power that operates in most of the earlier writings. It is necessary to note that the offset of the speech operation happen effectively and not simply a reversal of order in both gender. That is, the word becomes possible quality of any subject, not simply pass from one pole male to one female. The aforementioned crisis
speaking subject is related to a quality akin to the style of writing in question. If the aesthetics of postmodernism is considered fundamental to the concept we propose to add this piece, also in the aesthetic, a new kind of post modern subject apart from displaying the quality of the fragmentation is characterized as a taxable crowd (17). This concept, from the call queer theory appears to represent evidence of the crisis of an individual with unique characteristics and defined.
While this theory is developed in the plane near the real and effective political action also addresses, in a sense we could call postmfeminista, to denature once and for all the concept and gender-related associations. In this context an interesting aspect of queer theory is to consider the masculine and feminine codes only as performative uprooted from all natural logic. Because of this, the above theory suggests that there is not any one subject of enunciation of discourses, whichever is is, as the hegemony of a subject necessarily generate exclusions. Instead it proposes the existence of a new subject called crowd, appealing to the possibility of any identity, even a peripheral settle into a subject of enunciation with the same value as a core identity. Daniela

Capona
Chile, Santiago (Actress, Director, Teacher)

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Augusto Boal The project used a key element in shaping the sign teatrocomo social ideology. Every individual, according to Althusser, is subject to a Machine Ideológico.Este regulates its artistic production depending on the "field of power" that is. The theater serves as a game. The stage play has rules in a structured manner showing the surrounding reality. The child plays the society through the game. Their social function is made to the rules of that. If male, must have certain fees that are observed in the traditional game of a society. The child must acquire a certain pattern "maternal" imposed by the community in which it operates. The children's game has, as one of its objectives, teaching the social roles of its participants. The "awareness" is in them. There is a "passive awareness." The children make their acting change over and over again, in the social role they like, because I have taught adults as well. The Theatre of the Oppressed offers, like the game, one vision "regulated" society. Children's play differs in several respects. The most remarkable is the idea of \u200b\u200btransformation. The children play to learn their social function. Invisible theater instilled, as Boal, a desire for change in its participants. The "popular theater" was known for Boal: "At first, theater was singing dithyrambic: the free people singing outside.'s Carnival. The party" (p. 13). The elements of this theater were taken to attack an ideology, but to what extent they do it?. The actors or "players" Theatre of the Oppressed represented their wishes in the theater forums, but there would come such representations or be transformed into the "safety valve" of the participants?. The Theatre of the Oppressed, in my opinion, very experimental. Question the parameters of the theatricality of the show. The reason for this "experimentation" can be caused by the resignation aware that Aristotle makes Boal theater, which is the foundation of Western theatrical theories. Transforming the world through theater has, perhaps, a Latin American tradition in "Indian theater." Theatre of the Oppressed
taught as children's play, which should be right. The "public" can be transmitted it desires. These belong to the aspirations of a society. In the game, the child develops his world from social standards queh observed. The adult has also increased concerns games born by the community rules. Games sublimate violence "aggressive instincts" that the individual can not express. Those have the role of "safety valve."
Boal's political activity was interesting for the study, performed in that quality ideological theater. However, we can raise the siguientepregunta: the product of his plays was revolutionary?. The Theatre of the Oppressed was only occasionally truly revolutionary. The "reformist" was one of the common aspirations of the participants. The man, who ate and then did not pay, he wanted to be like the owner. The factory workers who "exploited" its employees chose a union as the best answer. The Theatre of the Oppressed wanted to be revolutionary, but "the public" participant was not. Their aspirations were focused on the "reform." The theater "experimental" Boal did not have that social element, perhaps. Why did not achieve its objective level, political. Ideological Apparatus, in Althusser's terms, even control solutions "public."

Bibliography:

Althusser, Louis (1970) Ideology, Ideological State Apparatuses. Library Synthesis.

Boal, Augusto (1980) Oprimido1 Theatre. Editorial Nueva Imagen, Mexico.

VIDAL, Javier (1997) Set in contemporary American drama. CELCIT, Caracas.


Anabella Rodriguez Caracas, Venezuela (Research)

Welcome Letters To Wedding Party

Drama

The moment that the realization of a dramatic action occurs, is located on a short-lived the monster of repetition that is distinct and bounded just by human intervention and creative established by the actor, founder of the action and the senses. Such is the instability of the dramatic impulse in your body, the actor / person ends up committing acts of retention occurred in pursuit of the past and forget that the dramatic action is performed in the present tense, and end up repeating the mechanical act and the actor's body and perform physical memory A copy of common realities. Pointed at the mutation of the actor, in a field of probabilities where hungry monsters and angels are sweeping vehicles or vectors of the experience of creating a moment of life, and it is only after waking psychophysical, consciousness of each second, every breath or blink which would emerge the mystery theater. The theater is almost a virtual universe, is the construction of illusion, a sham or deceit in faith and therefore the return to power of the senses, beliefs, and their influence on reality. The theater is a unifying rite of desires and the actor / officiant is the skin with memories, not memories, or be a catalyst for the sensitivities. In the creative process of the walk is a confrontation between the case and the ability to perform, the closer that the imagery of creation, the stronger the psychophysical event in the actor. Understand the actor's body in the literary text and its transfer to the stage space, is what makes the methodology is the link driver and founder of the style, no dramatic style without one or aesthetic point of view, um, philosophical and it is just from the definition of the method where one can address in the case of physical theater techniques necessary to implement the act and is the technical definition of who makes the learning style / language . Ophelia I can do synchronized swimming? Anne Frank as a contortionist? O Hamlet between braces? both space and the very development of the character are clues to define the technical body and style / cosmetic to be used, the methodology being the foundation of the universe to be subtle or vital content to the impulses and away from operator technical. The dramatic action is an act of faith ... a sham human reconstruction, a differentiated repetition (the birth of language Gilles Deleuze). where is the actor's body that registers and complaint in the space stage human conflict, and it is in the body of the actor where you should invest in the discovery and mapping methodology of the scars left by the given circumstances of the characters is almost a miraculous act, is like searching for the deceptive illusions of the magician, where these scars are like stigmas they do with that action can flow through the pains and pleasures of the character, therefore need a certain body where ID archeology technical and methodological should mysterious permit reconstruction of the various perceptual, volumes and dimensions of the human condition. there's no room for thought or idea at the time of the dramatic action, I believe that emotions are the result of actions (vectors) and not a preset mindset and it is only from the reconstruction of a body able to hold, receive and expose the emotional juggling where the mystery occurs Theatre. It observed the different techniques or bodily disciplines perceive the existence of a pattern in the structural and formal, between a yogi and an Olympic gymnast or a football player and a dancer, are present almost the same with varying body plans technique addresses the specific objectives of each circumstance and the methodology to do with the intentions of the performers transform the formal / structural transformative action is in the game or the soul, and the theater is a game of the soul and the humana.Y soul before the match is the preparation of the player, the actor so its corporeality should be suitable for mortals with the body and soul, and there is no room in the theater for the exhibition of skills are these physical or emotional. Borges Almicar


Chile, Santiago (Director of Theatre)

Where Can I Find Clindesse

DEAD BODY FROM WRITING

The muertos1 is a part whose direction and dramaturgy was in charge of
Beatriz Catani and Mariano Pessoti. Premiered at the Hebbel Am Ufer Berlin, Germany
(under the Buenos Aires-Berlin cycle, with the production of Goethe Institute in Buenos Aires
). It was subsequently presented in Buenos Aires in the dressing room of the Muses
.
The comments regarding the release could be considered a "color
data", the statement of a particular material to the setting itself. Without
But we believe that in this case the fact of the premiere in the context of a foreign language
production works as a condition for determining this
setting up what it is.
Overall, the translation carries an undeniable functionality, and
is clear what is its use in a field of Germanic speakers but what is
sense to translate into German for speakers of English in Buenos Aires? The
translation, of course, is what creates distance. For several reasons, first,
is "unnecessary" (which does not imply that becomes a non-significant), the perceived target
repeated that word for another that is not them, and on the other side
, which builds this translation is the delay, is the time it stops, the required features
the wait.
On the other hand, the translation and its carrier, the translator, are the
interweave the two places that the work builds. We
explain, the dead is based on two parties, two spaces, which are perceived
parallel but do not overlap: first
television and video and two young men sitting in separate chairs in close proximity;
across a space that could very well refer to a stage, with these quite simple, almost
improvised, not a living but the scenery of a living ... with someone who
reveals his own name (is his name ?, do we tell the truth? "Yeah, we corroborate
1 Credits: Direction and dramaturgy: Mariano Pessoti and Beatriz Catani / Cast: Alfredo
Martin, Vertiz and Nikolaus Matthias Kirstein. / Lights: Matías Sendón / Sound: Federico Marrale. /
Sets: Mariana Tirantte / Friday 22.30 in the dressing room of the Muses.
with the program, agrees with what he said) and history tells us that tries to reconstruct
a work in which he acted twenty years ago, "The Dead" by James Joyce.
To some extent there seems no link between the two spaces, except in terms of nomenclature
(even in thematic terms, only a name, Joyce
text does not seem to refer to "dead" in literal terms, and the dead which
speak on the other side not to be understood metaphorically but literally) without
however, the translator connects the two spaces. Why? Because it moves, runs
both spaces and translates into another language reveals what he says in English. Until
stop.
Those responsible for making claim that there is a research and
back. When investigating the certainties are put in parentheses, and establishing links
orders are most dissimilar. Is there any similarity between the death and drama
? A cemetery and create a stage theatrics? Is it possible
performance of a play without actors? Can theatricality of
absent bodies? The attempt to present those bodies. An Absent
Theater Corps.
These questions are in response the start that we offer. The reports
the designer and the gravedigger is a sample key crossings
unthinkable (but not unthinkable) between both tasks. The young man explained,
shows the cemetery as a staging and theatricality reveals that
looms in the field of death rituals.
Alfredo Martin, the actor, trying to be him in the past, and others, the characters shared
work twenty years ago he represented. This is another focal point, the
of representation how death is represented, how is
represented in the theater, who is one who can represent what can
represented.
All the time there is something in the place of another, or otherwise,
cemetery at the site of the scenery, and most importantly, the media, insists it's
steadily TV is what we see, not the cemetery, is the scenery
of living, not living, the actor, not the character and the translator, which does nothing to explain the mediation
.
Perhaps, the dead, investigating the death found other issues that had been proposed
not found other recesses, said other places where
continue looking.
Finally, after all, for it is investigated to find we do not expect to find
. Monica Berman


Buenos Aires Cap. Federal (Research)

Source: "Land Theatre"

My Two Year Old Is Coughfing Too Much Whats Good?

shed or dramaturgy Dramaturgy CUSTOM

A playwright's work often resembles the performance of a soccer goalkeeper, as the playwright knows the privilege of scoring the goal of the actors, but rarely has the opportunity. This ritual of teamwork we call theater, this ancient ceremony that has its roots in myth and in the game has become more sophisticated to the point today that the assignment of specific roles within a company ends up limiting the artist and cast it in scholastic definitions. Hence we playwrights rarely scoring a goal, running across the field, and party in the euphoria of the final applause. The purpose of this paper is to demonstrate that the playwright may also fill other roles in the staging, and combat the playwright hackneyed idea cloistered in their rooms, which performs functions of office.
In fact liturgy stage, the playwright takes the place of an invisible master of ceremonies, a universe conceived as sacrificing their own experiences to give him the voice to the game's officiating theatrical preconceived mass whose final score only known playwright. What is the new drama? Is it the chance of a new game with the structures? Or the strategy of a poker faced possibilities? The truth is that the theater is still the King of Sports (and arts), whose rules are in perpetual construction, and the playwright played a game of chess to help you figure out a maze of codes. Therefore, the playwright has an obligation to explore all the games of chance, and not just the demands of his office, as in the exploration of the games is implicit learning, dramaturgy, including any kind of acting peel.
Creating dramatic answer my texts to a personal obsession to talk about myself through figures of speech inspired by some gambling. The Bitterness of Merengue combines elements of a ball game, with a recreation of a myth of sacrifice. In my previous work Of Monsters and Prodigies fate rested on a pie fight against the public, in a game baroque theater within the theater, and opera in and out of opera, through the beautiful singing of the castrati, dancing horses and Jack Black who files a doctor with two heads, in an ongoing discussion with himself. Again the notion of sacrifice, which I consider basic to all play, was present in the figure of a soprano sacrificing their testes, as the Phoenix rising from its own ashes, as in the bitterness of Merengue, where we see a man sacrifice his heart, for the release of his beloved Serpentina. Assemblies
In my work I have always had fortunately auxiliary role, either as assistant director, stagehand stagehand or even as this allows me to be in contact with the particular process of each actor, with the possibility of late changes time. This is the playwright's work: caring for every detail to maintain consistency in the time of going to the scene. Write to the scene also has its risks. It is a common place of the playwright's position requires credible respect for your text. A somewhat retrograde. One thing is to attend rehearsals, participate in improv, and take part in the experiments of the director, and quite another to interfere in the creative process of actors. In any case, it would be up the typewriter to the stage as I did in my work The writer is not to blame, which is about a history that is written at that very moment, a playwright and his typewriter typing to the beat of a ragtime of Scott Joplin. If the architect plans a building in a master plan, and the composer defines the universe in your score, the playwright must rely on their literary (giving rise to the scenic elements) to deliver a complete product in itself. Yield to the whims of the director, or succumb to fleeting charm of improvisation is part of the job, but the playwright should propose a prior structure, otherwise it would take the role of a builder, rather than the architect of theater.
Here we have a saying to keep out the playwrights enthusiastic: "the best playwright is the author dead." A rather absurd refrain was coined by the directors to maintain power, and fortunately our generation wiped out, with very few exceptions.
The research process of the playwright not only ends when you finish the last sentence of his work and delivery into the hands of director. Today's complicity with the directors requires that the playwright be present at trial and the process with the actors, not only to make modifications to the text, but because the actors themselves sometimes something comes up that may be helpful to the playwright even for later works. This phase of the research is even more important that the documentation prior to writing the text, as when data is taken body and human dimension. The playwright then has the privilege of identifying for the first time with the actor and his character, as will the public later.
But back a little earlier, the sacred moment is occurring at playwright first dialogue. In that moment of inspiration illogical private. During this gestation process, they often discover the playwright speaking aloud the parliaments of the characters, exploring the sound of words, and to embody his feelings. This is what I call "exploration schizophrenic" because definitely the performance and improvisation of the characters dramatic influence on the creation, that is, the playwright must experience firsthand everything that gets in the voice of the characters.
In 1996, when he worked in the CITRU, an idea knocked on the door of my cubicle: A visit intangible struck me about my job as collector for a database which unfortunately never saw the light of day. While ordering dates and facts, this idea struck me: Of all this documentation could be a play? To what extent the information exists in the CITRU helps the creators of the scene to carry out their work? How many investigations leading to a staging? Why is there a special project that is dedicated to theoretical research linking the practice of theater "experimental"? Later the work of Elena Guiochins Mutis came to demonstrate that the best place to raise theater research is and will remain on stage. I fervently hope that CITRU new direction of linking research to know the stage and made to put aside the bureaucracy that has been stagnant for this institution, supporting playwrights interested in true theatrical research.
Dramaturgy custom is not new, many artists made their most famous compositions commissioned by a king. The fundamental issue is not the payment is received in return (which most of the time is symbolic or in kind), but the gestation of the dramatic text, ranging from unusual images guess the director wants to accomplish until the last minute changes at the whim of the actors. In 1999 I was invited to make a dramatic order, and assist in the process of improvisation in cahoots with director Claudio Valdés Kuri, who wanted to collect data to create a show about singers castrated seventeenth century and develop a dramatic text from work with the actors. Two years did the research process, culminating in a staging entitled Of Monsters and Prodigies, the history of the castrati. Worked for a year under a methodology quite monstrous: research in the life of the castrated singers, quite forgotten by modernity. Unless the film Farinelli limited data about it, let alone the database mentioned above. That was when I faced the first obstacle in my work: the director did not want a piece anecdotal, but thematic. The director did not neglect any detail and applied to the preparation of the text that which we have a simple theme: the first draft text, the director deliberately castrated him all dimensions, and some passages, reducing the text to plain and simple information. The historical limitations were not the only obstacle: Valdés Kuri wanted to work under an austerity reduced all elements and dialogue to a monologue. To the disappointment of seeing my research reduced to a conference on the Italian castrati, the director and I struck up a heated argument, and finally both chose to dispense the speech in a monologue spoken by a doctor with two heads. The scenery was superb resolution, and two actors as virtuous, Mario Iván Martínez and Hernán del Riego, gave birth to a wonderful event. He was finally found that two heads are better than they sing.
The biggest challenge, and one of the most awesome experiences in my career as a playwright, was working with the actors in the rehearsal process. Under orders from Claudio Valdés Kuri, I joined an acting exploration period, while he served as assistant director (who later came to usurp "Marquitos Diaz), and developed a test blog. The sacrifice was that Claudio did not let me act or play the harmonica, and while performing all training exercises that Claudia Mader put the actors to begin improvising, my place was back in the seats, noting the body language The actors developed. Jorge Kuri



Mexico City (playwright)

Brick Pool Coping For Sale

The attendance of Brazilian scripts over nearly two decades, will there be served to affirm an exciting model that facilitates the production of original texts in Chile? When looking at the differences introduced adaptations, usually at the expense of quality text, as seen in Sucupira (O Bem-loved), but also in the more trivial fashion Love is (Ti Ti Ti), is the feeling that learning is verified all but irrelevant. Certain features that became commonplace in Chilean production (such as stereotypical characters, the absence of conflict and suspense) displayed no matter what type of material originally written or adapted. The projections made in the '80s, for those who still can not access the middle and could criticize objectively, were not met during the '90s. Hardly the soap opera content change as long as the denial of cultural and ideological pluralism, as long as the refusal to introduce critical content and dissidents, while present problems and prevent real dramas (...) and while preventing innovation and experimentation for fear rating. But this situation should change within a democratic system of television. (...) There is a widespread demand as a priority in the future those matters that have been excluded from the screen. Does the reliance on imported scripts revealed perhaps a more profound lack of collective imagination Chilean? Or just about the mark left by those who decide to produce this or that, according to criteria makeshift defend their personal interests? A librettist to all conventional lights, but as experienced as Arturo Moya Grau, from the mid-'70s until his death in '90, managed to sell their texts more frequently in Mexico than in Chile. Juan Ignacio Valenzuela on one hand, Castagno Daniel Nestor and the other followed the same path during the 90's. No comment from officials of the channels, the more interest in ensuring the production of National Card. Can get their plants to directors, actors and entertainers who rarely use and generously paid, but only hire scriptwriters when to develop a specific project and then bemoan their lack of experience, as if they could buy it expecting to be summoned. Today there are very few experienced TV writers. Graduates of the School of Communication, having enough knowledge, do not (...) (...) practice and you learn doing this job. I think one important function of the National Council of TV should be training people, scriptwriters, producers, directors. The most curious is that the professional ability of the playwright seems to be rarely taken into account. A few playwrights recognized as Vodanovic Sergio Wolf and Egon have written very occasionally some original soap opera for Channel 13, as María Elena Gertner did in TVN in the '80s. Have not led groups of employees, nor continuously. Mistrust or even hostility that arises between the writer and the rest of the production team, is a fact described by the Chilean press: Every night, Moya Grau writes the chapter and verifies it with the booklet in hand. The explanation is not so much to be a perfectionist (...) but to do it. So do not tell stories. This control is to see that an actor does not get out of text and give to improvise. The writer is too close to the Chilean producer team, not installed in Brazil, but hearing about the results of production, and sometimes having to defend the coherence of its text against the changes to be introduced in the production process, it becomes a hindrance to the directors prefer to avoid. A fundamental tool of the genus in other countries, the creative feedback between the different team members in Chile is often reduced to a history of mutual insults. Three years ago [Moya Grau] promised not to write again to Chile. I was enraged. Without consulting him, had made changes in the Last Crusade. We are far from fruitful dialogue between specialists who complement each other, advocated in the mid 60s by early analysts of the media: It is appropriate that the screenwriter of TV spend hours and hours witnessing tests, looking at the monitors, listening to the warnings and modifications to the director (...). Must be in the cabin at the time the program is on the air and look at the information that makes the camera director, coordinators, the soundman, actors. That does not happen in Chile, for different reasons. First, is too urged librettist, writing the next chapters, as for recreation visits and dialogue, although they might provide productive feedback, you will lose precious time. What channel he appreciates most is the speed to do their part, not worrying the rest. Secondly, it is rare that someone in the channels assume that writing is a creative work of whose existence depends on the fate of the final product. What is the production structure that devalues \u200b\u200bthe local script and forced to depend on foreign texts or stereotyped, when it is not pure improvisation? One that neglects the role of drama, likening it to a hobby where ideas of some complexity, references to the real world and even the emotions are more intense. In the drama of channel 13, through the Catholic University, is easy to understand that there is no room for extramarital love affairs, drug use, prostitution, homosexuality, violence, sexual intercourse, AIDS, abortions, divorces, suicides, prolonged kissing or criticism of any institution or set value. Maybe I should place the media is not about to return Unsharp unrecognizable to their worldview. However, even accepting that the drama should respect those limits in place to address contentious issues to give a decision in accordance with the premises of the medium, the question arises: why produce dramas and series, dramatic speech that are often characterized by unorthodox proposals or at least instructive on the moral and good manners? The dramatic claim the possibility of staging intolerable violations of the existing order (which, however, impodrá at the end), since it is variety and give credibility to the conflict dramatic features. The Oedipus story includes incest and other crimes, but does not induce the audience to imitate the sinner, but rather the opposite. If it is obvious the existence of the drug in a soap opera, how describe it as a scourge of modern life? If you delete the configuration of sexuality, how do give some weight to the Church talk about it? In Chile expresses a constant tension between those who produce a television drama in need of conflict representation capable of moving the audience, and those who fear (and thus censored) that representation by assuming that promote imitation of an innocent audience which should remain uninformed. When adultery is implied in the plot of a soap opera for Channel 13, as in Top Secret, the protest immediately arises viewers an organization that initiates pressure on major advertisers to withdraw their funding to the environment question. No wonder that the characters critics were quick to rectify his conduct of a chapter to the next, leaving other way trip and all adhere to the moral, but in doing so destroy fundamental reasons for the plot. Even the more conventional scripts of Brazil, are difficult to accept in the ideological context imposed on the Chilean media. Almost all were written in times of strict censorship, for more than two decades of military governments systematically suppressed freedom of expression, yet often seem more controversial than prudent, when they were set in Chile under the restored democracy. Before 1990, more than half an analyst assumed that the thematic limitations of television drama, were a direct consequence of the restriction of citizenship rights exercised by an authoritarian government. Oscar

Goraycochea
Chile, Santiago (Analyst)

remarkable breakthrough

Ap Bio California Lab Answers

TELEVISION THE YOUNG AND OTHER MONSTERS

From the Contemporary Group, about every twenty years there is a new generation of Mexican playwrights. Then critics and students are responsible for giving chronological corpus and put in place intrusion, the excesses, the jumps in time of each member to complete a file to be completed by thesis or essay disclosure, ie, increase the documentary collection universities and research centers.
In recent years, makers of hard work, more taxonomic review, ordering the Mexican drama, do not agree on how many generations of Mexican playwrights ranging from Novo, and Gorostiza Villaurrutia to the youth of this new century. It is said that six other five, some say seven.
happens all over. Every critic, researcher or dilettante, has his theory, or school of thought, or preferred subjects, regionalist, occasional.
In short, to enter the subject of young Mexican playwright, ie the latest and newest, rather, the authors who were born or born in the seventies and eighties, I have no hesitation in stating that I will be talking to my friends and one another known. The new Mexican drama is a monster poilicéfalo by young authors from around the country than in an average of six or seven years have been placed in the national theatrical horizon, awards, publications, productions, staged readings and theater groups, and thanks to communication systems virtual state grants, and theatrical events, we know quite easily who is the other side of the screen or the stage, nearly two dozen authors swarming.
Some benchmarks are needed: the National Playwriting Award for Young Gerardo Mancebo del Castillo, theater space Chapel director and producer Boris Schoemann in Mexico City, the National Exhibition of Young Playwriting in Santiago de Queretaro, the Festival of Drama Contemporary Lake House, The Grotto Forum Hellenic Cultural Center and other meetings in various parts of the country to be diverse, growing and integrating new voices.
of people who have walked these areas over Once names are my conclusions and the wind: Carlos Nohpal (DF, 1971), Concepcion Leon (Merida, 1972), Edgar Chias (DF, 1973), Mario Cantu (Monterrey, 1973), Jorge Kuri † (State of Mexico 1974), Rafael E. Martinez (Sonora, 1974), Alfonso Cárcamo (DF, 1974), Alejandro Román (Cuernavaca, 1975), Martin Lopez Brie (Buenos Aires, 1975), Mariana Hartasánchez (DF, 1976), Richard Viqueira (DF, 1976), Veronica Bujeiro (DF, 1976), Luis Ayhllón (DF, 1976), Noe Morales Muñoz (DF, 1977) Luis Santillán (DF, 1977), Alberto Villarreal (DF, 1977), Denisse Zuñiga (Mexico City, 1980), Hugo Abraham Wirth (Iztapalapa, 1981) and Alejandro Ricaño (Xalapa, 1982). For the missing, my apologies. Excel
concentration in the Midwest, specifically the capital. However, the quick ride north to deliver his credentials. Gulf Coast of Mexico, Xalapa is stay as a bastion not only of playwrights, but theater people in general and the Pacific is conspicuous by its absence, with the Guadalajara and Bajio. The South, condemned the sporadic appearances, remains in Merida their better future.
What does being an author of this young generation? Let's be honest, open the door to grants (state, national, even international) anthologies, a national playwriting award with an age limit, some assembly or staged reading a year, and followed more or less sensitive nature of much of the national drama society.
Is it enough? Nobody knows, just work, work on stage and give the answer print. For some, our elders, of course, far too recently achieved prominence that this handful of young writers. For others it is natural that grows through the media group and a group without standing in the theatrical map. I think the same thing happens with other literary genres, stands a lot, more or less colorful, which is taking over the motto of "youth" who once had their predecessors, until they can be anointed with the canon of criticism and taxonomy. Will be strengthened with more or less fortunate in the state subsidy system until the final tribute, whose reviews appear in local media.
Recently a renowned Mexican playwright, has publicly expressed contempt for this group of junior researchers. She lamented the lack of humility of some of its members, and adjectives, as expected for their generation. It is normal for most outstanding authors in years feel threatened his fief-especially in a theater like ours, which depends primarily State-and come to the vulgar disqualification.
often accused the young playwrights to have "suffered less misery" than previous generations. It is probably true, but who can blame a professional less than thirty five years to collect a scholarship, or copyrights of their work, or send your text to a contest? No one has become a millionaire as a young Mexican playwright. The money received is barely enough to buy a pack of condoms and pay a couple of drunkenness. At bottom, the main problem with the critics and of many renowned authors of Mexican theater is to be laid down in minutiae instead of checking the quality of the texts and oppose generational bias. Furthermore, it is no secrecy in our theater there is excess demand and poor supply of labor for a playwright (note how old you are). No professional, performing spaces as they fight in war, and decentralization is an unfulfilled dream. That is, there is misery for all. Enrique Olmos
Ita

Mexico, Hidalgo (Critical)

Enlarged Prostate In 23 Year Old Man

Playwright Playwright

playwright's task is ambiguous, this role is widely used in European countries rather than in Latin America. This is responsible for selecting and scheduling the work according to the present, or any utility. Search and investigates
documentation and about the work, adapt or modify the text (Montage, Collage, Overlays, repetition of passages, etc.) Extract the joints of the meaning of the work, placing it in a context of a comprehensive interpretation, as well as involved in the course of the trials, as a critical observer, whose eye is cooler than the director, thus, the playwright is the first internal critic of the work process.
The specific activity of playwrights in the implementation stage, thus forming a joint team with the director and actors will always be among the actors and the director.
The first dramatist was Lessing: his playwriting Hamburg (1767), a compilation of critical and theoretical reflections, a German tradition of theoretical and practical activity that precedes and determines the staging of a play. The distinguished German, unlike French and English, Dramatik, the writer works, the playwright, which prepares its interpretation and its implementation stage.
The playwright is almost like a stage director, which is structuring a spectacle, so the director can only take care of directing actors. Very different playwright, a composer of drama, so that becomes the Greek playwright word I compose a drama, but the playwright does not stop be just a computer if you want to call it this way, but it ends up writing the playwright's work, ie would be like the second of playwright and not least of course.
The work of the theater in some European countries, and in a minority of Latin America, is essential, because its function is that of a counselor, but literary as some are determined to say, if not in the same theatricality, or theater writing, as the literature is varied and widespread discipline it when it is used. Ultimately, the playwright is a historian, a playwright working in the theater as part of its artistic structure.


Córdoba Fernando Zabala. Santa Rosa C. (Playwright)