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)
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