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INTRODUCTION

The objective of this area of \u200b\u200bresearch that promotes Playwrights Association of Cordoba, is to publish trials relevant to the drama in general, pointing to the knowledge of it as textuality, item, or tool in the performing arts. To decipher their function, their development, process discipline is as diverse as theater. Each test will have a look on the dramatic interpretation made by the author or by other authors that analyze in order to study drama, telling about his vision of it, the mechanics, or simply walk through the scenarios of Cordoba world.
Thus, authors who want to expose or give clear about the task authorship in the theater, must have an essay no longer than 600 words, submitted in hard times new roman, in size 12, justified, putting the full name or nickname, and theatrical profession, as well as the place of origin. All materials will be sent to the editor of this website we posted. Fernando Zabala

Editor

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Well it has to determine that meaning in the authoring stage, and in developing practical skill for rhythmic synchrony, semantic, syntactic or stylistic and appeasement of an author and the scenic setting, as well we talk about the writing of the director or of the relationship established between the different languages \u200b\u200bthat mean in the show, or the partner in question, fractal or hermeneutic, to establish the similarities between cinema, theater and TV
The truth is that consumerism, the cultural industry, globalization are posing a drama : the theatricality of public space, the outdoors, open space: Sanniones, planipedias, AQUACER, acrobats, tightrope walkers, predistigitadores, mime-actor, androgyny, misogyny, in order: ioculatoris and maleficus domini.
This internationalization, or abstraction of the word primarily prevents the singularity, and allows just the same, by the standards and rear, native and foreign. Replace, reduce or sublimated body's ability Interpretation; variety of corpus; icons on crossroads, uncertain of chance; widget on construction, culture on art.
not so new drama to be exact. Agreeing in advance that any return, or return, or return circunvolición is a spiral, as the curved mirror of our love.
not so new drama to be accurate because the culture industry from the 60's was asking for the sake of efficiency, globalization, the universality of art, the abolition of the word as formal and material impediments to achieving communication.
not so new drama, to be exact, because empires (From the Egyptians to contemporary) and have always behaved so universalesca urged to enable them, first of all, remove the singularities, or reduce them to the superfluous, the baroque decoration, to create and strengthen a single and unique identity: the empire.
is no doubt that this dramatic regress to lead and be in your protoescenario, to their original sewer, to your specific audience: the stadium, racetrack or both pride in the Rio carnival and how pleasant was to Constantine. Stadium
urged to revamp its phallic spectacle to occupy the place it belongs par excellence. (Oh coincidence) and moving (who believe it!) in the same direction, incubating, the other trainees brewing gesticulating actors, peers: the player, who every day is early testing and debugging the first steps, choreography and gestures, and the public has already anticipated, strangely elements constitutive and structural origin of its orgiastic catharsis. Theatricality
without drama. Pan, because the action itself, and as a movement or as an image, a flower of a day, as needed, but not the development of impersonation for the new, which is not bad it is surprising and refreshing to the viewer's retina, passenger, also urged hebrio and emotion without feeling paroxysm without ecstasy, grandielocuencia no wisdom, no individual serial numbers: mass, imperial sounding.
It is reasonable to also ask why this has occurred throughout human history what other dramas catechumens and island appear and oppose the delusions of power and lust. And how? And why? And for what? And where? And how do they differ? And why are they different?
Maybe then we could talk about dramas: the existence of this polarization, and the alternations against imperial homogenization.
The current rhetoric seems more like the ghetto IDOLIZE paradise lost.

Phanor Teran of Colombia
(playwright, essayist, researcher)

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Playwriting THEATER, A TOOL IN THE HAMLET MACHINE ON SCHOOL

When talking about "theater in the school" is usually understood as an activity whose purpose seems to be the public performance of a text (either by a specific author or collective creation from the trials and improvisation) at the end of the year or other special days ...
course not excluding that possibility, the books published by De la Torre in his collection "Alba and May Theater" ("The Thief Words "," Mysterious Shadow "," My friend speaks Fremd rare "by Antonio de la Fuente Arjona, and even "The girl did not know she was" Sury Sánchez) fantasize about a proposal which, although modest appearance, becomes ambitious plan.
Secluded in the privacy of the room, heedless of public applause and relieved of devices (lights, decorations and other trinkets techniques), the theater, not avoiding the playful, delves into pedagogy. Where it becomes important to the experience and not the display.
Theatre at school and at home "was the original title that gave rise to this collection of books back in 1992, under the sure direction of Luis Gonzalez Carreño (theater director and professor RESAD) and an editorial which went bankrupt due to release its fourth title (things in life and this our scene, luckily Ediciones de la Torre taking it over) ... "Theater in school and at home" with all its luster, but waived the fame and laurels, transcendent but media coverage: the everyday, simple, approachable, accessible, open to anyone, at home and at school.
we are not actors. We are not looking spectators.
It is not about education "play" (ie, a teaching professional theater theater) but "drama in education", ie imagine a professional, a teacher (not in theater: a math teacher , or English language or second language ...) using dramatic play (in the classroom and in school hours) to better convey his subject.
But is that theater can be used to teach math or language or history?
Yes, why not? The dramatic expression in the service of education!
not as a separate activity (usually done outside the school) but as part of every subject matter: in short, as a tool rather than as provide (enriching) the work of teacher and guide (with practice) understanding of students.
As a tool, other materials, add the textbook, slides or visit the museum
puppets, shadow play, pantomime, the children themselves representing / experiencing a historic event, a math problem or a grammatical concept: the possibilities and uses are formidable.
- Ugh! -Here is where a party is thrown teacher hands to his head and snorts. Ugh! More work!
have no dramatic training and believe that this is all very complicated, and not: for once let us take an example to the children themselves who are trained not dramatic but they open one of these books and just start reading and are playing, learning, and simple, and that is the position to follow ...
is clear that the more resources have the trainer most likely to play, but with practice one learns, is not it?
Each of the books published so far have supported (and support, shoring) that theory (which of course is not new, nor is it "mine") has had the valuable assistance (and almost surveillance) from a teacher on the subject to be treated, and after several courses conducted with teachers and students of teaching I have seen (and confirmed) to what extent, with enthusiasm and imagination (and time and commitment, of course) that theory can grow, become bigger and bigger independent ... And walking out there, away from my hand, I hear of Barcelona, \u200b\u200bNavarra, (and from further afield!: Morocco, Colombia ...) of people whose daily work and discreet anonymous profit colleges and beyond my initial proposal. And now
loop the loop and tell me where unbecoming, "we are not actors. Viewers do not seek "wrote above not to confuse, to show the theory clean of dust and straw, but once explained (and hopefully understood) must return to the obvious truth: that theater is theater and even a text theater and nobody reads uncannily as if it were always representing the public and the actors are there but not see them. Therefore, this proposal can never exclude the possibility that theater.
So are these books that are emancipated from the theory that the form (and shaping) and provide other readings, other uses depending on who trespasses on their pages, a boy, a teacher, an actor, a director ...
This opens up a double track, double door to a fantastic adventure circular: in the theatrical world started studying or study while doing theater? Either road will inevitably lead us to the next. Come and see!
No big secrets and tips learned (not required), these four books ("The Thief of Words", "Mysterious Shadow", "My friend speaks Fremd weird" and "The girl did not know I was") stuffed with games, ideas and exercises, only venturing a few bases, simple but robust , on which each one could be built to suit this theory or fantasy. Because more than
dramatic skills (which are not bad, of course) the main thing is throwing enthusiasm and imagination, that the best way (if not the only) contact dramatic play and ample resources, is precisely that: playing and experimenting.

Antonio de la Fuente Arjona
Spain (Actor, Playwright) http://delafuentearjona.viadomus.com