Exercise Suitable For Hip Replacement

Wethal, co-founder along with Eugenio Barba's Odin Teatret

writes: Carlos Thomas Temoche You change

when an actor dies, never dies
, remain vivid characters
.

You stay with us
Torgeir Wethal
The terrible news
surprising
in full session of the National Executive Board on Sunday

29

Torgeir Wethal dies, co-founder along with Eugenio Barba's Odin Teatret Written by Arteblai

-Eugenio Barba
Monday, June 28, 2010 12:23

Yesterday, Sunday June 27 morning, died Torgeir Wethal, actor and founder with Eugenio Barba's Odin Teatret. Torgeir Wethal, actor, teacher and stage director, born in 1947 in Oslo, Norway. He was one of the founders of Odin Teatret and participated in shows since 1964. His professional experience was published in The Actor's Way, edited by Erik Exe Christoffersen. Was responsible for film production of Odin Teatret and directed several documentaries about their shows and travel and training of the actor from Etienne Decroux techniques, Jerzy Grotowski and Odin Teatret.




Torgeir Wethal

Open Letter Eugenio Barba

Dear Friend, I am writing on behalf
around the Odin Teatret.
On Sunday 27 June at 7.45 am Torgeir Wethal died. I met him when he was 17 years in 1964 and together founded in Oslo, Norway, the Odin Teatret. Eighteenth birthday was about to enter the theater school, but did not hesitate to believe and remain loyal to the group that at first seemed like a project dilettante passenger.
During these 46 years of activity becomes Torgeir actor, stage and film director, Always in our group. His film with Ryszard Cieslak on training is a unique testimony to the innovative strength of this practice rediscovered by Grotowski. His film about the training, entertainment, travel and barter of Odin show the highlights of a group that has outlined new areas of theatrical action. He has participated in every show of Odin, including as assistant director. Until May 2010, despite being weakened by illness, has worked in the trials of the new show of Odin, chronic life.
In November 2009 she was diagnosed with a malignant tumor in the lung, which spread quickly. We want to give this news to you who did not know him. For you that you've known is a fragment of your life telling you goodbye. Eugenio Barba

Larry Levine Clothing

writes: Carlos Thomas Temoche You change

THE DEPUTY MINISTER OF CULTURE ACT APPROVED JUNE 23.

Approved Ministry of Culture


PROPOSALS CULTURAL AND MUNICIPAL ELECTIONS

HOLA AMIGOS

We are planning a talk on Cultural and Proposals Municipal Elections, by Guillermo Cortes.

William, communicator, has worked in research and design of various projects, tasks Culture Communication and Citizenship. University Teacher's Diploma in Cultural Management at the Pontifical Catholic University of Peru and the Course of Cultural Heritage of the San Ignasio of Loyola University. It is co-author of Cultural Policy.

Talk, we are called out of invisibility, by those who ignore our presence in the social fabric of Peruvian culture. You need to know who propose candidates for mayor, especially in Metropolitan Lima about the protection and promotion of culture, but first we must be aware of what cultural management and the work of creative artists.

BRUGES PRODUCTIONS - Yawar CULURAL ASSOCIATION - EDITORS CANTA, align themselves with the few efforts to make our voice heard, to be on the dynamics of the theme Cultural Policies need to plunge the task of making separate spaces for discussion the subject.

Tuesday June 29, 2010 - 7:00 pm
Chamber Theatre: Ricardo Roca King of Amateur Artists Association -
Jr. Ica 323 - Cercado de Lima, side of Teatro Municipal.

Free Income ---------------------------------


HUACHO
TEATRO DEL BARRIO


Yesterday, Saturday June 26, continuing the cycle of workshops prior to the opening of the Teatro del Barrio San Bartolomé, Huacho, who endorses these lines gave a small WORKSHOP ANALYSIS OF TEXT AND ADDRESS THEATRE in that province.

In summary, the workshop laid siege to the vision of Konstantin Stanislavski, its historic tasks and description the three phases of theatrical production process: Part Analytical - Expressive and Performing Arts.

Establishing the sui generis characteristics of theater we can define the relationship between director and actor, taking into account that our reality is a collective production groups have - at least inside the country - features cooperative and self-management. All to contribute to the vision of actor advocates multiple independent theater movement, so combine various disciplines. Another aspect discussed was the recommendation of Constantine: the theater director, to be considered as such, should be: the producer - director - playwright and actor (Constantin Stanislavski, Early Stage Management - Edgar Zeballos). So, for the great teacher, the principal may act, of course, is not recommended in the same assembly. This contradicts the simplistic view Festtas makeshift jury, prohibiting a Director acts. Then, Mario Delgado, Alberto Isola, Alfonso Santistevan should not act (?).

in theater history there were periods in which the importance was given to the text, direction, scenery, etc., But from Jersy Grotowski argues that while the actor is a fundamental element of the process theatrical production, but this production can not result of a single creative personality. No. It is the sum of all the efforts where no one is inferior to anyone.

The workshop gave an overview crowded theater history and management, in a single day since a day is impossible to treat so vast subject. But it affected the Phoenician theater and Lino praises to God and how the Greek theater in its early days had no divisions, all could act and had no private ownership of the characters. The theater was born of popular festivities, religious ceremonies in the village.

The workshop basic exercises and games were also performed improvisations and analog counterparts and suggested management guidelines to address work-trigger of transitive verbs, active and generative words, the rhythm, music, dance. For reasons of time not worked on the theatrical element, from which can be generated sequences.

attention was given to the preparation of the actor's body as a source of sound and movement, every exercise and / or game should stimulate the creativity of the actor, which joins with the sincere emotion physical actions. Productivity and incentives are concatenated dialectically director with the creativity of the actor.

put on record that there are different ways of approaching the analysis of text and address, as diverse are the current and theatrical styles.

work in the workshop fragments of poems by César Vallejo and Nicomedes Santa Cruz.
would have been advisable to work a little text, this task is pending, as local theater, which opened its corporate local 28th August 2010, will serve not only for theatrical distribution, will continue the workshops and above all be a space where weary feet nomadic globetrotters playwrights have shelter and clothing.

Congratulations to Julio Montesinos and his group Pakaritambo that from Italy - Palermo has had the generous idea of \u200b\u200bputting all your savings in this creative enterprise. Everyone can send donations to July, Yawar proposes to donate at least one seat for each group or any other element that serves the audience that has three floors and 200 square meters of total dimension. At the opening are invited everyone, at least they are committed: the Experimental School of Mime, Yawar, Waytay, all groups of Huacho, Huaura, Chancay and there are up to two groups that will come from the jungle, his theater.

Deputy photos of the workshop.

On 28 August will be a party Huacho

For the Theatre, provided
A Viada all
Stanislavskianamente

NOTE P-23.6
-U-Law Change June 23

How To Fake My Community Hours

Yawar Yawar News 23 News 22 News 21

writes: Carlos Thomas Temoche You change

HUANUCO

Huánuco I just came from, but I enlisted to go to Huacho gear and be on Saturday June 26 at the workshop organized by Pakaritambo. THIRD SCHOOL THEATRE FESTIVAL FESTINF 2010 - HUANUCO - TUESDAY 22 - WEDNESDAY 23 JUNE 2010. spring I was in the city of Huanuco always evaluating the Opening Parade and the Children's Theatre six works presented by the same number of educational institutions in this beautiful land of Perricholi Alomía Daniel Esteban Robles and Pavletich. I am part of the jury composed also by Matthew and colleagues Fausto Carlos Quispe. Perhaps the big mass media do not report anything, nor will the FESTINF considered in a formal speech today to talk about culture is fashionable, nor the Peru of the Diversity Coalition, we want to post, will not be considered part of that diversity , but independent theater is the only organizational tool that has managed to centralize and organize the theater throughout school. It is no longer only FESTTA (Theater secondary school), FESTEPY (Teatro primary school), now the FESTINF breaks, young children at very young. These are children who do theater for everyone. Many are shocked when they talk politics cultural, but from the social sphere can also promote and encourage the culture. This is the case with the lawyer Maria Trujillo, dramatist independent from UGEL HUANUCO, Festinf organization remained for two years, but from this year's activity begins to walk alone, now the Festival is organized by the St. Jude school Tadeo and the second year is organized by Divine Mercy. The selected cast will travel to the city of Huancayo, a major event. FESTINF RESULTS Best Editing: "THE FOX AND THE GUINEA PIG 'FOR THE DIVINE MERCY IEI SECOND BEST EDITING" THE CHICKEN PLANTER "LUNA ESTELA ISAAC NEWTON SCHOOL BEST DIRECTOR: KENNETH KTONCONI BEST ACTRESS: THE NEWTON SCHOOL HEN Yawar was also present with "PACO YUNQUE ENCOURAGING THE VARIOUS EVENTS AND PRESENTATIONS IN SCHOOLS Huanuco. Yawar CAST: PINE Liceta, LEONARDO ALEGRE, ADERIANO ESTEBAN, EDUARDO ARAGON, CARLOS MARTINEZ. HUANUCO just got off THREE PRESENTATIONS WERE IN THE SAME WORK IN THE NEIGHBORHOOD SCHOOL HIGH COSTA RICA - FRIDAY, JUNE 25. FESTINF Post photos

HUACHO

Before the opening party the local theater (August 28, 2010), we invite stakeholders, teachers, students and everyone interested in learning about and explore the wonderful magical world of theater, to participate in the workshops unique and unrepeatable being made all Saturdays (from 12 June) and will continue until 28 August. This Saturday, June 26 Huacho reaches one of the major players in the national and international theater: Temoche TOMAS, a whole life devoted to the theater ... Thomas is the Library Theatre, sharp theoretical and practical knowing of theater and theater Peruvian international ... reason enough to not miss the great opportunity to share with my good friend Thomas, a fun day of lectures ... theater class ... July Montesinos

WORKSHOPS CYCLE

Saturday, June 26, Reporter: Thomas Temoche CARLOS SEVERAL Director of the cultural association Yawar theater director, doing masks. muñecones puppets and Member of the national board of the Independent Theatre Movement Perù Topic: TEXT ANALYSIS AND MANAGEMENT OF THEATRE Besieged the analytical, expressive and scenic. Location: Av Grau 253-D-Huacho Saturday 03 July, rapporteur: HECTOR DE LA CRUZ Professor of dance studies at the School Dance School Live and Pata de Cabra Current choreographer at the National School of Drama Topic: DANCE AND THE ACTOR The flexibility and sensitivity, combined with the Games and corporal works of creative choreography theater. rapporteur Saturday, July 10: JULY MONTESINOS Actor, drama teacher and director, graduated from the National School of Drama. Founder of the multi-ethnic theater group Pakaritambo (Milan, Italy) Topic: IMPROVISATION AND THE THEATRE improvisation through a song, a poem, a verse, a word ... (every Saturday a different theme and very funny)



Each speaker will have a day to share their experiences with participants from 10 am until 6 pm (intermediate 1 to 3 pm) Participants must attend in comfortable clothes (diver) and materials recommended by each speaker. Reports: 232 6295 - 2322553 - 993642048 2322828 - 991334500 teatrodelbarrio@hotmail.com

Is It Normal For Grown Men To Have Wet Dream?

Contigo Apeiron and Forum Theatre ... America convened the course:

genres of drama as a result of organic development of the creative process.
Taught by: Fernando Martinez Monroy


"How could we know it again if you do not know what is important? How can we pretend to innovate if they ignore what the media? All innovation depends on what exists. The artists do not work to innovate but to rediscover, from elsewhere, what in the world, others lit before.

The characteristics of the individuals highlighted when they are related and were compared with individuals of the same species. The theory only concrete in the conscious practice of knowledge about the object. If the musicians, dancers, artists, singers, architects know to be educated and exercises to master the technique, why theater people claims that can dominate the scene from their ideas, without taking into account the nature of their profession?

Art is not an imposition but discovery. The actor, director and playwright have to learn to be free in the nature of his art. The creative freedom is achieved through knowledge. The artist is a lifelong student. The artist would not say never, "this does not work. If they have been great, we must look back at his work. We must all strive to our education." FMM

Under these assumptions, Fernando Martinez Monroy proposes the development of a course in which, briefly and intense, it raises an exercise of analysis and understanding about the constituent elements of drama, those who make them to the theater an art in itself, quite unlike any other, and whose main purpose is to reflect about life and act as powerful testimony to human existence that leaves traces Evergreen in each of their actions, like a stone falling into a lake, generating waves that spread in concentric echoes into infinity, transcending the boundaries of time and space.

This course is open to anyone interested in reflecting on and moved by the emotional observation, synthetic and deeper than the theater performs, offers an opportunity to discuss, question, review, monitor, reassess and resizing issues life and the theater lights in this space looks for evidence.


agenda.
INTRODUCTION: THE THEORY OF THE DRAMA.
I. THE FORMATION PROCESS mimicry and STYLE.

II. DEFINITION OF DRAMA
(Towards a definition of organic in a dynamic scheme)
2.1. Action (the process of action and its effect on the viewer)}
2.2. General levels of understanding.
2.3. Dialectical structure of the drama.

III. THE process of stylization.
3.1. The formation Style:
3.2. The meanings of the concept of Style:
3.3. General or Universal Styles:
3.3.1. The Realism.
3.3.2. Idealism.
3.3.3. The Grotesque.

IV. GENDER.
1. Definition.
2. Dramatic Gender: Towards a critical analysis.

V. GENDER OF REALISM.

VI. THE TRAGEDY.

VII. COMEDY.

VIII. PART.

IX. GENDER OF IDEALISM.

X. Melodrama.

XI. Tragicomedy.

XII. COMEDY COMEDY IDEALIST O HAPPY ENDING.

XIII. EDUCATIONAL WORK.

XIV. FARCE.

5 to July 28, 2010, Monday and Wednesday from 17:30

20:30 hours (8 sessions of 3 hours by adding 24 hours.)

COST: $ 1500. Information and registration
with Esteban Montes
044 55 29 39 17 92 / apeironteatro@gmail.com

Limited seating ** **


FORUM YOU ... AMERICA ARIZONA 156, COLONIA
NAPLES (Viaduct Between Rio Becerra and Pennsylvania.)

Special Promotion: Assisting
Genres Drama course, you can begin to attend the seminar Shakespeare from Shakespeare, (two times: Saturdays at 16:00 pm or Sunday 20:00 hours) and does not charge you register for the seminar, would pay only the monthly $ 250 pesos.

Replacement Locks For Truck Tool Box

writes: Carlos Thomas Temoche You change

\\ FORWARD THIS WONDER OF WONDERS THANKS, IRMA


Who said it needs paint and a brush?
Believe me touched my heart the wonders that a human being can make ... gifts that can be expressed to practice the admiration of the divinity in every being ...


Kseniya Simonova is the winner of the Ukrainian edition have talent. In the end, he painted a live animation of the German invasion of Ukraine during the Second World War, using his fingers and an area with sand.

brought tears to the eyes of the judges. They're wonderful minutes. The "painting" changes with every movement of your hands ...!

NOTE: Failure to load first. interrumpciones to avoid the development of animation.




----------------------------------- ----

(I) CUMPLEMENOS Yes, last Sunday celebrated birthday Yawar Mary Nole, our founder, met on June 10, Thomas 18 Temoche meets Nancy Kaler - which is herrr in Germany, met on 20, but all that day and we socialize a single cultural revelry at the house of Yawar. We had great gifts : 1. Fernando Fernandez, a prestigious national actor will work with us a new show, especially with two new young actors. Although we do not consider ourselves old old is the sea, and still makes waves. 2. The group cheered the revelry Sunday consists of Jaime Rubio, musician Yawar arrived in diapers, and now is a talented musicologist, will open music workshops (Wind - strings and percussion) and on a whole range of music, which are consolidated with our primitive lines of work: theater - music - visual. Are in the photos attached.

-----------------------------------------------
------------------------- 3. HISTORIC DAY IS COMING: PROPOSED CULTURAL AND LOCAL ELECTIONS ...

------------------------------------- 4. Yawar IN POOR PASSACAGLIA SATURDAY, JULY 19 - 1:00 PM MAIN SQUARE OF THE CITY OF POOR. ACTIVITY AND COORDINATED WITH THE CITY GRUTEMA OF THIS DISTRICT. ----------------------------------------------

------------ 5. Yawar PUQLLAY IS NOW ON SALE BOOK Yawar PUQLLAY GAMES AND EXERCISES PRE - CHARLES THOMAS Temoche DRAMATIC ASSOCIATION OF ARTISTS FANS. JR. ICA 323, near Lima.


VIAD ALL, THE SON OF Vuvuzela, NOS VAMOS A BAD, THE FEAST OF HUANUCO AND THERE A

HUACHO

Gir Costume Invader Zim

Yawar Yawar News 20

writes: Carlos Thomas Temoche You change

YESTERDAY STARTED THE WORLD CUP LIVE Madiba Mandela WAKA WAKA, EEE ... WORLD OF THE POOR "POOR PEOPLE` S WORLD CUP "

" The World Cup is a lie invented billions of dollars with its multiple stories and would not exist without the people's credulity. " This says César Hildebrandt, but it is an incomplete truth, as in South Africa served to try to unify the country, for the effort, sacrifice and understanding of Nelson Mandela. Carlos T. Temoche

For sports fans Report on Sudafed, Mandela, Stadiums, etc. Thanks, Julia of Canada for the shipping ....

Rolling the ball fifa 2010 cs

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ACT ONE THEATRE RESEARCH PAPERS NO 332 Carlos Espinoza Dominguez, has been kind enough to send this newsletter by e central. It is an issue dealing with the Teatro Peruano, with articles Ráez Ernesto, Miguel Rubio, Carlos Espinoza and Thomas Temoche. It also published the book "Vladimir" Alfonso Santistevan. discover the item devoted to Grotowski, Ludwik Flaszen statements. Well, as Constantin Stanislavski team worked with Nimirovitch Danchenko, Grotowski did with Flaszen. This fabulous character, November 6, was present at the opening ceremony of "Year of Grotowski." A historic moment worthy of recorded history, I have an obligation to share it, it reveals unknown aspects of the great master Jersy Grotowski's intention to come to light. I had the patience to type it into two parts. Here The first part, in the words of Ludwik Flaszen .....

"I speak without a microphone, but in a language understandable to you. I find it hard to select something in particular that I would like to speak today. Because it has been fifty years of the date on which Grotowski and I decided to start Laboratory Theatre. So we took half a century together, Grotowski and me. And now I'm not sure how to do 50 years in 30 minutes. In the history of eternity and everything seems easier. Although of eternity perhaps more doubtful. With the ever-more complicated. It has been several generations. And what really interested me after these fifty years - and I have now eighty - is to know why you are here "? why you have answered the call of Grotowski with your assistance?. Because, when he opened the Theater Lab, never would have imagined, despite being both great megalomaniac - perhaps he himself could imagine, I would not - that this small little theater in a provincial movement provoked a kind of historical value. Now, why do not micro? Why start there. I mean, he served in technical theater or microphones or tape recorders, even lights, films, etc. Now we have a time microphones, when the images. Perhaps the reproduction of a photograph is even more interesting than the original. Thus was born the poor theater. That is, reduced only to the presence of the spectator and actor. And now when I see my time from a distance, I see our victory looks a bit strange. Because what we have been eliminating the theater, all technological aspects, microphones, recorded music, including lighting, ie everything related to media and not to the direct relationship between people, and what he has occupied all our lives, has triumphed in the theater today. So our victory was quite doubtful.

tradition and modernity

But we are here, after fifty years of our history, living a life like that "post mortem", a kind of resurrection. I use these theological terms because we were a very peculiar case of theater, avant-garde and theatrical reform, but firmly anchored in tradition. I mean in an ancient tradition in a broader and more ancient than what is usually used when talking about tradition. We have tried to follow the examples of our distant past. It was a kind of mixture with the archaic art, mythology. Drawing on the myths of our Western culture, the ritual, which precedes the theater and at the same time, doing, doing that theater. I have here a copy of a booklet published by us in Wroclaw in 1967, with the writings of Grotowski and mine, but also some other authors. What I teach is the cover of the program of The Constant Prince Slowacki Calderon. If you look good, the design of the cover is pretty archaic. This is not a modern graphic. It is a very old graphic. I'll reveal a secret. Because now you try to make a detailed X-ray everything that is related to Grotowski. Some secrets have been revealed, but there are other Moreover, they only know me. I'm the only one who knows. I have to brag about something. I assure you I will not tell all the secrets. But this secret I will reveal to you what do you know where that image is drawn graph?. It's a bullet in the edition of the Spiritual Exercises of St. Ignasio of Loyola. Imagine that even Ignasio Loyola, though it may seem quite strange, was within the scope of the referents of Grotowski. But Grotowski was very receptive field to the English conquests.
"The Constant Prince" Let

Constant Prince, de Calderón. That's enough to draw attention to how Spain was present in its creation. It is a very significant because we have not searched the original Calderón, but there is an adaptation of 1842 by a great poet and playwright Polish romantic and mystical, Joliusz Slowacki. I understand that is not characteristic of a scholar not to resort to an original. No problem of searching the text aspects of another culture, but rather to its proximity, proximity Why El Principe Constante?. It may sound strange, but that work is a symbolic title of Polish romanticism. Poland, then, I mean the nineteenth century, there was no such country. Was occupied by other powers for over 150 years. The great poets sought way out, a solution. And it was not a military solution but how to save himself, how to save his soul. How not to be crushed by violence, how to alleviate the distress. All that exists in a kind of Polish mystic madness. " I would even say that The Constant Prince Slowacki is more mystical than its original Calderón. Grotowski extracted from the text what seemed to him interesting. It was not the confrontation and struggle between munsulmanes and Catholics. It was rather reflect the "ideocracies" totalitarianism. Logically, also of the Soviet ideological system. They were talking about the independence of the individual, of the individual. How to behave in a situation out, when you are totally helpless?. Here the accents have been displaced to the sacrifice of individual items, their resilience, rather than on issues of service to an idea, but rather the individual's struggle to maintain their personal independence. And as you can see in the text of Calderon is raw material that served us well for that idea. Calderón say, but always with Slowacki.

DARK NIGHT OF THE SOUL

Now, a photo of this show: Cieslak in a total act, processed, luminous, as in a painting of a saint, become the symbol of a kind of theater at the time. I do not know to what extent Grotowski, their work has contributed to the dissemination of English culture in Poland but, without doubt, this show was a great show by Calderón de la Barca. A Calderón, processed, though. In this work on the spectacle of The Constant Prince has a great contribution had San Juan de la Cruz, especially his text entitled "The flame of love." I mean I did so, not because Grotowski would like to make some Catholic doctrine in its theaters but for very different reasons. Mystics were extremely interesting characters. " In what was so interesting? Certainly not in the service of a dogma but rather in trying to find contact with the Supreme. They understood that to achieve this had to work with his own body, his body. That the mystical is directly related to libido, not in a superficial or trivial, but rather work toward understanding your own body, his own body. One way not only physiological but in parallel relationship with the physiology. It is a narrow and very complicated. Some experiences have been reflected in his language very beautiful: "The dark night of the soul." The need to reach the light, towards which we lit.

(continued) -------------------------



UPCOMING ACTIVITIES

Yawar - MONDAY, JUNE 14 - Meeting Bruges: "Candidates for the Municipality of Lima
and culture."

6.30 pm - Tuesday 22 - Fiction Yawar: "Don Dimas of the Frigate" in the National Library Abancay Avenue - 10.00 am

- WEDNESDAY 23 - THURSDAY 24 - Teatro Yawar: "Paco Yunque BANQUET in Huanuco. In addition dissemination in schools. - TUESDAY 22 - WEDNESDAY 23 - Jury Parade and works child theater at the feast of Huanuco.

- SATURDAY 26 - Workshop "Analysis of the theatrical text in the Cultural Program Pakaritambo Theatre Group in Huacho. All day.

- WEDNESDAY 30 - Teatro Yawar, "Mr. Dimas of the Frigate" and Parade Yawar in the auditorium of the Universidad Ricardo Palma.
10:00 a.m. - SATURDAY, JULY 3 - Yawar Theatre: "There was once a king" of Alpeh in the U.S. college Comas. 10 a.m.

A whole Viada!
photos: Jersy Grotowski - The Constant Prince - Ludwick Flaszen

Can Hiv Symptoms Appear The Next Day

CHAVEZ PAULINE.
PHOTOGRAPHER.

Contact:

palucha15@yahoo.com.mx

http://www.facebook.com/home.php? # / Profile. php? id = 100000273795325 & v = photos & ref = ts

How Long To Recover From Chest Infection

Yawar Yawar

writes: Carlos Thomas Temoche You change

CULTURAL POLICIES - "There is need to create a new cultural institutions in the country. "

- "There are few opportunities for political discussion with cultural issues and cultural management issues. During the last election campaign the issue of cultural policy, had no place in the agenda of discussions."

- "In fact, the Peruvian state has played a cultural management in the country, but most of his work has focused on the issue of heritage conservation. "

-" The picture is more complicated if we recognize that civil society in the same cultural sector is very disorganized and not able to make proposals and monitor new laws that benefit. In our view, one can see two major problems here. On the one hand, this sector is not yet a well-organized movement able to arrange a schedule that allows hydraulic fluid dialogues with other partners. On the other hand, tends to assume that to undertake a cultural project requires only good intentions and ideas creative without taking into account the need to know a specific language to manage the various projects more robust. That is, cultural actors themselves have very little understanding of how the state and its formal regulations. In reality, we do projects, we know well the laws and are untrained in the administration. "

-" Culture matters and the state has obligations to fulfill in this field, we also know that culture - or managed - can be an economic resource by civil society, is substantial to redefine democracy and restore the social compact. In fact, the definition of what today we mean by "culture" has ceased to be a wealth of academic and state officials already begun to be a collective effort of many actors. Has left, moreover, be reduced to "art" - in defining humanistic - and has now designed more from the anthropological tradition as substantial dimencion everyday life. At this point it is urgent that citizens are not only in schools or in their families or their religion but, above all, are constituted as subjects and citizens from interactions with television, radio, movies, books and other cultural artifacts, in which cultural policy has a fundamental role.

- "However, beyond this dismal picture is of note that in Peru there is an intense cultural activity that comes from multiple actors. In fact, at present, the most dynamic sectors in cultural production is not in the world "learned" but rather in the pop world. There, different cultural goods (such as those related to music, traditional festivals or even a film production) dynamic circuits have boosted production and consumption of popular historical importance remains to be explored. "

- "In cultural matters, the state is obliged to comply with the population - and not by good will or simple philanthropy - but for many other reasons. In principle, it is international consensus that "no development without culture" and we know that all the political changes that do not include this variable fail or fail to fully settle.

who wields these concepts is Guillermo Cortes. A Guillermo I met him in the First Congress of Cultural Policies and worked in the commission for eight months. Guillermo Cortes, is social communicator with a background in history. He has worked in research and design of various communication projects on issues of culture, tourism and citizen participation. Docente University Diploma in Cultural Management at the Pontificia Universidad Catolica del Peru and the Course of Cultural Heritage of the San Ignasio of Loyola University; Cortés is also the coauthor of the book "Cultural Policies." It would be nice to invite you to an informative talk. Carlos Thomas Temoche V.

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MEETING KNOWLEDGE AND SOCIAL MOVEMENTS On Thursday May 27th I was invited to this international event, to report on the independent theater, the topic addressed was "the Teatro Peruano organizational tools." This shipment is part of this intervention I share it because I owe to this theater. The first thing I did was place on the organizational tools, historical matrices that gave rise to what the critic Hugo Salazar del Alcazar, called "Nuevo Teatro Peruano. Returning to the navel history, in ancient Peru of the Incas, "Yachapayay" was represented by Ricardo Roca Rey, but in earlier times auroral no testimony in cave paintings at Mazo Cruz, Qelqatani Toro Muerto and the presence of sensory communication in the origins of the Peruvian culture: Alfonsina Barrionuevo. In 1616, Luis de Velasco, viceroy, intelligent (?), Ordered the construction of the first local Lima theater: the Comedy Corral. During the Republic, only two presidents attended a theater view: Luis Bustamante y Rivero and Augustus B. Leguia, the dictator Manuel Apolinario Odría said the theater was for gays and prostitutes. " Alfonso Barrantes Lingan and Alberto Andrade Carmona, were mayors who not only attended to see theater, but also promoted. Andrade opened more spaces for the theater that were later closed by the current mayor's chair today Pizarro haunts. But tracing the origin of our tools, we say that precursors were present in the AAA (Association of Amateur Artists, 1938), by the way sui generis theatrical take their production processes. The same is true of Jorge Acuna, when drawn in chalk the words of José Carlos Mariategui, in the Plaza San Martín: "The bourgeois wants the artist flatters your exquisite taste and mediocre." Another offender was illustrated with his theater Victor Zavala peasant reinvindica the poetic richness of Quechua and man of the field is no longer treated pejoratively in the magical space of the theater. The origin of our tools: Sample Peruvian National Theatre, Independent Theatre Movement in Peru, do not occur by spontaneous generation to St. Thomas Aquinas, as one lady there. No. There was an atmosphere that transformed the entire social fabric of how cultural, social, economic and political, especially as Dennis Sulmont called "mountain landslide," the great waves of migration that transformed and are transforming the coastal landscape. Of how urban infrastructure conforms to the interests of capital settlement of nomadic capitalist. Internationally we were all shaken by the Cuban revolution, the war in Viet Nam and the French in May stated: "The imagination to power." In the theater was still valid Bertolt Brecht, the collective creation of the Colombian Santiago García, Enrique Buenaventura and installed for a decade the poetics of the Oppressed, Augusto Boal. Konstantin Stanislavski is wrongly ousted. Thus, as it stems from our planet, in a boiling sea primitive appear coacervates, elements that gave rise to life, so in this decade of 70 displayed the organizational tools. This also gave rise to hundreds of leaders called the essential theatrical independent Peruvian theater, which at the point of guts, determination, sacrifice and high leg organize their events: Exhibitions, Workshops, Festtas, Paco Yunque, Feasts, etc. To be clear, speak only independent theater. But these leaders and their tools suffer from weaknesses and responsiveness to new contemporary challenges, for example, now facing the global expansion of communication, has exposed the growth of resources, there is a need to organize in other spaces and put in the mat the right of the majority. We do not make proposals, or oversee them or do anything to establish relationships with those from the state are obliged to comply with the population, to take into account the presence of the theater in the country's cultural development. Do not ask but straight handouts. Do not forget we are in the international consensus: "Without culture there is no development."
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WORKSHOP MOVEMENT BETWEEN DIALOGUE BETWEEN CRISIS AND OTHER POSSIBLE WORLDS Also, I was invited to this workshop, part of the previous event, was held from May 30 to July 2, 2010, the recreational complex of the Spill Magisterial. An unforgettable experience that I hope to share my knowledge of dynamic innovation geared to the fertile field of theatrical communication. My schemes, a priori set, enriched, others foundered. I expected a boring style experience theater workshops, with a vertical relationship where the teacher is an active element and workshops assume a passive role. No. They are dynamic with inductive methods, deductive and dialectical, where the facilitator is only a playfully provocative leads to a representation of the situation and lessons learned are socialized. Everyone learns no one is left behind, to Makarenko. was an international workshop where leaders from different sectors highlighted our mamachas of Ayacucho, Cusco and Huancayo. While carrying their babies, are computed and placed face to face with the feminists, the Moholo, the Basques, Argentina, Mexico, Uruguay, etc.. Do you know the sacha - Robalino?, That name sounds like the singer says Jorge million. Do you know the Tacna?, Not only to Giglio. Representatives of Puno, mainly Rosita Cachis her leadership, they know our leg, the poet priest Luis Zambrano and Juan Vilches Vilches. Also known to the Incas Nino Mirones, Hugo Salazar and capulis. The rest, the Piriñaca naca are invisiblizados in this modern Noah's ark. The call has nothing to do with stale rolls and antediluvian neanderthalizada Leftists, thankfully not called for here, with few exceptions to the rule, as the Chinaman Jorge Miyagi has his own and made a map of Latin America with potatoes, onions, beans and flowers. There are leaders who run very playful, artistic, political and Uruguayan Raúl Bechi with ancient wisdom, I liked the one that says that the real leader is not forward but back as the carrier and the Argentine Pablo Ares iconoclasts and their teaching maps. There was a solvent teaching team coordinated by the Italian educator Basque Nicola Foroni, composed of employees and members of the Democracy and Global Transformation Programme. This methodology is a work in progress, that does not stop at the surface, there are interactions between individual and collective search for justice within each process and achieve multiculturalism, gender equity, participatory democracy and total. To achieve this, we played, we laughed, danced, drew. In the end, you get to exchange ideas and experiences. Hard condense into a few lines the experience and findings, I promise to do a posteriori to stakeholders. The program, some notes: - Exchange of products, statements of our sites of origin, every time I said it was the Mutiny, liked it when I pointed to a sentence of Augusto Boal: "I taught him to write a peasant word plow, the farmer taught me how to use it. " There were several payments to land, clean Wambis, Yoruba ceremonies to invoke a runaway runaway. - Recognition of diverse voices, fights, bodies, identities, cultures and motivations that make the game. - Rebuild the historical memory of the movements of our America. Achievements and challenges of the movements. - imagining other possible worlds from the dialogue of movement and knowledge. A Viada all, we prepare to go to Huanuco and Huacho!



Note: Attached photo Inauguration parade of "knowledge", with the reappearance of our burrito and two all waka waka.