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 ....
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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.
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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
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