ACTIVITIES
Yawar - EVERY SATURDAY JULY: "WORKSHOP MUSIC Yawar "Sikuris: tarkas, implementation of band for parades, Latin American music. 10:00 a.m. Piérola Nicholas Avenue from 757 to 203. Starts Saturday 10th July.
- SATURDAY 10 JULY: Yawar THEATRE: "Erase once a king, "U.S. College Comas.
3:00 pm - SUNDAY 11: PARTICIPATION IN THE DAY SHELTER OPERATION, Costa Azul slum, coordination with the Mothers Club Bernadette.
10:00 a.m. - WEDNESDAY 14: JURY in the parade on Independence Day SAN MIGUEL - 189 NATION ANNIVERSARY - Cross Media Luna - Bertoloto. 10:00 amTextualmente, the invitation says "against the glorification of military values \u200b\u200band military parades own school, here are highlighted The relevant values \u200b\u200bto a culture of peace. "
- THURSDAY 22: THEATRE Yawar: Paco Yunque, on the anniversary of the Colegio Particular Paco Yunque de San Juan de Lurigancho. 10:00
am - SUNDAY 25: SHARE OF JOINT Yawar and MUSICAL THEATRE: "plastic" Ruben Blades in Art Day assistance pro XV National Congress of Folklore - IX International Congress of Folklore in Piura. Av Nicolas de Pierola 757 - 3:00 pm
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- WEDNESDAY 28: Parade on Independence Day in Solidarity with the People Young Juan Macías, window track. 3:00 pm
AUGUST THEATRE SHOWS REGIONAL SUR - PUNO, begins on regional samples, due to the XXIV NATIONAL THEATRE SHOWS IN PERU
5 - 6 - 7 - 8. Thomas attends Temoche, representing the National Board MOTIN PERU and Mary Soto, by the Bureau of Critical.
THEATRE SHOWS REGIONAL CENTER LIMA, for the first time in the charming town of Ica. 5 - 6 - 7. Assists Eduardo Espinoza, president of MOTIN PERU.
FRIDAY 27 - THEATRE IN SCHOOLS HUACHO Yawar. Coordinator: Luis Botin, Manuel Garcia.
SATURDAY 28 - PARTICIPATION IN THE OPENING OF SPACE "TEATRO DEL BARRIO" in Huacho, with groups of Huacho, Chancay, Lima, Huaura. Pakaritambo organized, directed by Julio Montesinos. Barrio San Bartolomé, Huacho. -------------------------------------------------
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MINISTRY OF CULTURE
As indicated by our colleague Elvira de la Puente, the text on the creation of the Ministry of Culture was passed in haste. Not my words are verbatim from the letter of Elvira Santiago Alfaro.
The opinion did not return to committee for further consideration.
"Although it goes wrong you have to support it, better than nothing," says Pink Muchik that changes to yellow with ease.
The central issue for us all the playwrights and artists in general: it was not considered a vice-ministry dedicated to the promotion of Living Culture, Arts and Letters.
This would complete the trilogy with a Deputy Minister of Science and Technology and Deputy Minister of Cultural Heritage (tangible and intangible heritage .)
Santiago Alfaro says: "Unfortunately the bill passed in the first instance is far from the international technical STANDARDS matter and if left as is, be an obstacle to the protection and promotion of the cultural sector."
is now being proposed to change the organizational structure of the draft Executive Vice Intercultural create and Heritage and Cultural Industries. That means that only devoted to bringing together different activities such as conservation of ruins and cultural industries such as film. And we, where are we? Quo vadis dominate?.
Others pose - in this gap - to annex the INC to the Ministry of Culture take confessed God
thomas
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"The model of Jerzy Grotowski, the actor saint" by Raul Kreig
Jerzy Grotowski's model: holy actor.
by Raul Kreig
Treasures of poverty
The actor is the absolute and exclusive character in the theater of Grotowski. In its conception, the theater is not that the relationship between actor and viewer. Its tenets are poor theater as a reaction to the invasion of technical, as opposed to the notion of theater regarded as a synthesis of various creative disciplines: literature, art, music .-
Stripping the fact
theatrical everything superfluous, only an actor to solve what in the "theater rich" placed upon the technology and the help of the various arts .-
It dispenses with the traditional plant and every new proposal is trying a different way of treating space and stage-audience relationship is enhanced and its multiple variants. Are abandoned lighting effects are the actors that "light up" personal techniques, thus becoming a source of "artificial lighting." The rejection of the artifices of makeup and costume allows the actor to switch characters, types and shapes using only your body and the mastery of his craft. The composition of facial expressions replace the need for masks. The elimination of the music allows the representation itself into melody by the voices of the actors and the pounding of the objects. The actors create the environment and transform it with the sole help of gestures: a fabric is the sea, then a cloth and then a bird .-
This aesthetic universe and rejection of the superfluous material, poverty and asceticism, can only be inhabited by a being willing to self-sacrifice, the renunciation, demanding act of love, the supreme spirituality of a saint .-
secular holiness
The actor is a man offering his body works publicly. If you do just for money or for the audience for their craft is about prostitution .-
The difference between the actor and the actor courtier saint is the same as that between the ability of a courtesan and attitude of give and take that comes from true love (1).
The actor does not act, not pretend, or imitated. Must itself be a public act of confession. The representation should serve the demonstration what each actor is in it. So when Ryszard Cieslak, perhaps the only actor who strictly complied with the model grotowskiano says: I'll show you my man, and Grotowski replied: Show me your man and your God will show you want to say that the actor in the play, entertainment , offered his confession, his naked body and soul, his intellectual self and biological. Show everything that the culture and daily life prevent you from displaying .-
In religious terms, the representation of (his) way of personal atonement, in artistic terms, is a situation to the limit by voice and body , in terms psychological means to achieve self-realization, in dramatic terms is a catharsis for both the audience and for the actor. (2)
The art of acting is to get naked, free masks, externalized. No order to show off, but to self-penetrate and thus self-revealed. The performance is not only an act of love, but also an act of knowledge. This does not mean an abandonment of artifice, in the sense of character and the construction of fiction, by contrast, are these "artifacts" which, paradoxically, allow the actor to undress and reveal his inner truth .- We
a personal process that is not supported or expressed in a formal articulation and a disciplined structure of the paper is a release and may fall into the amorphous. (3)
As there is no contradiction between artifice and personal revelation, but rather vehiculización of the second through the first. The character is a springboard, a tool to explore the hidden within the human actor.
We found that the artificial composition not only spiritual but not limited leading to it (4)
Importantly, this model does not aim to conduct "natural" the actor, in the sense of naturalism. The behavior "natural" obscures the truth, is the fiction that allows such behavior to show what hides and masks.
In moments of psychic shock, terror, of mortal danger or tremendous joy, a man does not behave naturally, a man who is in a heightened state of mind used rhythmically articulated signs, begin to dance, sing . A sign, not a common gesture is the essential element of expression for us. (5)
Grotowski compared to the artificial production of the sculptor's work, in the sense that the forms sought-images, gestures - existing in the actor's psychophysical organism. This, like the sculptor, not build, but it removes to reveal the hidden form. That's why acting technique will be aimed at "cleaning up" the way of all obstacles that prevent the disclosure of the hidden form .-
representation constitutes an act of transgression of the self of the actor, a definitive break with everyday masks and find the same with his true self. Must sacrifice the depths of his being, displaying before the eyes of the world that should not be displayed. The viewer will feel then that this ceremony is an invitation addressed to it to do the same; to unveil your inner truth he also
.- The technique and ethics
By the contribution of elements from the Eastern and Western theater-especially-Stanislavski and Meyerhold, Grotowski preparing a series of physical exercises, plastics and vowels that constitute a rigorous training of the actor, aimed at achieving maturity .-
educate a pedagogy grotowskiana actor does not mean to show you something, but to eliminate all resistance that opposes the body's own release intimacy, all that hinders the violation of self, necessary for the act of communion that is the theater total .-
The technique is a negative way, it aims to develop skills, but to eliminate obstacles. Rather than learning new things the actor should get rid of old habits. The technique will allow you to detect and remove what blocks it .-
These exercises are not recipes, and each actor will suit your own needs. The starting point is the same for everyone, then everyone tries to find a personal justification for each year. In turn, the coordinator will attempt to create an atmosphere of comfort, confidence, to allow the actor to be quite honest .-
Grotowski on several occasions refuses to use the word ethics, preferring instead to talk about art. Despite this at the bottom of his reflections lies a deeper understanding ethics:
* Teach delve into the depths of the actor in order to discover what prevents the creation of art, not to hide what is actually because the actor consist ethics expressed through their personal motives .-
* Boost to take risks. To create, he says, is necessary to run each time the risk of failure .-
* Advises never think of the result. To achieve a result, paradoxically, not to be found .-
* postulates that the actor should not work for himself but to be delivered completely. But who is the recipient of this delivery? If the public, the actor runs the risk of falling into a sort of flirting tends only to satisfy their need for affection, acceptance and affirmation, his own narcissism in the final. If the recipient actor himself, if he works for himself, observing, seeking the wealth of their mental states, it is likely that this will lead to hysteria and hypocrisy, and that all states not seen live and what can not be lived imitated, and this is hypocrisy. But if it must act or the public, not for himself yourself, what do you have? Grotowski recognized that the answer is not easy and gives it a great mystery. Then proposes the concept of secure partner:
this to be special to the actor who does everything, which acts against the other characters and to whom he reveals his most personal problems and experiences. This man, this fellow sure can not be defined ... just say "you give yourself totally" and many actors understand - (6)
MALDOPI Celular: 99568-1414
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