CLOWN WORKSHOP FOR CHILDREN OF MARY LAURA
"COLOR AND LIGHT" - Pataclaun
CHILDREN SUNDAY 19 - 11:00 am AAA
A POINT
1. BY WAY OF INTRODUCTION
contemporary educators say that our children become an extension of our life experience. But when we say: I want the best for them, say in truth: the best for us. Unavoidable and harmful for children if they pass the false values \u200b\u200bof a materialistic society where alienation and art is proscribed.
And what the kids deserve is to experience the value of things through facts rather than abstract verbal promises. The child learns best by example. If we live in a society where our healthy values \u200b\u200batrophy what will transfer?. Fortunately, in the superstructure of any society there are open spaces, small, but free, as are the art workshops.
art workshops for children are independent efforts of theater groups, as is the case of Maria Laura Vélez and clown workshop for children. Maria Laura knows the secrets of puppetry arts, This allows you to also open doors to clown territory.
artists perceive, first, the importance of art as a teaching tool in the field of education.
communicators But not all artists are working effectively and others are in error, lack of experience, preparation and excessive enthusiasm, many are greedy Phoenician candor to stage the stories of the TV or the movies. Sure, why try it on Cinderella, Donald Duck and the Mouse King crazy already solved the Aristotelian cathartic story, costumes, songs, etc. How easy None of painstaking research, technical preparation, organization and search for cultural and national identity. Not so with the artists on the other side, like Mary Laura Vélez.
2. MARIA LAURA'S WORKSHOP
She places the younger children in the aftermath dominated glósicos and other interests. They are children of second childhood, but can now communicate verbally, better not do it to make communication and other sensory channels such as sound and playful. It is important as resources are coordinated sensory opening clown, because here is preparing their future school. Egocentric stage matches in the child she cares to meet your personal desires and have little interest in what happens to others, which does not exclude the master clown to direct them toward love of neighbor. Here the child does not use rational ways to address goals. The little boy goes straight to the point.
Maria Laura encourages emotional ingredients, but the dosage carefully, it is always important to be something selfish to consider in future also and have no inferiority complex. This is the inquisitive toddler stage: And where are the numbers? He asked, Einstein child.
clown The games are intended to enhance memory, attention and sensibility. Children in this age group had a simple argument work, directly and bluntly as "Abobibobibop." Interestingly, young girls forgot to start putting the world's smallest masks, clown noses.
Children of the third child of 7 to 11 years, showed more communication with the environment, is the stage where the child is about without asking. It is less self-centered, here is beginning to develop elements, objects, and has developed fantasy. Children in this age group had more elaborate numbers like "What brothers", "The gallant and the dancer" and "musical work."
3. THE STAGING
In the introduction to the presentations, Maria Laura settled with other traditional workshops, where the director says, "Stand like this," "Let's see you walk like me," "Laugh - cry." No, here the products presented by the children show research, professionalism and above all the deliberate provocation gags for answers. The entire presentation is deductive and scenic drive leads to little stories with nuclei simple dramatic, the characters appear, there are necessary conflicts and resolution. The music and voice of Maria Laura is a prerequisite for achieving several semantic levels: it creates atmosphere, gives confidence, narra, prompts, dialogue, causes and maintains a crescendo rhythm.
very successful the presence of two clowns aged workers, that are of Hungarian Dances, the scenery changed and modified to keep the necessary rhythm clown.
The appearance of light opens and closes the story: "At the beginning, nothing existed, and was born of darkness, allowing us rest. But the darkness does not live alone, so came the light and the light occupied the space, and traveled around the world, played with time and deposited in human hearts, so ... born clown ... and children lived in forever .. "This is the initial stimulus for children to gradually behind a screen trigger lights combined with shadow puppets. how the light is born as claimed by the master Jerzy Grotowski.
"Song for Elizabeth" by Beethoven, gave rise the the story of sisters who have to sleep, the brother dancer and the corrupt cop, always to the clown with unexpected endings, contrary to reason.
"La Donna Immobile" Rigoletto - Verdi, was another song detonate with a very graceful dancer cook next to the flower lover with a lot of stage presence, force us to watch. There's a love triangle. Jazz music reinforcement for the leading man, rock for the second. Dance competition, fake fights and surprise ending, with techniques that always provoke laughter in the magical space of the theater.
musical works, was the last painting for many unemployed artists: General gum, lettuce ballerina slipper broke, etc. in the rhythm of Charleston, Loutrett Tolousse just had, all crammed into a single bank of waiting, the premise that "every Peruvian is the enemy of another Peruvian" on stage.; the final, varying according to the Limelight employer opts for the love of the outsider candidate. Everyone returns to the light.
the end, Maria Laura thanks all, for she believes that theatrical work is a combination of efforts.
Thanks, Maria Laura
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The Irma sends deputy blog and is an allegory Beraún by the Fiestas Patrias.
"Peru, the foot of the world, I concur" César Vallejo.
------------------------------ Thank you, Irma ¡............. ...............
15
INTERNATIONAL BOOK FAIR GUEST: THE INDEPENDENT THEATRE MOVEMENT OF PERU
MOTIN edition books PERU
Friday July 30, 2010 - 4:30 to 5:30 pm Auditorium CESAR VALLEJO
ROUNDTABLE : TEATRO PERUANO INDEPENDENT
INVOLVED:
- Mario Delgado (Cuatrotablas)
- Willy Pinto (Maguey)
- Edgar Guillen (Little Theatre)
- Mary Stewart (Singing Editors)
- Thomas Temoche (Yawar)
- Bruno Ortiz (Bruges Productions)
Close the program
: Fragments of the play, "Arguedas, or suicide of a country," Cuatrotablas.
LOCATION: The Esplanade Park Heroes - Av Salaverry - Jesus Maria. -------------------------------------------------
NATIONAL FESTTA
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LIMA What?
My mailbox is saturated with teacher consultations theater directors of school groups Lima And where is the Festta in Lima?, Who to call? Why not leave the Call for Lima school theater troupes?.
Well, come to me, but I do not know the National Board of Festta, I began to investigate to answer to these questions and only Julio Gonzales replied, in Lima call Mr. Jean Cotto: 993273738 - July is the phone: 043-943997189 - RPM * 976033.
Well, thanks to Julie, I heard that there is an Executive Coordinator of the National Collegiate Festta: Ruben Manrique (East Zone) - Julio Gonzales (North) - Edilberto Sacha (Central Area) - Jean Cotto (Lima Metropolitana) - Cicero Osorio (South).
Lucky Lima theater teachers to hard to get out of invisibility and participate in the National FESTTA. -------------------------------------------------
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