High Haematocrit In Dogs

wheel crazy heart Corpus Collective Theatre does the public space an intimate body

A Gherry Maya, for joining us on this journey Magic

On Friday 6 April, the group Corpus Maracaibo Theatre comes to Cape la Vela sister Republic Colombia; invitation by the Cultural Corporation Jayeechi, based in Riohacha. After a day at the beach and sand, in the evening, were called randomly beings who attended the presentation of the work Tram wheel crazy heart. As in any public feast, a space opened in the middle of the celebration, in the middle of the bustle, in the center of the pace taken by the waves, exhausting, salt, moisture. Which popular dance, people were everywhere, all angles were visible: people in front, behind, children on either side of the stage that held the lights at the edge of the beach, or under it, people who stood on the truck to see what there began to take shape. From all sides came the sound of the flute began Luis Julio Toro and function. All waiting. All waiting. The birth of the first movement, the first sound is a deep echo, mocking and distant from the sea. Rather than provide a sample the collective was to talk to the sea, with people. Ongoing interventions, the screams, the changes to the score of the work, were requests that were heard at all times. All were part of the work that was woven in the midst of these proposals and suggestions. In the most unexpected moments arose laughter, and cries constantly. All was joy. Thus came the voices and sounds of Elis Regina, La Lupe, Beny Moré and Pink Floyd, especially in that wind through sand and salt water was covering us. Upon completion of the work, the words of estrangement arose from people watching the event. Some time later, as we left the room through the window of transport people continued to its conclusion, her party, but without interrupting or through the space that was created for the work. There was an exchange of life and respect for others.

next day Public Library Riohacha was the stage for the continuation of the ritual. People, on time, attended the event. As background, accompanied Wayuu tissue movements, as if it really belonged to the work. Although a cautious audience, emerged as unexpected laughter, requests, screaming, wanting to modify or intervene in what is already established. At the end turn their words, questions, hugs, all amid the strangeness of the moment. The next day, in conversation with Henry Berbeo, he explains that breaks the daily Jayeechi with their proposals, which the children ask for the activities, works for the "jayeechi" (song).

Corpus The group presented its Jayeechi Theatre in alternative spaces, where people go in the real places where you can share the song.

Adriana Prieto

Sidekick Lx 09 Prepaid

experimentation in the process of inquiry and invention stage

Experimentation body in the process of inquiry

and invention stage

I. The first few days of work in the workshop.

To write the following reflections on the conditions in which an actor, works with your body and your mind, I had the curious need to review, the first notes-notes I made during the conference working in our Research and Creative Workshop Performing Arts, whose work is held continuously for five years.

This dedicated space in the Center for Research and Practice of Theatre, CITE, to Research and Creation , contains in its synthesis name that defines our work experimental theatrical Where you learn to bind the will and name the same things . Before I go into the description of what happens here, I would like to highlight a finding encountered during the process of reading my notes on the work of experimentation and research, and I think I put on the tour, which began at the moment, here in writing.

A key element in the research stage, this observation is the necessary element of all that the actor made in the search space to live their physical and mental. The drought is committed to the actor, to register by the task of observation, all that is produced, inventions, and experienced by the actor. The task force also seems to see the will of the observer body, certain conditions to cherish the findings during the process.

In my case, how to be bodily in the task of observing the actor, is almost always an experience of physical absence. Barely move I have been careful, in the effort to cherish and understand the life that happens in otherness.

try to see how the actor, your body builds a network of physical and psychological meanings, expression of a search that begins pushing through fear of the unknown and the unknown, between the voices of everyday life that remain pinned to the conscious, between the wilderness that is the individual pursuit, and between the desire for a transformation of Being kind of promise essential that the search is done at the beginning of the voyage.

In my first notes on the work of observation, reading traces the paths of an arm, a look, the position of the head, the use of the spine, the use of the rhythms, the lines in space, so everything that is physically and mentally engaged in learning and testing of theatrical technique.

Notes only reveal my physicality, I get to be present at the place where the search takes place, the notes are useless, a sort of supervision without control over the conditions under which the freedom of working acting experimentation, emerge surpassing the art to promote an ability to work as human fiber of each actor, and that will be after the time of creative work as a result of human expression, and then as an actor, which is involved in collective responsibility and social expression. However

advanced reading notes, also connected with the progress of the investigation stage, the character of the notes becomes frugal, leaving the territory of the specifications on the use of physical and psychological content. From now concentrate attention on the actor to see how independent of the hierarchy, is a deeply personal way and proper rooting their individual do in a collective way. This time of the investigation, in which the group learns to work together, we call it: magnetization, a feature that will remain a core value of our work of inquiry and theatrical invention.

These initial considerations, a sort of introduction, also suggest the contents of which is this theoretical exercise, an effort that it seems appropriate because the process forces you to think where it produces ephemeral theatrical event. The contents of this work, which we present below have been formulated in the remark about, the creative freedom of the actor, work on technique, the magnetization and the collective work, the trans-figuration and the task of observation and understanding.

II. body Experimentation semanticized and testing pre-expressive body.

In the perspective of anthropology Theatre, enthusiastic and important reference for research, is inscribed the work that made the group stage, which belong. (CITE and-Corpus Theatre Collective).

The Theatre Anthropology deals with observing the actor's work in "a situation of organized representation." Alongside this definition, we add a contribution, which has vital importance for us, we would also investigate and observe about what happens to the human being who comes before the actor, during the process of creative work.

From this conception of what can also mean working theater, it nurtures the development and research experience on which we guide our steps and goals.

Present in the search stage is the vitality of everyday life, with all its contents. memory of lived experience is essential and unique text to guide the search, presented in the here-now biography that will be re-written and under-poured.

treasured memory in the same way, not only lived, but also the ideas that will emerge during the course of the investigation, and appear to be made, through written questions, to wonder about what what is done, what, why and how.

The search and development of possible responses is the procedure that will guide and condensing the research stage, these same responses are also part of the ballot sensible and humane, which in turn promotes, the inside of the unheard-unknown.

The writing of the findings, it is with the body and the body. The body is an instrument in which the visible concrete. Another theoretical ceñimiento takes place at the beginning of the investigation, the proposition that the daily body must become a foreign body everyday, working at a level that has the feature of being pre-expressive, in a before of course, no chronological "where the actor works with their own physical and mental keys and personal, a condition that ensures the construction of a theater for themselves, but their expression is still committed to making expressive. All these formulations are contributions Theatre Anthropology , which we welcome with enthusiasm to re-write from our practice, adapted to our multi-cultural circumstances.

In previous theatrical work, also dedicated to the investigation stage of the construction process, Bollanchain (1995) and Endgame (1997) now extract the experience of the exercise, which involved a blurring of the line for us that separates and organizes the work stage, at one level and another inquiry. I mean the level of work pre-expressive and expressive work level or score-creation of the final work.

theatrical experimentation, whose essential tool in our work, the body-mind-memory, was raised in these early stage work on the relationship that linked the body experimentation with the creation of expressive works. That is, a type of training semanticized, where everything was experienced at the same time, the future of the work material expression.

theoretical approach the property of a type of training semanticized, that since the beginning of the investigation stage is connected or associated with the future of the work materials expressive, creating them simultaneously, you can defined by the need to risk a procedure to open the possibility of questioning-source texts, we chose for the work of theatrical creation.

These texts were not from the drama of the author. Our choice at this time, the choice is still in force, is that which brings us to the challenge of writing our own drama, emerged tissue re-actions and actions developed and written in ourselves, on the theatrical scene. Procedure recognized as spectacular or dramatic drama actor.

Consequently, the nature of these texts, sources, interest in choosing them was defined by the diversity between them and yet by the peculiarity of being both confluent: A blues for Janis Joplin, a poemetos (prose poems) written by Cuban Jose Manuel Santiago Poveda, and a fable written by us, where is the story of a woman who struggles to emerge from a circle of powder, or in the case of the second example a story by Julio Cortazar, whose human inquiry and theatrical prompted us to write the letter Leticia, Ariel B sends characters Cortazar's short story, letter that is never revealed to the reader story.

The investigation into the source text-processing required us first of a relationship, through the most basic textual ideas be linked with the memory of the actor's life. In this tissue communicating between source-text and text-critical would emerge, the dramatic text, organized physical and expressive in the theater.

The text is always defined questions, guided by the task of searching and inquiring about the how, through which the role play, poetic sort of extension of the existence in the life of actor, acted expressively.

expressively on a reality ritualized repetition of unchanging values \u200b\u200bof physical-psychic was being constructed and defined, body experiments, while we were building the definition on the selection of materials and contents for the final work.

The understanding of extra-daily use of body-mind-memory, was also one of the requirements of the body of experimental work. The ritual on the repetition of physical-mental values \u200b\u200bsemanticized, a quality that we developed to promote the advent of poetic trance, which allowed only now recognize as a singularity in the research process stage, which was then performed.

With the creation of the Center for Research and Practice of Theatre (CITE) in 1999, we focused on the task of devising a method of actor training, rooted in the perspective of anthropology Theatre: the organization of work actor pre-expressive level. In the process of developing a procedure for the formation of the actor, we keep these basic premises, which had been present and theoretically defined in earlier stage research experiences cited here. These contents are the ones who defined the type of work on a drama on the human sense of theatrical search on working with memory, on the task of observing and understanding, and extra-daily use of body-mind.

The invention of the techniques (exercises) for work on the formation of the actor, appeared through dramatic readings of key theoretical texts of various experiences in workshops, the first stage work, made City of Maracaibo, but also of the view through the process of identity construction in the Caribbean, through the eyes of the New Latin American Cinema of the sounds that we identified and characterized, literature and poetry, and course also struggles where we stood with unquestionable freedom and poetic wonder.

In the conceptualization of a body type of experiment, based on the pre-expressive organization of work on the formation of the actor, we devised a set of techniques that deal with extra-daily use of the body and the relationship established between the bodywork and the sensitive contents of the memory of the actor's life.

The issues related to body work, all the techniques that we use daily in the theatrical activities of our group, are about the discovery, recognition, and learning of body rhythm, the sound and breath, work on the fragments of the body on the face (facial masks work) on the deconstruction of everyday sound of the word, on the opposite body or mind, on the Daedalus, an exercise where the use of body rotation in space, promotes the work of the concentration, the search for the center body and mind, and finding a flying body, the last year of training, used to transform the weights and body tensions in substance and nature part of the body in otherness.

Learning these techniques, subsequent experimentation, we have solved methodologically a rhythm, you recognize the significance of the individual pursuit, while claims and promotes the ability of roots to a culture of the collective, the construction of an us. The pace of experimentation and learning techniques, is for us the value of waiting, the wait can last the time at which it becomes possible understanding of what is bodily, and also the essential value of filling that which is bodily, the contents of their own personal job search.

The cardinal objective of this process of teaching and learning, which we identify as the dance. In Dance , the actor has won for itself the independence of the drought, braid their technical discoveries canovaccio a kind of body, builds and maintains physical and mental freedom, that after the time of the creation of expressive work will be fundamental material .

same level in the pre-expressive work, during learning and testing techniques, and after the conquest of the dance, we deal with learning the values \u200b\u200bof teamwork. At this time of the investigation we concentrate on working memory, object, and with little fables arising during the work of improvisation, procedure becomes available for construction the way to the level of poetic creation.

III. The collective in the process of physical experimentation

Far Fetched Wheel Trolley Heart (2005), completes the trilogy of theatrical works forged in the heat of tradition of Anthropology Theatre, with the sum of the contributions, we have been finding at the center of our own corporate culture, and from our Caribbean identity and multi-cultural.

The origins of the poetry of this third stage, are located in the pre-expressive level of organization of the actor's work, conducted through experimental learning and training techniques, which allow the task extra-daily use of the body.

In the expressive level, we place the working time dealing with creative activity. At this level of work, some conditions are similar to those that organize the work of the actor pre-expressive level: The actor acknowledges his extra-daily body recognizes its sounds, looks, gestures, and also recognizes the other as part of himself. Work on the contents of the individual and collective memory, is the material that are built here, the values \u200b\u200bof otherness and the collective us.

A new process begins to open road, freedom, acquired in ceñimiento of physical-mental values, worked during training, has enabled the improvement of learning the technique, and thus the conquest of the essential actor irrespective of the hierarchy, for leading his own way creator: Author-Artist-Quia.

In the process of building spectacular Far Fetched Heart Tram Rueda (2005) , proceeded to open the search in the expressive level, the exercise quíadas the living memory of the actresses. The first textual construction, resulted from the invention of the biographies of poetic roles. A biographical construction, followed body construction of the roles, construction in space-time poetic, body, sound, voice, eyes, skin, the interior movement, and make visible their .

creative

The next task was that devoted to promoting the construction of diverse life that poetically appeared, were in a collective way. Writing dramatically tissue-expressive roles, how to make sense of the tangle of body-expressive content.

During the experimental work on the body, in training, a quality essential to the collective work, we discovered as part of the findings. At this quality that encourages the agreement does not necessarily implied, that is physically and mentally to the group on a collective recognition, we call: magnetization.

Construction-invention of the definition magnetization, was revealed to us through the next form (proxemics), which, actresses resolved and permanently re-discovered each other encounters in the poetic space of search. Physical and mental behavior that translated by the nature of the ways in which they looked, talked, listened, and receiving each other.

The individual decision to be made to seek to express, preserve this quality does not do anything without the other, but with the other, and twisted bodies, their proximity or distance, was always evoked by the magnetic, condition-poetic imagination in our daily drama.

All actions invented to write the story dramatically, which weave the web of signs and directions were also convened by the condition of magnetization, which provided the same time, understanding what happened in the form collective discovery. Consequently, the magnetic condition, the listen-verse-speak, it solved the questions, which led to the condensation of the collective poetic existence.

The poetic constructs fable told in Tram Far Fetched Heart Wheel (2005) , emerged from the game to summarize in one text-writing , the words that were selected by actresses during the testing of one training exercises dedicated to subverting the sound of the word daily, and that I was hoarding in my notebook. I was not sure if he heard that word in particular was. The game forced me to enter in the sound daily extra-inquiry-based physics, and discover what the transfigured sound was leaving in the form of reminiscences and echoes. Willing

poetic materials: the biography of the roles, the text-writing, memory, and secured foreign body everyday in training, opened the creative process, the main stimulus lay in the recognition of the construction in simultaneity of us collectively.

IV. In conclusion

far, we have tried to describe the theoretical definitions and conceptualizations that emerge from the research stage, and summarizing the work of our experience. I participated as a witness, observing the process of physical experimentation, a practice stage that is not limited to the invention of a play, but tries to give the theater, the necessary reflection on the importance of issues actor training, and all that accompanies sensitive and poetic, the work of actor and role of the theater.

In each of the experiences during the development of research and development stage, referred to here as the only conclusion we have expressed, that the result of creative work, gets the first poetic obligation, in the preparation of waiting for the others: spectators. In the actor's ability to express to others, we found during the search and turned into actions and pictures, lies the social work of art.

During the creative process, a process that also carries with it, waiting for the moment of encounter with the viewer, we cherish deep agreement about those questions, wondering about the how, why, and why. Consequently, the essential question, for whom he gives the amazement forged in the intimacy of the task of invention, a character of frugality and mystery. We

theater who have a need to re-edit with actor comprehensive effort, the actor also made during the process of poetic construction, social and collective. The crux of the encounter between actor and spectator live for us the ability of the Trans-figuration .

The work made flesh in the expressive actor, is from the time of the ex-position of his stage work, offered in the ritual of the meeting. In the theatrical exposed during the meeting between the actor and spectator, the first, charging them all the resources of the findings organized in the score expression. No "acts", but revealed through dramatic writing, the fabric of the actions and reactions, which are des-watching history. In this action lies for us to disclose the value of trans-figured.

tissue actions and re-action, implicit in the score expressive theatricality offering our recognizing the reality of all discoveries, difficulties, nearby, amazement, blooms, loss of consciousness, new meetings, which are expressed in the tissue end of the spectacular work, preserving the essence of the first home-birth.

the score in expressive the ritual of repetition of physical and mental quality, and expressive, also keeps the body experimentation period, the call to ceñimiento-freedom-transformation of what was found. So, the unprecedented nature of what we cherish as an inherent value and sustained, even in the task of repeating what is already known, and what has already been found.

The score is condensed into a dramatic script, which gives a structure the sense of chronology and jumps inside the fable, but the risk is condensed by the expressive poetic ability to re-edit each time, the breath that gave rise to creative expression, and revealed unprecedented and unknown, despite some certainties. This is the value of what is trans-figure compared to the Contingency expressive actor and facing the viewer.

The meeting between actor and spectator is led to the re-cognition, which is transformed into identity. The re-knowledge is manifested through extrañante status of the language expressed in the expressive work, and yet pose for the revealing and the witnesses that revealed a complex sentimentality, which continues to provide essential content individual transformation and collectively, in the theater and in life.

Finally, it is complex for those who are risking experiencing these search processes and internal poetic obligation, to assume that practice builds a fleeting, blurry at the end of each performance, however, construction was holding on in life inflamed by the values \u200b\u200bof the ritual, the offering, and the revelations.

Elaine Alvarez Centeno

Research Center and practice of theater. CITE

Director-Corpus Theatre Collective