Los Hombres Paco Online

A Streetcar window through

Go

corners

game comes

Voices collective

various

interrogate

say

center

balance

empty

music

background

will

Being on stage. They wait at the site of the stage found.

Dark night in the vault of heaven, to the right path that leads to First Avenue in the city of Riohacha, go carts, sea a few meters, the rain came just painting on the floor a few drops, not even rain was. The audience settles, I'm in the audience, I am a spectator rather than listening to the voice of the presenter when the time comes and says

"Before the group started, I make a clarification! please cell phones off and please the public complete silence, the children we ask that with a little supervision, to enjoy the work please! "

In this willingness to see the play, are applied and dumb attitudes which reveal the participants, in contrast to the attitude I saw in the audience at the Cabo de la Vela and which, although mobile , freely stopped to see what happened there special. The latter was the other scenario in which Jayeechi Corporation had proposed to undertake the work of the groups invited to the intercultural encounter that was named for Teatrízate.

Back in Cape La Vela the announcement of the work he called the public was made by the same microphone and at the same stage in the previously disclosed an aerobics class for people shirt. Those visitors, tourists, Wayuu bike, children, women and youth Wayuu encouraged by Friday holiday on the beach, of whom one would think that would be more dispersed, actively attended and free of Corpus Collective action, there exclamations, imitation of sounds, voices of enthusiasm for the acts most contagious laughter, astonishment, vigor.

back. I go to my site to the public. Starts the music of Louis Julio Toro, with sounds of panpipes reminiscent echoes of nature in remote places, the jungle, where there ran quietly rowing pulsed navigation on a river infinitely calm haven of forest, fresh black earth bank in the sinking roots while at the endless water float to the sky, the tops of the trees.

That floor of my being balanced by the music chosen by Corpus Collective overwhelmed when I re-update the scene, did not prevent the externalization lifeblood of our imagination and creativity that can transform this, hopefully, the form white, rough living word, unbounded. Saying so, prior to completion in a social embodiment, as is before in being one, a living body-mind, where the fluid imagination of our mind is seeing, hearing, feeling is preceded to the outside yes.

I look attracted by the upheavals that attacks the central guiding figure, start a movement that leaves the quiet, this embodiment shows Zhari (played by Sacha Lopez) flits in each of the bodily appearances advertising, poetic kind of roles, Isabelita (played by Adriana Prieto), Anele Zib ( actuated by Beatriz Martínez) Alkaline Talula (Patricia Jiménez) and sitting in them, pursuing them in future play the persecuted.

We entered what was given to public space, the performance of the journey undertaken in a bodily experience of collective creation, stage performance that creates another transformation of the subject in a bodily presence that goes beyond what we know from text of Marcel Mauss (1934, 2003) as "body techniques". I have seen in vivid images that performance design, without roots traversing corporealities memory, nostalgia, character, letters from an old song, emotion, curiosity, mystery game wheel in the braids. Childhood memory city made a round adult and crazy woman for the office of a scissor walking without a subject, single subject, therefore, the only instrument in the turns of the collective. There are no repetitions in this stage experience, each action is unprecedented even when he has had other places and other public because the action happens in the subject through its full embodiment, and, again, which is incorporated in its report.

there then training, preparing to hit the scene is a vital impulse, is a person absorbed in the job description contained in what director Elaine Alvarez Centeno called a "body experimentation." Lived experience in the depths of the self that is in the other sign. Another who dwells within us, we listen and we hear in the run run each day deep water outside and inside the hollow sting of a personal narrative staging, re-submitted.

representation which is given - who participates, by chance or by convention, the same public space - the will to complete a story created collectively in each word produced and selected, Tram heart crazy wheel. Stage by stage, in the individual work unite the voices and actions of each body appearance, each presence to an interior, that invisible and mystery that is triggered Zhari.

corporealities speech acts, phenomenological occurrences of the word being in space with the other, again, inside and out. Registrations are living in your question and responsibility with a silence beyond the separation inert passive mechanical technique that aims to make the subject simple body habitus and social production, a tradition fatality effective.

Body Art, even though leave behind the notion that advocates the dominance of Cartesian rationality and positivist on the body, a person, a tabula rasa, the human instrument of society, empty. And is there another look at the human being of whom perceive the body as a "source of agency and intentionality" that happens in the "inhabit the world" through intersubjective encounters (Csordas, 1999:179).

Dress meat then, who narrates in this case, the trace of being "autobiographical living animal" (taken from Derrida, 1999:90:91), his faith thus their presence in the mobile space their feet, hands, eyes, voice, arms, legs, hips, breasts, neck. You can stare at the corners and one in the straightest lines of walking quicker and less of an exercise that is the tip of the nose at the foot of the unexpected. Sign made from them, with them, to the mystery of the voice.

Mazzoldi Maya Diaz, April 20, 2007

mayacasino@yahoo.it

Bibliography

reference

Csordas, Thomas. 1999 "The body's career in Anthropology" In: Anthropological theory today. edited by Henrietta Moore, Cambridge: University Press Polito, pp. 172-205

Derrida, Jacques. 2002 [1999] "The animal that therefore I am" Sao Paulo, Brazil

Mauss, Marcel. 2003 [1935] " Techniques of the body in Sociology and Anthropology, Cosacnaify, São Paulo, pp. 369-397.