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"Tram heart crazy wheel" in the Cabo de la Vela






Images Work "Tram heart crazy wheel" in the Cabo de la Vela

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IV International Meeting multiethnic and multicultural "West Indies and the Caribbean on stage" heart

The Corpus Collective Theatre presented his work "crazy heart Tram wheel in the Fourth International multiethnic and multicultural" West Indies and the Caribbean on the scene "- Teatrízate 2007 , 30 March to April 7, 2007. This activity was organized by the Cultural Corporation Jayeechi that investigates and theater in La Guajira Colombia for 14 years.

In the framework of this activity, the Collective took part in two presentations: the first, along the sea, in the Cabo de la Vela, and the second in Riohacha, capital of the Colombian Guajira.

Green Bowel Movement At 39 Weeks Pregnant

crazy tram wheel in the XXIII Festival de Teatro de Occidente

The Corpus Collective Theatre was present with his work "Tram heart crazy wheel" the XXIII Festival de Teatro de Occidente held in the state of Portuguesa, Venezuela. On Saturday November 25, 2006 the Corpus Collective closed the Festival Theatre in the city of Acarigua.

Within the West Theatre Festival the Collective Yuyachkani shared with the group in Peru, in addition to having the pleasure of the play " Made in Peru" and talk, exchange, barter with them .

Photos: Work "Made in Peru", Interchange with Augusto Casafranca and Corpus Theatre Collective, programming banner.

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Conversation with Nicanor Cifuentes Gómez

IV Meeting of Actors Tribute to TEC

"... the first thing is not brand new or mount

but a self-recognition that has

disclosure and non-representation ..."

NC

The poet, playwright and incessant cultural promoter Nicanor Cifuentes, talked with us to tell from inside the body and spirit that animates the Fourth Meeting of Stakeholders in tribute to the Teatro Experimental de Cali (TEC) "Enrique Buenaventura" to be held from 26 October to 03 December in several areas, including MACZUL, and theater Danzaluz Chámpata Chímpete puppets.

Wells to quench the thirst

"I found the Free Chair invention of Latin American and Caribbean Theatre in the Culture of Light, to start making there wells where mitigation thirst. Well the chair is free because it was the possibility of developing the theatrical performance project. Since then I begin to Pesquisar canoe in and then began to appear some herds. The first, a research laboratory, experimental and theatrical creation, the "Actor's Workshop." This coincides with the first herd arrived in Maracaibo the poet and dramatist Elaine Centeno Álvarez. Thus began and became "Bollanchain" with Lolymar Suarez Ayala, Cortazar did, "Endgame", and then made the third work that is "Far Fetched Heart Tram Wheel." But it took a community of herds, it was necessary neighborhoods. Then came another herd, Ediciones Yamana. I founded a magazine, and then the magazine was to go searching the material of a people with whom we have a kinship of poetry, a methodical trenzamiento a way to make this process where the first thing is not brand new but a self-recognition or mounted to there is disclosure and non-representation, to form a group that essentially glaring inside out. Yanama issues is on the fourth title with the Teatro Experimental de Cali, with its theoretical materials, their work experiences theorized, systematized. Then there was another herd, Body and Spirit Days Actor. There, I said, "in that herd are going to start designing a way to study the expression of Zulia multiethnic stage." Now is born the collective herd "Armando Reveron" to stage events of small size and influence in uncontrollable situations, such as the seriousness of environmental degradation. And there's a herd that is to talk with all languages \u200b\u200bcreators the artist, the storyteller, the artisan, the crawler chipichipis, ie everything that is work that requires a technique that requires a time-to display the chipichipi already prepared or ready-made poem, "are symposia. They have a name very stiff, very strong, "Strategies for symbolization and production of meaning in the regional artistic praxis." Consist of inviting people to count as long as you want, if in three days, under an arbor or an afternoon with video-beam, no video-beam, with stripes on sleep, with coal, lime, smoke signals, and outside, how he invented a logical one with which it shares a project. A course project, which helps make the man more man and man do more loving and more caring man do and make the happiest man and man do more visions of what precedes it, so that the chair free that canoe, has in these bodies of work, these spirits to do. "

Meeting with relatives

" Suddenly we felt it was important to invite other people and when we find the work of Eduardo Gil with TET (Experimental Theatre Workshop), when we stumbled into the group's Bacchante with Altof theater in Caracas. So we see that we have relatives in the country with we can share experiences and so is being born the idea that we encounter in which for fifteen days, a week, have exchanges of knowledge and expertise, "how do you, how I do", of course, under a structure workshop, which implies a sharing experience which always releases to make a theoretical discourse to the assembly to work. Not for books only, we are interested in how to qualify, how to give fullness to training or its various forms for greater rigor in expression. That's what the meeting is for that, a joyous event, where the core is to share training, sharing of results. " Enrique Buenaventura

"The fourth meeting of actors is a tribute to the Teatro Experimental de Cali was founded in the early 50's. Remember that in the sixties and seventies in Latin America is experiencing a continental political moment release accompanied by a whole artistic avant-garde poetry in general. Then there was a university independent theater movement closely linked to the popular fighting. Augusto Boal at the time the pamphlets out how to make is the one that makes the poetry of the Theatre of the Oppressed. In Colombia there is a strong independent movement in Argentina or say. Begin to appear these groups to begin their practice stage practicing utopian socialism rather than reality is given. The actor involved in the entire design process, in that sense, the TEC is important because fifty years after it received a drama in which Enrique Buenaventura, TEC playwright writes, but not alone in his room, written with the actors, and so the group began putting together a poetry so that all the Colombian drama permeates this movement there was called the New Theatre, the New Theatre in Latin America and one of the gurus was Enrique. Now we're doing this tribute to the Teatro Experimental de Cali because it was a group that did, has done and still doing research focused on the actor's art and offers an essential tool that is improvisation. "Partying

artists worldwide

" We to this day in honor of the Teatro Experimental de Cali now called Enrique Buenaventura (the child died two years ago and lives in the actors who still make up that group, and is the third generation of actors there yet invented), and as there is a global festival anywhere in the world are doing something , a seminar, an exhibition of drawings by Henry, a rereading of that poetry, or are attending the Teatro Experimental de Cali where there is a programming throughout 2005, which we did, modestly, from our University of Zulia and from our other universities where they also live, as our Bolivarian University is join in this celebration, not international, but from the artists. We have memories of that group, the TEC, it was here. Enrique (Enrique when I say I do not praise a person, I speak of it disappears in the work) lived for that, in order to screen the theatrics of Latin America. "

José Javier León

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Theater

Conversation with Elaine Centeno

The Cuban playwright and director, talks about his experience in theater and his new proposal, crazy heart Tram wheel, which will be released October 28 Danzaluz the Auditorium at 7:00 pm.

Santiago bloody

I was born in Santiago de Cuba, but I do not know the city as I know the city of Havana which eventually grew up and where I trained and studied, and where formed around what is now my life, my reality. But there is a way in which I recovered in a profound and visceral the city, my hometown, and in 1994 when my mother dies. When I have to walk the streets of Santiago de Cuba, at dawn, crossed by the news of the death of my mother, the city eventually tells me that city as I knew in the history books that tell the saga of Fidel Castro when in 53 assaults on the Moncada Barracks. What excited me most of those readings was the description of the city streets, steep streets, is the only Cuban city with mountains, so it costs to walk in them, the sidewalks are narrow and the houses are there, almost on the street. Then I had the chance history book of the young revolutionaries persecuted by the dictatorship of Batista, trying to hide behind the doors, not to be made by the police. And that city, of course, bloody mourning at that time is relative of mine because my mother died, and I walked the streets under that imprint, under that memory. From my trip to Santiago then concentrate on making that trip, as I said Lezama, "magnet for those corners."

The theater was a party

What I decided to study theater possibly are the carnivals, festivals, and more than the color, rather than striking, but the sound of the holidays, that thing fierce, violent, not the fun or the harmonic, but the flip side, the bodies translated into the sweats, the sharp gestures, sounds of people asking for beer, and begging for more, and I then I ran out. My uncle is Uncle Ephraim actor, puppeteer uncle, one night I said it would not be able to resist, because they were parties that lasted until dawn, but one night, finally, I could experiment with it. So when I take the Drama Theatre was like a party.

Understanding the human

With Raquel Carrio in playwriting seminar is a possibility, to invent the theater from the writing alone but from the drama that is done on the scene, this is called creation experience in Colombia collective. In Cuba there is a significant experience in the Escambray Theatre, but the late 80's in Latin America there are experiences of the group. The drama, therefore, was not only used as an experiment then put to the public but was a human group that is nucleated around a purpose also human, which had resulted in a poetic experience, or images made in practice to exercise the understanding of the human.

I do not want to take on the massive

Grotowski said, and I do not want to take on massive, I want to start to see what happens if the theater is a vehicle of communication with the other but not with the other in the tangle of massive, but with that other that I can look just in the shadows, almost appealed to my gesture.
Grotowski is the first deal, after the second world war, of giving the actor a director independence, the dramatic text and theatrical technique in use: lights, costumes, makeup, music, scenery. He says the actor, you can dig, sift through your memory and your memory to construct the text stage, but it had to give the actor a workout, an exercise that would enable it to make foraging, the selection of content and turn them into an image.

An experience outside

I always have to talk about Smith and Venus Lolymar Ledezma. Ten years ago were the first who dared me to do these things, and in that work was a tremendísima and deep loneliness. I remember we were very afraid.
The first risk we ran was that of understanding, a risk that I do not care so much running. After you've found the keys and you realize it is true that you can enjoy and not feel so afraid of understanding, we knew that maybe not all but a few moments of work could be used for another, and that encouraged us . The second was "Endgame." I think the highlight of that experience was when Venus said, almost her knees, and with a fury to understand what was happening, "how I happened to what I am" ... I have no answer to that, all I sense is that "acting is work." I remember in the second moment Venus said, "I know that to make way for what I am I have to be in me."
The third risk we run is a great, which we are accountable for what we do is not theater. But that's okay, it's perfect, because in addition we always have said and whether to put a name, well, yes, it's theater, but that does not concern us much. Okay than theater or dance or both. The only risk that really matters is that we have more chance to talk in this city and not keep doing experiments like these, regardless.

Four women turned inwards

In some parts of the world is celebrated with absolute indifference to theater and other costs of life. I'm talking about people who do theater in Latin America, the Caribbean, in Africa. There are many people doing things on the edge of the abyss. Tram wheel crazy heart, is the result of work of four years of painstaking research and training, which reveals some clues: it puts the actor at the center of theatrical activity, the actor is the author of the story itself, and fundamentally, the human being comes before the actor.
At first the group was large, but this work there are people who will not resist, no physical effort, but human. And these four women, Adriana, Sacha, Patricia and Beatrice, that I think of a sustained value, have been turned inwards, unlike many times and I find most beautiful, hence sorting everything that can be delivered to another . I want to emphasize this type of work although in the first stage working with a strong sense of individuation, because the individual has to look within itself the key that will serve for the trip, what moves me most it seems that no one touches the other, and then learn to work together. One begins to twist the collective and you start to hear that someone at your side to which a thing is happening quite similar to yours, then you begin to weave the sound polyphony refers to another sound, and that personal expression that refers to another gesture, and suddenly it a collective gesture that no one knows the origin and now belongs to everyone.

José Javier León

Sayings About Bubbles

the edge of the abyss "Tram heart crazy wheel"

"crazy heart Tram wheel is released in Maracaibo, Zulia State on October 28, 2005, in the former city airport, now home of the dance group of the University of Zulia, Danzaluz.

Synopsis of the Work

• The emergence of a movement to be initiated into the invisible, will bring other apparitions, which coming from different paths will be in an original and unknown.
• The invisible hold that quality of mystery and cache, only manifested in the form of pre-feelings for the other presences. During the tissue link between the invisible and visible born to discover the game what goes down and runs off in the unfathomable depth of space-time that is done and takes life.
  

Black And White Damask Cardstock

Premiere of "Streetcar Heart crazy wheel"

-CORPUS COLLECTIVE THEATER

Work: TRAM WHEEL CRAZY HEART

Collective Creation

Sheet:

Cast: Prieto Adriana Quintero is Isabelita.

Beatriz Martínez Camacho is Anele Zib.

Luengo Patricia Jiménez Alkaline is Talula.

Pineda López Sacha is Zhari.

Music: Luis Julio Toro.

La Lupe.

Elis Regina .

Benny Moré.

Pink Floyd.

recording and editing: Oscar "Wicho" Quintero.

Design Lighting: Elaine Centeno Álvarez.

Costume Design: Prieto Adriana Quintero.

Beatriz Martínez Camacho.

Patricia Jiménez Luengo.

Sacha López Pineda.

Creation of the costumes: Maritza Cepeda.

Design and manufacture of accessories: Violeta Pineda.

Production: Adriana Prieto Quintero.

Nicanor Cifuentes Gómez.

Making Material Audiovisual: Audiovisual Collective Cayapa.

Photo: Pancho Villasmil.

Barbara Muñoz.

Lucía Borjas.

Art Director: Elaine Centeno Álvarez.

Genital Piercings Male

notes with some memory of the First Symposium on Research in Arts and Teaching of Languages \u200b\u200bin Colombia. Bogotá 2007

Elaine Centeno Álvarez.

I. MARACAIBO UP FROM THE SAVANNA BOGOTA.

My leaving the port of Maracaibo to get to Bogota, was near midnight on Thursday 21 June this year that still lasts, so the savannah was revealed before me, all its brightness, the day after my arrival.

Those days of June in Bogotá, had the thrill and excitement of a personal and family life and other social invented along with the Maya anthropologist Mazzoldi Diaz, to discuss collectively the various production processes and patterns of meaning in the activity of creating and performing research. The origin of this meeting was the collective desire to extend our dialogue was a public space.

enthusiastic

In this spirit, Maya and myself started from City of Maracaibo finding a space and an audience. That intention traveled contained in an open letter in Bogota who was interested in giving shelter space and the possibility of exchange and encounter.

The response from colleagues in Colombia, there was a dramatic action movilizante enjoy a fountain of new ideas gave the welcome to our proposal. Your chance of realization finally crystallized in the combined effort of Alejandro Jaramillo, Nancy Carrillo and Carlos Araque, who was invited to the actor and theater director, Juan Monsalve.

That's how we met in Bogotá during the morning three days, from 25, 26 and June 27, 2007, in the spaces of the National Pedagogical University, with the collaboration of the Center for Teaching Foreign Languages \u200b\u200bProfessor coordinates Nancy Carrillo.

The meaning of this first meeting was central interest to exchange experiences, insights, creative practices, training and research in each of the participants: Nancy Carrillo (Centro de Lenguas-National Pedagogical University, Bogotá) l; Alejandro Jaramillo (Institute for Studies in Communication and Culture IECO-Universidad Nacional, Bogotá), Juan Monsalve (Theatre Memory , Bogotá), Carlos Araque (Academia Superior de Artes de Bogotá, Universidad Distrital Francisco José de Caldas), Maya Mazzoldi Diaz (Federal University of Santa Catarina, Brazil) and Elaine Centeno Álvarez (Collective Corpus-Teatro de Venezuela).

Everyone here called I became part of the Symposium on Research in Arts and Teaching of languages; name, shape and direction of the open invitation to all concerned in this matter.

Once the group gathered in Bogotá, on Friday 21 June, we agreed that this first conference will focus on the discussion on several points: what is the expressive tool for job creation in the case from which the actor and theatrical and anthropological perspective to the work of creation, research and training, what relationship between the teaching of language and nonverbal language that characterizes some experimentation stage, what then is the relationship that the actor has with language and finally, we would offer the audience a story of theatrical experiments in the case of each one of the scenic artists invited here, projections of videos explaining the works and exercises in a group, open to the public.

We would focus around the discussion of the procedures each take convened there in practice, teaching and research in the Arts Theatre, with a view from the Anthropology on the treatment of the body in terms of searching, memory-traffic of human existence in an area of \u200b\u200binitiation and liminariedad with the outside world including in the discussion the issue related to the possibility of using the theater as a tool for teaching foreign languages.

II. FIRST OF ALL IN HOUSE ALEJO JARAMILLO.

Colleagues all, we were called to a first meeting to plan the actions of Alejo meeting house Jaramillo. We met for the first time we were coming into the kitchen of the house of Alexis, as he welcomed us preparing to put wonders to the table.

The fullness of this preparatory meeting was finished around the wooden table width of the house of Alejandro Jaramillo, facing a small garden. The opportunity to exchange our views with passion, experience, practice and crystallization of the roads that have been touring the invention, we embarked on a lively discussion, sound, medianochera, some of us claimed as the exact start of the match.

The conversation took more and more the character of a crescendo with issues all converging on the practice stage, anthropology and foreign language teaching through drama. The use of the body, the action for recovery of the collective and individual memory, the word, contacts with other cultures and yet equally spaced in the vicinity of recognizing and meeting the trance experiences of body and spirit, as enabling environment in the theater and in life, a way which may involve walking for learning from an output of the self, a fundamental tool, there were many issues discussed here in the heat of what more or less tried to describe above and that were ultimately a guide for conversation with other participants in the three days early morning meeting.

These notes would like to have in order to collect some of what happened, leaving the task of memory, perseverance and reference the work of this first symposium, to later continue with similar initiatives.

III. FIRST DAY OF WORK IN THE CONFERENCE

Three

rainy and cold morning in Bogota, welcomed the meeting between playwrights, anthropologists and foreign language teachers interested in the Arts Theatre, actors, directors, students and the general public.

On the first day called for the start of the meeting-Colloquium spaces Pedagogical University National , Alejandro Jaramillo and Nancy Carrillo had the responsibility to open the space for the meeting, stating the matter and interest there we met them all and giving way to the participation of those gathered in the Music Room of Pedagogical University National .

Juan Monsalve greeted those present in the mudras gestures made expressing two poems, one of the Sufi tradition and one of the Papago Indians of North America, from that time gave space and movement at the time of those three morning chats. Then

Maya participation Mazzoldi Diaz left an echo that preceded my own involvement, she analyzed and described a type of body experience or orporalidad c, in which the time of incorporation , or registration a cultural body paint and can happen in achieving physical and mental actions in a sacred space.

In the process of registration in memory of life, inside and outside are subverted, a condition similar to when the initiate, the initiated, crowns its magical transformation in the religious traditions and to prepare the person (body-subject) for its role in social life, a ritual similar transformation can be distinguished in the theatrical creation, during the internal investigation work that the actor does in his effort poetic invention.

In the first part of his presentation, Maya goes into the study of several authors, in a passage which looks to phenomenology and ethnology, a description of the various experiences of c orporalidad and the processes by which they can support those moments of i EGISTRATION - incorporation, reaching the universe of the stage-drama.

Another echo of your voice was the one who dealt with the description of the moment of completion of the construction process of the body experience in liminal space-time, which is a subversion of the whole instance inside (interior), out, this proposal on chance to drive processes that favor the call to subvert the inside out (liminariedad) also proposes a reading of theatrical creation like that incorporation time in which both the actor and the spectator is transformed, completed in the act of production of meaning brought about by the theatrical and ritual.

His words were in my view, contributions to the discussion of search activity stage, the reader may refer to a greater understanding and depth, the text of Maya Mazzoldi: "The actor in the liminal space " included in these reports. Then

was in my participation, interest-telling during the three days that would last sessions of the Symposium-stage procedures used for the invention of a drama theater made collectively, wanted to also describe the kind of human aspiration that arises in the will of the participant-actor of these processes of inquiry, reflection and creation in the theater space, in search of clues to his poetic life and for our collective stage is essential when trans-figures of experience theatrical invention.

The thread which led my story was guided by the experience of participation in three moments or creative work stage, I mean: Bollanchain (1995), Endgame (1997) and Heart Tram Wheel Far Fetched (2005).

These collective playwriting work has been initiated and processed simultaneously in tallerización spaces, where the inquiry and experimentation with different techniques and procedures, were binding and oracle of an initiatory path .

The Spectacular Playwriting Workshop , working methodology used in the three works mentioned here, although with a variation in the naming of our work during the period of inquiry and invention of the collective work Streetcar Heart Far Fetched Rueda (2005), and he took his name, and Workshop n that you learn to bind the will and name the things themselves; focused its objectives:

1. Learning to work with the body, an instrument that makes possible the realization of the visible. A transfigured body in the alienation of extra body-daily task that seek to banish the body-mind-memory, automatic that govern our body in everyday life.

2. A individual and collective efforts to recover the memory of living tissue that expresses the development of a historical memory, social and collective.

3. The ability to invent a dramatic aspiration itself, born of the story of life rooted in the minds of participants' lives.

Initially

period of stage work that would characterize, from placing Bollanchain (1995) and Endgame (1997), the latter based on the story by Julio Cortazar, the invention process stage was covered in a poetic search then defined as a "pre-expressive experimentation semanticized." With this caveat continue the story that would attempt to participants in the Symposium on risky procedures in the work stage that I mentioned.

sense of inquiry about the keys of a "stage experience semanticized" tried, as I said, risking a procedure by allowing the opportunity to approach the development of a drama of self, collective stage writing, drama, understood as a "web of actions and re-actions", in the twisting of the scenic image .

For this, the living memory of the participant-actor, rooted in the network of social and collective memory, it was as to the meaning of our inquiry stage cardinal importance. Various

textualities stage converged in the text, as a result of a search we address the complexity scenic appointment and the confluence of inter-textual texts despite their diversity, or counterpoint, were in a live dialogue, transfigured in the body-mind-memory of the actor.

In the case of these two early works of poetic writing, Bollanchain and Endgame, the possibility of playing with various textual, who were responsible for the fact poetic influence as a guide -expression on the actor's creative work, allowed us to bring, for example, a blues sung by Janis Joplin, Indian poems José Manuel Poveda and fables, short stories, a kind of maze of knots of action I wrote and served as a "map" to guide the search for the actress, were part of the texts that came together in the writing stage, in the case of Bollanchain.

The story by Julio Cortazar, Final Game, went through the entire memory to do the search, the invention of the poetic work of Venus Ledezma, an actress in the play that brought the very name of story Cortazar, much of the story written transfigured in it, subverted by his memory, working in intimate fiber in his body.

exercised stage process from this construction effort sense, we call "experimental semanticized" gravitated to the possibility of re-write memory, with all registrations and incorporations of the body, a ritualization of space and search time poetry, a drama, not only understand as text literary but also as a tissue of actions and reactions, which are made from the time of experimentation expressive interior, where everything experienced during training could also be making future material for expressive work, I say becoming, because in addition to always consider the need for understanding the process of images and the selection of them, and their final assembly in a web-spider-web woven of spectacular scenic narrative.

Towards the end of my speech, after the story of the search conditions in human and poetic world of theater, we show fragments of the process of creating the work Bollanchain in images recorded during the work of inquiry 1994.

III. SECOND AND THIRD WORKSHOP ON THE FIRST CONFERENCE ON RESEARCH IN ARTS AND TEACHING OF LANGUAGES.

During these days, second and third days of our meeting, professor and director Carlos Araque, experimental sessions began work practice with the group of participants, introduced for this use of the methodology of Biomechanics Meyerhold, tried looking for it, broadly, over the three-day meeting.

When accounting for time and space then the story that had begun on the first day of talk, then focused story here continued in the presentation and description of the work process the work of collective creation: Streetcar Heart Far Fetched Rueda (2005).

With this assembly in our group completed a kind of trilogy, a search that has been forged in the heat of the theatrical traditions of Theatre Anthropology , adding the contributions from our Caribbean culture and have more complex multi-cultural a form of inquiry and theatrical creation, which has tried to find its own language.

Yes in the two previous works, and Bollanchain Final game feature that gave the meaning of the search was the one that started with a procedure that privileged a poetic creative process and the experimentation stage semanticization, in Far Fetched Wheel Trolley Heart (2005) , however, this feature was driven by an experiment that left the pre time -expressive where it was agreed learning and experiencing physical training techniques, which opened the possibility to use and understand the body in an extra-daily situation. That

semanticized time before and not in the case of procedure Tram Wheel Far Fetched Heart (2005), where the group experienced during training, job skills training for the body-mind-memory, the time prior to the expressive and poetic life, has been described by Eugenio Barba as a privileged moment "before non-chronological sense."

My intention then, in the continuity of the story discussed was telling the guy to make you interested in scenic then logical. This "before logical ..." allows a search stage, in trying to find a language of their own group, which investigates the key individual and collective memory to create the conditions of a vacuum processing, Consequently we saw, rubs, playing with depth, a poetic way that it becomes a ritual way of initiation and transformation.

During the working sessions devoted to pre-expressive, located in the "before" software ", the work of inquiry scenic drive on the steps of the testing body.

Our experimental work pre-expressive body has concentrated on the go on a set of techniques for working with the body and all its banks, sounds, gestures, looks, breath, colors, along with the possibility of fruitful link to search the entire body with the memory of life actor and its collective and social contingency.

These techniques, sort of guide or rather methodological experience of the spirit and encourage physical and mental, are part of an extra-daily corporeality, which focuses its work contained in the body rhythms, work on the fragments of body, sound and word on the turn of the body in a space that is subverted by the same body turn, and the recovery of tensions and weights, which, as extra-daily body searches, are the nature of carved a fiber embodiment of otherness.

A documentary that retrieves important part which led to the work of collective creation Far Fetched Wheel Trolley Heart (2005) was presented in the continuation of the final day of Symposium.

far I have tried to tell part of the score playwright, who recounts the experiences of performing that I have witnessed exceptional and that was my contribution to the conversation in the three mornings of the meeting in Bogota. This score playwright has among its key players to the six actresses who have supported and made flesh in their bodies and memories, the risk of poetic invention that profoundly to the human, without which, the creative act, would be plunged into an empty symbol, artery, blood, or memory.

A Lolimar Suarez Ayala, Venus Ledezma, Adriana Prieto, Beatriz Martínez, Patricia Jiménez and López Sacha, are engaged in these days of account of our human experience and theater in the days of conference in Bogota.

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The actor in the liminal space

Mazzodi Maya Diaz,

mayacasino@yahoo.it

PPGAS - UFSC Brazil

Through analysis sociological-anthropological desire to present a perception of the individual dimensions given by the art of theatrical creation. Theatrical art that allows us to transmute the human quest for resolving the inevitable conflict that is present in the individual's relationship with the community, to and sociality, experience the world we call embodiment, using the word Merleu-Ponty. We will go in some studies to explain this approach.

experience of the flesh: physicality

"[...] Só não o corpo e os são Corpos Construções

cultural but also the very concept of body

is a cultural and historical construction "(2006) [1] .

Sin embargo, para la anthropologist Silvia Citro (2006) el cuerpo es el común substrate bios we share men and women from different societies in transition from birth to death, the body is our anchor in the world, the means by which we inhabit the space and time. She says that on the common materiality of bodies between life and death, societies invent dissimilar practices (daily body techniques, modes of perception, ways of living space, gestures, expressions of emotion, dance) giving rise to representations corporeality and its distinct ties to the world (Citro, 2006:45).

Some anthropological studies have considered the mutability and historical and cultural status of the body through the registration of the diversity of practices and philosophies body of human groups, specifically highlighted the ethnographies of peoples of New Guinea and the Amazon, where the practices and rituals of stretching the neck, circumcision, scarification, tattoos, body painting and the penis sheath, were remarkable (Csordas 1999: 172). You can also highlight studies Paul Radin (1927) on Maori philosophy that distinguishes a material substance and an immaterial form, a ghostly shadow, not a psychological term for the ego of Robert Lowie (1924) on ethnological materials The Crow (North America) and Bushmen (South Africa) relating to the kinesthetic and visual forms of imagination of Robert Hertz (1909) around the primacy of the symbolic on right hand and the hand left and studies of Marcel Mauss (1934) on the techniques of the body and notions of person-thinking through the body duality of Descartes, in anticipation of the notions of practice and habitus developed by Pierre Bourdieu (1977, 1984) (Csordas 1999:173).

particular, the ethnography of Leenhardt (1947) with Canaco pueblo (Melanesia) opened en estos estudios un questioner al establish from sus observaciones field, el de la concepción holistic paradigm del cuerpo muchos pueblos that had characterized the Indians. It respecto de la percepción de la cite the corporalidad Leenhardt,

"When man lives in the mantle of nature and has not yet separated from it, sprinkles it is not more is invaded by nature and only through it knows itself as itself. Do not have an anthropomorphic view, is subject to the effects it produces an undifferentiated view [...] And because it is completely filled WITH THESE Vibrating acha do mundo, o corpo dele não differs. " (Quoted by Citro 2006:67-68).

emphasize the analogy of thought on corporeality Leenhardt indigenous to the metaphor used by Merleau-Ponty to explain that "the experience of the flesh, the overlapping of the existence of the body with the world, becomes an existential feature of human life. " Thus, the perceived worlds are constructed differently in every culture, as even the same everyday practices bodies vary (Citro 2006:69).

The phenomenology of Merleau-Ponty's study considers the body and incorporation, emphasizing that the experience of embodiment the body is not an object, the more a subject, and that the incorporation is the condition that we obtain an object-to objectify reality. Moreover, culture does not lie only in the objects and the representations also in bodily processes of perception, for it is through these representations come into being, these bodily processes that are creative, are linked closely with the intent that binds us to our world (Csordas 1999:185).

Unlike studies of anthropologist Mary Douglas (1966, 1973), for which there are two bodies, natural and social (cultural) or for the Nancy Scheper Hughes studies and Margaret Lock (1987) who distinguished three bodies, the individual (body and self), social (in the representations as a symbol of nature, culture, society) and the body politic (related to control bodies) (Csordas 1999:177-178). Phenomenological studies that happen to Merleu-Ponty considers the body not as a passive tabula rasa upon which society imposes its code, but as a "source of agency and intentionality" that happens in the "inhabit the world" through processes of intersubjective encounter (Csordas, Op.cit: 179) . Is the case with the work of Andrew Strathern and Marilyn Strathern (1970) in Mount Hagen, New Guinea, who are dedicated to decorative painting body on the experience of gender difference, or Terence Turner (1980) that crosses the Kayapo body decoration, from the point of view of the embodiment, as an existential condition in which the body is the subjective source is the basis of experience.

The latter brings us back to what Citro Sivia placed on the relations of the "existence of body in the world" as an existential feature of human life, where the meat is equivalent to the expression using T . Turner (1993), "body surface", defined as the border with society, while the social self and the psycho-biological individual is the place where it staged the drama of socialization. In the case of the Kayapo body decoration is the language used for the expression of intersubjectivity (1993:15).

to circumscribe these studies to the Brazilian ethnology, Seeger, Da Matta, and Viveiros de Castro (1979) Amerindian societies differ in particular elaboration of the notion of person who leaves the living body, understood as local symbolic language (1979:3): "the body, affirmed or denied, painted and drilled, away or eaten, always tends to occupy a central position on the view that indigenous societies have of human nature" (Op.cit.: 4). As the authors explain, the reflections on the role of the body as a "matrix of social meanings and social significance displayed object and in the work of Victor Turner, Mary Douglas, Levi-Strauss, to treat the body as an instrument that articulates social and cosmological meanings: the body is array of symbols and object of thought. In this sense, indigenous societies in South-American study the "physiological body fluids - blood, semen - and the body's communication processes with the world (food, sexuality, speech and other senses) that underlie variations "(Seeger et al. 1979:11).

A purpose of the communication process with the world body: representation

At the beginning of studies of the French sociological school category of person was identified in the collective representations , whether in tribal societies, as in the history of western society, the society met the individual, existential duality of the impersonal-exterior and personal-interior. The Western intellectual context in which emerged sociological interpretations of Emile Durkheim and Marcel Mauss, like constellations had ideas of polarity between reason and feeling, soul and body, sacred and profane, sensitivity empirical and conceptual thinking (or moral activity) of Kant [2] . Durkheim said that "intelligence comme notre notre activité très differente presentence reports deux: il ya les sensations [3] sensitive et les tendances d'un côté, la pensée et l'activité conceptuelle morale de l'autre. " For Durkheim the body, our body, had a place in our mental life, as a substance that conformed with the soul of our existence-personal-selfish individual, our existence was another socially, outside of us in the impersonal, social, moral, what compels us to sacrifice.

In A category of the human spirit: the notion of person, the yo "(1950.2003) Mauss performs a comparative analysis that shows the progression of the development of the category of person, as a category of the human spirit within the Western tradition Christian (psychological self, moral self, I metaphysical). Set as premises of the project, first, the idea we believe to be natural, "person" and "I" emerged and grew slowly over the centuries in the history of mankind, and second, that notion of "person", fluctuates and is "susceptible to further development." In this order catalogs Mauss evolving forms of such concept in different societies based on their rights, customs, social structures, attitudes, calling his catalog of facts ethnographic museum, whose trip includes Pueblo (Zuni), the North American Kwakiutl, and Loritja the Arunta of Australia, to India the Brahmanical and Buddhist, to ancient China, to Rome.

The progression of the concept in the social history reveals that many companies came to the notion of " character, role played by the individual " is in the sacred dramas, such as role in family life. also note that the notion of "person" and "I" in the Latin civilization evolved through the strokes of masks, roles in the comedy and tragedy, the names of individual rights, rites and privileges that are heading towards the formation of the notion of person. The Greeks contributed to this story a sense adding to the existing legal morality in society, in this way the person became 'be aware, independent, autonomous, free and responsible. " Finally the Christians made the moral person a metaphysical entity: "Rational substance indivisible individual" (quoted words of Cassiodorus). The person would become so in the category of "I", by way of knowledge of self. Concludes with this passage, we can say that the study of Mauss gave a breakthrough in the questions of Western thinkers cited also concerned about the tension between individual and society .

In tribal societies and magical religious cultural process that guides this self-knowledge occurs through representation on a space-time isolated, ritual body language teacher who is shared with those who learn their art, using meaningful objects in the cultural order, like words, songs, dances, food, beverages, physical postures, psycho-motor activities, which are incorporated in the experience of subjectivity experienced through the flesh of the apprentice, in his corporeality.

Variations in the perception of objects for this embodiment, form the intention of his body, hence the need for isolation of the individual in atonement for the incorporation into the depths of his being more powerful . Now we can steer this course to the stage performance that appears in the Suárez action Lolimar with director Elaine Centeno, in the play called Bollanchain (1995). In this work, a revelation of what happens the other, unspeakable and has multiple special as open subjectivity, using rhythmic body language and heartbreaking, received in stage management that takes place within a circle of gunpowder plot, which some objects particular, a rod, a rope, two dresses, a small trunk, donated to the expressiveness of a self that has been in and out of the mood of his biography contexts, through differentiated relationship with the whole of a story told ago years in an old song by Janis Joplin. And clinging to nothing, Lolimar scene offers activities that make up his meeting with the abysmal space, liminal, his being in the world. I also recognize, in the words of the director, Elaine, who wonders, seeing the work of training his star, "who wants to go backwards or inside ...", which she witnessed a tension between the experience and drainage.

Bollanchain As spectator, glimpse the courage to be "initiated (o)" or apprentice of the master and go with your guide; see in action created by Lolimar in Luisa Andrea, shown an inner journey that throbs from a creative liminality : old memories, childhood and adolescence, maternal figures, figures of authority and rebellion. As I tried to explain, I imagine in my mind by the strings that make a ritual of initiation into any society, which Eugenio Barba calls "pre-training expressive actor." It turns out that in the preliminary phase of these rituals, it is an experience that the body of (a) initiated (a) into his body in the strict silence of isolation, is this experience that I work alongside theater which led to Bollanchain because actions and special effects elements or open place for the actress for the incorporation, leaving the natural limit of human being.

In the scene the actor who goes in this direction to his profession, he undertook a journey to experience etched in their flesh and in the individual subconscious, into a release that exceeds both body art of his profession as the habitus of social person. In this sense the body-mind-memory in which we perceive an intention, is also creator and then reveal a social life or bodily entry before re-created on the mask, the role created for his character on stage. The form taken as given, Andrea Luisa character, which is non-person, ie not-Lolimar more fiction on the images of his life, born in time and space that underwent training as an actress.

In the initiations rituals, whether individual or collective, usually at puberty or in the passageway to the roles of adult life, when the person is removed from social life to stay in isolation ward of a (a) teacher (s) should follow a disciplined a series of ritual to incorporate into your body-mind-memory (fast, quiet, silence, sleep, passivity). Same period of isolation is the preparation for the next phase ritual, the novitiate, described as extended learning that the initiate receives his master: the rules of their specialty, as the skills that will give him prestige in society.

liminal space-time in which it occurs Lolimar training with Elaine who witnesses the action, the place for the final creation presented to the public, the staging and drama composed by actions representing polyphony-scenes images collected vital memory of actress and that presented to her in the sacred space-biography of his physicality on stage defined.

posted this on the table, I turn to the recognition of a creative force in the borderlines of the individual, ie before reaching the status of person. This cultural experience is done in different Amerindian societies and ethnology other registered: it consists of repeated, experienced in the flesh and the subconscious, is linked in some to the formation of a profession, a specialized social role in a valued art. I mean the way of (as) started (as) to the priesthood, shamanism, hunting, painting, the dance, weaving and marriage, but also to the formation of the actor or the philosopher in Western society. The British anthropologist Victor Turner (1982) calls this oid religious and artistic form produced voluntarily, recognizing the autonomy and subversion against the dominant structures (1982:118).

Bibliography

Durkheim, Emile "Le dualism de la nature humaine et ses conditions sociales " An electronic edition made from the article published in - Scientia, XV, 1914, pp. 206-221.

Lévy - Bruhl, Lucien "L'âme primitive " An electronic edition made from the book published in 1927. Paris: Les Presses universitaires de France, 1963, Nouvelle édition, 451 pages. Collection: Bibliothèque de philosophie contemporaine.

Marcel Mauss "A category of the human spirit: the notion of person, of 'I' " in Sociology and Anthropology, 1959, 2003 pp. 369-397.

Maurice Leenhardt " Estructura de la persona en Melanesia," in Do Kamo . La persona y el myth en Melanesia, 1971. Chapter 11.

Turner, Victor "From Ritual to Theater . The human seriousness of play " 1982, PAJ Publications

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[1] Maluf, Sônia Weidner . " Corporeal and desire: All About My Mother and gender in the margin" . Rev. Estud. Women , Jan 2002, vol.10, no.1, p.143-153. ISSN 0104-026X

[2] Luiz Fernando Duarte " The social construction of the modern person " in the life Nervosa in urban working classes. 1986, pp. 35-58

[3] About Durkheim considers them perceive that "In sensations, we should add the images, but as these are only the sensations surviving themselves, it seems unnecessary to mention them separately. It is the same for these conglomerates images and sensations are perceptions ". " The dualism of human nature and social conditions," Scientia, XV, 1914, pp. 206-221.

* Ponencia discutida y presentada en el Coloquio sobre Research in the Performing Arts. 25, 26, and June 27, 2007. Bogota-Colombia

* Photos of the Symposium on Research in Performing Arts. 25, 26, and June 27, 2007. Bogota-Colombia