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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