Elaine Centeno Álvarez.
I. MARACAIBO UP FROM THE SAVANNA
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.
In this spirit, Maya and myself started from
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
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
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
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
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.
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
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
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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