On Sunday I went to see ROUGH, a typical work of Santiago Gobernori in Defenders Bravard (Bravard street-phone: 15 66777050 / 15 65074348), Sun 19 pm. Plush toys sex
In the late nineties, with the notable performers and Paul Messiez Ana Garibaldi, Cristian Drut directed a play of mine that was unlike any that I think now it seemed to all: that comment about the casual and the destination and called purely theatrical history mourn for him (you can download this book by clicking here ). Their reasons: a kinder egg and carilina. Development: two versions of a chance encounter that do not match. The thematic work on the banal, a chocolate, a tissue, was not as prevalent as it was then. The mode of narration subtly different versions on the scene was taken, I think, to a maximum term ten years later by Marcelo Minnina in Lot 77 (you can read the review of this book by clicking here ). That sunset History mourn for him watched and commented on the drama surrounding modes and presented some of the emerging patterns. Twelve years later, on hyper-feminine Emily's monologue about love and cuddly plural (pronounced without eses) updates without knowing that image of the handsome actor who lit a cigarette on stage at the Red, and has now, in the Defenders Club Bravard, this exquisite, hyperconscious work on the modalities of theater this decade.
literary developments and the game of inventing names
An area of \u200b\u200bliterary theory holds that prevail after a while, a dominant genre begins to show their principles of construction to make them more aware and more explicit and even reverse their orientation and become parody. Two comments: one, that "structural principles", "reverse orientation" and "dominant gender" are words invented in order to account for something. Second, what happens when the dominant genre is already a parody?
In this review, as a tribute to hyperconscious Gobernori-aware that a couple of years, I coordinated a round table on the night of the libraries, promised to do theater with fewer financial resources than one would consider essential, and met- after synthesis will plot a collection of theatrical resources that, compensating, abounds. They invent names theorists. Let's see how it goes. Plot Summary
Three political pointers, weak and eighties aguantadero refuge in a stranger, the law, as in Kafka, is strict and unknowable. Corroborate the boys before the paranoia and love, in theatrical terms, are identical.
And the summary of the typical ... Men emotional
Apart from the emotional memory "method", the decade was given to the presentation of hyper-violent men and weeping. Masculine emotion from The sin that can not be named until Lot 77 - is a breeding ground for drama.
Trimetría
Three theater. The trio, which allows stability and variation, it spreads. See the photo of the show and be known, forever, a trio that inhabits the scene looking at different places. Reality is a symmetrical composition commentary from the scene two, scene one is a fake, if you will, because the wig is prologue: both looked away, I look at literally elsewhere.
The timeless locked already said that prototypical Telefónica advertising of the nineties: Walter, the son ochentoso, returned home. "Mom, Dad, what happened?" The past is a time of closure. The past, the grotesque animal. Your route.
Action for breach of tone
Or as World Cup training Menotti comment 78: "speed along, speed out wide, to recover the remainder of the perimeter." Acting is an altered state, a sudden pique, a cry unexpected win for demolition.
paranoid effect consists in the reiteration suspect, strongly, of a banal phrase that does not have much felt their deixis. Repetition, by the conversational plus the dangerous turns. For example:
X: (to pass) always read this blog.
Y: (dry) I do not care what you read.
X: (firm) always read this blog.
Y: (fast, foot, shouting) I do not care what you read!
X: (neutral) this blog.
Y: (violent) I do not care what you read! (neutral) What's for dinner?
Altered States and the displacement of time referred
The typical performance of the decade is neutral or rough. Needless to say which side says Gobernori and company performance. Holding midfielder, the game is an altered state. The fascinating comedy is to offer those states, without comment, with images of a decade did not know this roughness pants wrangler, ford sierra, and leather-Ubaldini camperitas epaulettes. Dislocation
time referred
language I do not know a Wednesday and I do not foo or.
The common accented
designating a cliché way, by entering the system as a common place, is the ABC of parody. Use of this commonplace, pointed, bet is the language of a dramatic actor, quasi impossible in case: What
desktop playwright wrote "one nail drives out another nail"?
Lady
evoked no evoked three men without a lady (except for all the works of three men in which there is evoked a lady). Not many. How intense is that evoked lady appears and fulfills its role in a play for three players.
private moment exercise
The classical method proposed exercise of the display of private moments, claiming a degree of concentration acting as to what the actor would never do in front of anyone real life could do on stage as if nothing had happened. I never saw anybody do that, "as if such a thing." Always lie. How to make your needs in a bucket. Exercise
imaginary objects
The classical method proposed by the mastery of the body by manipulating objects on the scene the actor imagines as the perceived truth. Rough achieves maximum exposure of the artifice, as are the characters who can act a game of trick without cards and no action. Musical Moment
Every work of the decade that price has musical moment. The musical moment is, again, two expressions: neutral (See matrix Open House, click here ) and the rough, which is to Gobernori. Is trying to be. Altered. Music. Teacher.
stabbed the crossbar
And let me quote a self-final:
said Ana Garibaldi, unforgettable, in the setting of Drut: "Whenever there is a crime at least, any silly thing gets interesting." More than a decade later, an intense actor performs the bearer of the wig, reciting classics.
Roughly, a typical job is no more (nor less) than the agglomerate aware of the theatrical means of an era. It is also the desire to be small, typically, do street theater Bravard.
And if this bit was the reaffirmation of the universe, all in Rough is excellently acted.
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