On Wednesday I went to see MAYBE THE WIND, Cecilia Elías, Mariano Miguel Angel Moro and Elijah, the Teatro del Abasto (Humahuaca 3549, tel 4865-0014). Wednesdays at 21 pm.
A beautiful thing
The anecdote is recorded, possibly in a footnote in one of the books of the mythologist Joseph Campbell, or in a section of a book about Buddhism, or neither, "but it probably true. During an International Congress, a renowned Zen Master was asked by a reporter in a corridor.
"In short, what is your philosophy?
- "Philosophy"? "Replied the Master.
He thought awhile and said:
- No, I do not have any. We dance.
footnote this page footnote Page Perhaps the wind is a beautiful thing.
plot summary
Bathed the beautiful light of Eli Sirling, Cecilia and Sergio dance and recite. Paul's music and magician's tricks. Everything is profit today. Even the written words to the wind.
Theatre: sound and motion, governed by their own time
published in 2001 in the books of an article called Rojas (Muere.)-space and time- dramatic text which examined the vulnerabilities, the dramatic text ephemeral, destined to disappear in its completion stage. In that article could not explicitly talk about dance. It's been nine years and a lot of theater under the bridge. Today I face the remarkable spectacle of Cecilia with another maturity. As a tribute to those who thought and tried to know the remarkable choreographer Postpartum will quote a few paragraphs that dealt unwittingly Maybe this wind.
Buenos Aires, 2001. "It is written also for something to be done. [...] The dramatic text is written well, and is structured from the inside, for an act to somehow ritual is performed. The strange analogy, like all disguises analogical thinking analysis that is pure magical thinking similarity allows us to equate the meaning of this ritual with the performative conditions of text: the body, speech, public meeting. Dramatic writing for the embodiment is structured. If, as others did, I wrote a piece in which no one and nothing is done, the absence would necessarily present. In his absence, the empty states the article. [...] He writes plays, then, for something to be done. [...] The writing disappears under the appearance of action in space over a certain time. Not just sound, well space. [...] We see, finally, something it is not written, and writing vanishes. [...] As well as consideration of the sound in theatrical language leads us to the music, the consideration of space and movement performance leads us to another universe, extra-literary, non-linguistic. A visual world, inscribed in space: the world of arts. More precisely: a universe of motion, the temporal development of the image in space. The world of dance. Sound and motion, governed by its own time. "
Buenos Aires, 2010. The theater is this happening before my eyes and ears last night at the Teatro del Abasto.
Note: for those who require it, I can send by email the full article. Is published in "How to write a play", Authors: Ignacio Apolo, Marcelo Bertuccio, Tulio Stella, Patricia Zangaro. Publisher: Libros del Rojas. TOOLS Collection Year: 2001. And eventually get to: Centro Cultural Ricardo Rojas. Local EUDEBA.
Children in the audience last night was
children in the audience (many less than ten years). Fifty children were also adults. Simple emotions, physical, dance accompanying the precise language game reverb of the Moro Mariano texts: two issues interspersed that, speaking subtly different things, secretly speak same. The joy and wonder of the game ends up where the dance begins: to replace the representation of the presentation. I think, in this sense, the theater when he entered the frontiers of dance, drama merges with the poetic voice like a yo a-personal. Cecilia Elias
dance face mask acting
The former was the "per-son", the amplifier of the voice, expressive machine. The expressiveness of the face of the performer is as accurate and as intense as the fierce footwork of Villalba cut through the shadows of the percussionists.
Today
And finally, a today. This reinforces the idea of \u200b\u200bthe performance. The theater (dance, non-philosophy of the Master) is happening here and now, only here, only now. Today.
The rest is silence.
A beautiful thing
The anecdote is recorded, possibly in a footnote in one of the books of the mythologist Joseph Campbell, or in a section of a book about Buddhism, or neither, "but it probably true. During an International Congress, a renowned Zen Master was asked by a reporter in a corridor.
"In short, what is your philosophy?
- "Philosophy"? "Replied the Master.
He thought awhile and said:
- No, I do not have any. We dance.
footnote this page footnote Page Perhaps the wind is a beautiful thing.
plot summary
Bathed the beautiful light of Eli Sirling, Cecilia and Sergio dance and recite. Paul's music and magician's tricks. Everything is profit today. Even the written words to the wind.
Theatre: sound and motion, governed by their own time
published in 2001 in the books of an article called Rojas (Muere.)-space and time- dramatic text which examined the vulnerabilities, the dramatic text ephemeral, destined to disappear in its completion stage. In that article could not explicitly talk about dance. It's been nine years and a lot of theater under the bridge. Today I face the remarkable spectacle of Cecilia with another maturity. As a tribute to those who thought and tried to know the remarkable choreographer Postpartum will quote a few paragraphs that dealt unwittingly Maybe this wind.
Buenos Aires, 2001. "It is written also for something to be done. [...] The dramatic text is written well, and is structured from the inside, for an act to somehow ritual is performed. The strange analogy, like all disguises analogical thinking analysis that is pure magical thinking similarity allows us to equate the meaning of this ritual with the performative conditions of text: the body, speech, public meeting. Dramatic writing for the embodiment is structured. If, as others did, I wrote a piece in which no one and nothing is done, the absence would necessarily present. In his absence, the empty states the article. [...] He writes plays, then, for something to be done. [...] The writing disappears under the appearance of action in space over a certain time. Not just sound, well space. [...] We see, finally, something it is not written, and writing vanishes. [...] As well as consideration of the sound in theatrical language leads us to the music, the consideration of space and movement performance leads us to another universe, extra-literary, non-linguistic. A visual world, inscribed in space: the world of arts. More precisely: a universe of motion, the temporal development of the image in space. The world of dance. Sound and motion, governed by its own time. "
Buenos Aires, 2010. The theater is this happening before my eyes and ears last night at the Teatro del Abasto.
Note: for those who require it, I can send by email the full article. Is published in "How to write a play", Authors: Ignacio Apolo, Marcelo Bertuccio, Tulio Stella, Patricia Zangaro. Publisher: Libros del Rojas. TOOLS Collection Year: 2001. And eventually get to: Centro Cultural Ricardo Rojas. Local EUDEBA.
Children in the audience last night was
children in the audience (many less than ten years). Fifty children were also adults. Simple emotions, physical, dance accompanying the precise language game reverb of the Moro Mariano texts: two issues interspersed that, speaking subtly different things, secretly speak same. The joy and wonder of the game ends up where the dance begins: to replace the representation of the presentation. I think, in this sense, the theater when he entered the frontiers of dance, drama merges with the poetic voice like a yo a-personal. Cecilia Elias
dance face mask acting
The former was the "per-son", the amplifier of the voice, expressive machine. The expressiveness of the face of the performer is as accurate and as intense as the fierce footwork of Villalba cut through the shadows of the percussionists.
Today
And finally, a today. This reinforces the idea of \u200b\u200bthe performance. The theater (dance, non-philosophy of the Master) is happening here and now, only here, only now. Today.
The rest is silence.
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