On Sunday I went to see ABSENTHA, Alexander Acobino by the Group at Theatre Of The Fronde Abasto, Humahuaca 3549 (4865-0014) Investment I will operate differently, because it is my third "Acobino" in this blog and it is known that whatever I do I like (at least a little). The Rolling notable was weighted by me many times that the apology once again demonstrates his paradoxical effect: the text becomes unreadable, which does not contradict at all my admiration. The other "Acobino" wrote less, and more criticized. Now Absentha. We go directly to what I do not like I think, and liquidate the subject. Then, I surrender to your feet.
curve
Acobino Friend, the "curve" is not right. The entire account using standard procedures: the cyclical, intermittent workshop meeting, establishing a rhythm and a growth on the one side. And on the other, unrestrained activation of self-destructive element, which is like a wave. Both structures are often combined. The first two or three scenes establishing backward and forward continuities, stress factors and the slight growth that will result in turning the scene into a "double bet" on the point of no return. All factors that burst are present in this anteroom, which serves for enjoyment, discovery and enjoyment of the edge of comedy. From the inflection point on, the events do not stop until the explosion / implosion decisive. Then, return to the miserable irreducible balance, in some works, or silence others. My first book "The tank (click here ) - has the same structure and deals with more or less satisfied, with the same problem. And the problem is in the precarious stability after the outbreak. Let the plot summary to focus.
Acobino Friend, the "curve" is not right. The entire account using standard procedures: the cyclical, intermittent workshop meeting, establishing a rhythm and a growth on the one side. And on the other, unrestrained activation of self-destructive element, which is like a wave. Both structures are often combined. The first two or three scenes establishing backward and forward continuities, stress factors and the slight growth that will result in turning the scene into a "double bet" on the point of no return. All factors that burst are present in this anteroom, which serves for enjoyment, discovery and enjoyment of the edge of comedy. From the inflection point on, the events do not stop until the explosion / implosion decisive. Then, return to the miserable irreducible balance, in some works, or silence others. My first book "The tank (click here ) - has the same structure and deals with more or less satisfied, with the same problem. And the problem is in the precarious stability after the outbreak. Let the plot summary to focus.
plot summary
The mediocre participants of a workshop on "masculine" of poetry are the beloved and hated both coordinator and drunk into a destructive campaign that attempts, leading radical and blind, against the very foundations of poetry workshop.
The mediocre participants of a workshop on "masculine" of poetry are the beloved and hated both coordinator and drunk into a destructive campaign that attempts, leading radical and blind, against the very foundations of poetry workshop.
invective
The workshop is stable and decadent. Suddenly, the workshop is reheated and shows its claws inward. At the point of self-pity, Acobino / Coordinator doubles the bet and decides to go against the world. This energy generates an action against all. I think there the narrative mode of large ellipse (a scene-conscuencia story short period, then a great long-term consecuecia) does not seem to belong to the same work that delighted in the first half hour with detail, and luxurious terrible (with the feat) of poeticizing awful little poems. More than half of the work flowing gentle on the intricacies of word and gesture, and the same work detail made bold to end. Missing half hour, I think, guys. Why do we rush to finish? At the risk of boring. Why do we always have to take an hour and twenty? [1]
Acobino Apology, only you can make poetry the embarrassment.
Acobino feat, only you can make poetry the embarrassment.
Shame should be given
Acobino, only you can make poetry the embarrassment. And I say, I coordinate drama workshops.
good thing, if abundant, very good idea metapoetic
, metatheatrical (Rodolfo Demarco's idea, nor should it inaacobinizable aacobinizar) of a decadent literary workshop under a highway "cacciatore" ferocious parody that runs in all places common, including the damn place is a good idea. Perfectly with the text and performance management and the offer is unobjectionable. Every detail in the "good part" of the work (which is when you stop and look, even in the final rush) is full of discoveries.
, metatheatrical (Rodolfo Demarco's idea, nor should it inaacobinizable aacobinizar) of a decadent literary workshop under a highway "cacciatore" ferocious parody that runs in all places common, including the damn place is a good idea. Perfectly with the text and performance management and the offer is unobjectionable. Every detail in the "good part" of the work (which is when you stop and look, even in the final rush) is full of discoveries.
Poems are horribly funny. Clam siphons ajó Sea, evocative. The cucurtianas invective, miss. The poem damn about the champion of workers, unforgettable. Constant Leader beodez the terrible mystical poets that transcends the Beretta, the stroke, pseudonymity, actors ...
tribute
Dialogue is one that I do not recommend this. My tribute to Acobino, who keep a few secrets that I promise, if I like another piece of him, revealing, is here in this real chat.
Dialogue is one that I do not recommend this. My tribute to Acobino, who keep a few secrets that I promise, if I like another piece of him, revealing, is here in this real chat.
[Monday after my visit to the theater, Aacobino-alejandro-me "fishing" in the messenger]
AACO: Greeting only ... "So you liked?
Ignacio: Yes, Nah, you is the coordinator of the workshop. AACO
: I swear I did not. Ignacio
: no one can deny. I'm sorry. AACO
: Now no one will want to shop conmigooooo ... The poems were cute, right?
Ignacio: Why not? guerrilla shop sucking and eating ajenjolí chori. AACO
: Specifies the text? Or the puemas? Ignacio
: no, only the explanation of the chimneys of sea clams ajó. c'est tout
AACO: clams when bury take a siphon tube called. When buried in the sand ..
Ignacio: what it does. AACO
: At sea. Breathe out there ... The technique of "hunting" is to find the holes in the traps ... Comes out as a little bubble ... They are well to shore ... Or in the wet sand. Typically getting a tetanus saw the buckets ... You put them in buckets of sea water ... The live clams. And brought home ...
Ignacio: What clams breathe? Water? AACO
Air. They are not fish.
Ignacio: for me to breathe water. AACO
Air undissolved.
Ignacio: What can I say if not, why / how you take them alive in a bucket of seawater? AACO
: Very poetic but no, because when you took them to his house one saw the siphons of clams, which, like periscopes respiratory asomábanse common for air, the same as the human breath. One then put in boiling water. The siphon is contracted
Ignacio: Theresa clams did not behave well, will have been to deceive the Tuyú tetanus
AACO: In Santa had cockles. Another story. But richer ... Today nothing remains. They plundered by bulldozers
Ignacio: No tetanus. They have been plundered, it is true. Ignacio
: goodbye mediomundo
AACO: clams were weighed down and tetanus.
Ignacio and
cornalitos
cornalitos
AACO: They are like Dronte of Mauritius or the Tasmanian Tylacino
Ignacio: nostalgia abundant
AACO: But it was not tetanus ... They were the descendants. European citizens do not deserve
Ignacio: not deserve it, yes. that will be (All) with one hand behind and one ahead. I leave, Acobino. AACO
: Embrace. And you know, clams with noodles ... Or canned. But the trap, once boiled, it disappears.
[1] The production conditions of our alternative theater with these charms. Many times the work can not last more than an hour and twenty because: a) is the other cast, b) the plastic chairs are folded, c) the actors are going to act the other work at 23.30 ... Let's put an end!
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