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Interview: Gabriel Fernandez

Gabriel Fernandez: "A good director should criticize a lot,"

Winner of the public Best Actress of 2010 for the work The orgy in Critical The Office, Gabriela Fernandez said that before entering the ENSAD, graduated in Communication Sciences at the University San Martin de Porres in 1996. "At that time there were problems of terrorism, so first I ended up in the San Martin and then went to School , Gabriela remembers, artist graduated in 2000, which had as classmates Bajac Sandra, Omar Del Aguila, Cesar Andrade and Richard Torres. "I decided then that first, I wanted to have a son to the theater."

One of the teachers you remember most fondly is the master Sergio Arrau. "I think what I liked most was his way of teaching, without feeling that I was teaching, directing, without feeling that you are heading" said. "He is so detached of formality, so fresh, so real and not at all condescending. " It is known Arrau's character as a teacher, who without "outspoken" talks openly to her students. "divided the room into two groups: those Pencas and clunkers" , recalls fun. "Pupi For work in search of the lost doll assigned me a role with very little time before the premiere. I was flattered and scared at the same time, I felt gave me his trust. "

"Yes there has been progress in the ENSAD" says Gabriela on the current situation National School of Drama, which he joined while still working in the uncomfortable space of the Museum of the Nation. "On entering they told me that for many years the School was something else, that the state supported" said. "Today, now in The Shack, I have been surprised to find actors with great discipline and demand with their work, attitudes obviously, but that question all the time." She served as assistant director in the School theater project The dark root cry, which was presented at festivals in Lima, Callao and Cusco year past.

actress Gabriela is considered more than a director, while acknowledging that in Huancayo in 2006 came to lead, as samples of workshops, no less than 42 mounts. "It was a marathon," recalls. "At least I got to get out of all, a couple of great plays." As expected, Gabriela put into practice the knowledge acquired Arrau, using his now famous Instructor Manual to try different ways of running. "Acting and directing at once is too much responsibility" , comments on the work dream and nightmare, for which convened Arturo Fernandez to lead and to give the possibility to interpret the work Gabriela with Omar Del Aguila. "I respect those who can do both, I think you should have a lot of" court "and self-confidence."

To Gabriela, a great director must ensure that the actor understands the essence of the work. "It must make you understand the impulse that takes you from point A to point B" said. "I need a demanding director, let me try a lot, I criticize a lot." Gabriela had the opportunity to work with directors with a very particular style, Daniel Dillon as mounting Roberto Zucco. "It was quite an experience, Dillon left us very loose and asked me to forget everything when you tried to act out." Gabriela not close to working with any director and thinks that every play should be "organic, for us to enjoy the actors and the public" .

Gabriela currently part of the Cultural Trust Company, composed of theater groups at any cost, MACUEM and broken shoes. "We joined at the beginning to bring theater to the affected areas after the earthquake in Ica. The idea of \u200b\u200bforming a network and take to the theater as a business, Gabriela has served for its work with a social vision. "We are now looking for work to work this year, provided autocapacitándonos, and expect to make a montage in tribute to Mario Vargas Llosa" he concludes.

Sergio Velarde

January 23, 2011

Gabriela in the work the orgy.

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Interview: JORGE Fien DA

JORGE DA Fien, "lies in the irrational genius"


Back home. After being away for a long period of time tables, the actor, playwright and director Jorge Da Fieno, returned last year to the theater with two hilarious characters in the play Reality Lima 2010 Pipol Chou, who also wrote and directed. "Acting and directing is not a problem for me says Jorge, awarded by the Office Critical as Best Supporting Actor by the said assembly. "The problem is the lack of professionalism of many actors, which fortunately was not the case of this Reality." And is that George, if the test is at a particular time, because at that time to start. "Other players do not commit themselves fully to the work and its characters, that would be the only impediment to do both acting and directing. I put a double to replace me in the trials as I lead, and then I go with everything and armed. "


Successful publicist for some of the most popular campaigns of recent years (SISE, The Monster Computers, etc.), Jorge was formed in Lima Theatre Club, an institution directed by Reynaldo D'Amore for over 50 years. "With Reynaldo was literally" the mess ", I learned to be a" pretty crazy "not to be problems in life and have a way of doing it forever." Teachers were also Sergio Arrau and Eugenia Ende. "With Sergio learned how casual it can be one, to have that degree of madness to laugh at life." Jorge Arrau addressed twice, and remember a text character in the comedy Jacinto Roses and Hyacinths: "Life without madness is not life. " And with Eugenia, Jorge learned body language and the most technical aspect of performing arts. "I always considered myself very disciplined in what I do, I have armed my life plan in the next 10 years, signed with the Lord and all coming true" he said.


On the technique used to build their characters, Jorge says he is an actor "chekhoviano", ie that you customized guidelines for action by Michael Chekhov. "Everything is based on the hypersensitivity" , refers. "Open your senses to the fullest, then arrive at the Joint Psychological character. " For Jorge, the character should start from a "pose" specific, generating a momentum that will give voice and appearance. "There are then two approaches: the kinetic, flowing freely in your instincts, and then, mimicry, which is the rational used to refine the character." The kinetic aspect of character creation is the most important for Jorge. "Therein lies the genius: as irrational." Ends an interview process to the character, to observe and discuss directly.


Among the works that George remembers most affection are the first Reality Lima Pipol Chou, written and directed by himself, with the participation of actors Luis Gustavo Gonzalez, Juan Carlos Diaz and Igor Moreno Rosas hyacinths beside Gonzales, Angelita Velásquez and Mary Grace Cavero; All That Heaven , where he acted, wrote and directed, and Foreign Minister, staged in homage to the maestro Sergio Arrau. "In this work I had the opportunity to play eight characters and to share the stage with Reynaldo Arenas" he recalls.


Inexplicably, Jorge disappeared from the small screen and the stage for a long time. "It was a tough time, economically speaking," he recalls. "My wife Gladys (Hermoza) was very supportive at this time, not only is she a great actress, but my best friend" . During that time, Jorge was devoted, among other things, to write the autobiography of Arnie Huss, until finally he could succeed. "Fortunately, thanks to the Lord, I recovered, I Reality ... and Tribulation series, which worked with the script." Among the immediate projects include the staging of another play written by himself, as well as a journey, which hopes to get more contacts. "I think with a little more humility, things would be much better for everyone," reflects .


Sergio Velarde
January 15, 2011

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Interview: CARLOS ACOSTA

CARLOS ACOSTA: "As a director I generated trouble actor

Two more solid and entertaining productions last year were: The forbidden apple of Gonzalo Rodríguez Risco and faith lessons Claudia Sacha. The common denominator lies both stagings its director, Carlos Acosta, who won the award for Best Director of 2010 for Critical The Office. "I I graduated from the School of Drama at the Catholic University (ETUC) and actor in the 87" recalls Carlos. "I had as teachers Roberto Angeles, Jose Enrique and Luis Peirano Mavila. During the process, we had a Directing Workshop with Jorge Chiarella, which went parts ridiculous The beautiful and was a revealing experience for me, I drew some stage direction. "

After completing his studies, Carlos went to work as an actor with brakemen group, with Roberto Angeles as director of the group. "We had a Teatrino in block 10 of Av Arequipa and started to experiment, I knew I had to create my own projects and not wait to call me." was so Carlos was "dared" to lead The beautiful ridiculous in that area, "the normal presumption that every young person who starts it, and should not ever lose," says . The staging was a success, the season lasted for eight weeks with full room and visited schools and universities. "I had as actors Antonio Aguinaga and Fernando Vasquez. With the profits of the work could recover the money I borrowed from my father for the project. I also received much support from the AAA, which I rented the costumes at low prices and comments from teachers, peers and the public were very positive, " he said.

The stage direction

After The beautiful ridiculous , Carlos became aware of taking the stage direction as an opportunity to work, and I could say things which interested him through their productions. "The theater because I love to tell stories" said. "I take the history and recreation without betraying the author." Carlos But initially all the works were nightmares in power, that should be addressed not only as director but also as a producer. "It is a serious direct and produce at a time, as director asked for things, but as a producer was not to get them, it was very limiting creatively" . That's where born, as he thinks Carlos, the famous Peruvian or Latin creativity. "We know how to solve problems due to lack of economic resources" says with conviction. "The idea is to solve them creatively and not seems you had no other option. "

Carlos is important to separate the management of the production of a play. "The first time I worked as a director was only when I directed the work drying Parallel Juan Manuel Sanchez, for the National Theatre" he recalls. "I was director at the end did not have to worry about anything, Nany Díaz producer had to provide all my needs." And is that for the work, Carlos needed a square trampoline and the producer should get it. "One day I reported that found a round trampoline but that brought another meaning, referred them to other readings that I did not want to mount. In the end, after much searching, ends up getting the square bed. "

"My job as principal is make trouble for the actor," says Carlos . "No problem, the actor is not given the possibility of creative solutions. The more complex the problem proposed in the work, I will be found increasingly creative solutions. " And obviously, the staging, with Carlos Acosta as director, will be enriched greatly, to result in cleaner assembly, consistent and fluid. As it was, for example, Lessons of faith, which premiered last year at the Sound Theatre. "Directing Elvira (Dela Puente) and Haydee (Cáceres) was an incredible experience" recalls Carlos. "I had great expectations for working with them and discovered two wonderful human beings with rich emotional charge."

For Carlos, when a director works will come to mind concepts and offers its players, but they do not know in advance. "Your" gun " as director is that only you know and you put it as a problem. After causing the problem, you're routing the actors to find creative solution options. In the end, end up being better than what you had originally proposed. " Carlos recalls that lessons faith in the first reading and was all settled. "I said jokingly: Well, ladies, we are a week before the premiere."

The ENSAD, workshops and group

Carlos Acosta has spent 10 years as a professor at the National Theatre School (ENSAD) and ensures that at first I thought only take one cycle. "I see as a disadvantage to be a professor of ENSAD; to enter the education you know that will capture all your time and that is why I left personal projects for 8 years." Despite the wear clear that a teacher receives, especially one of action, in which young people put their hopes and end up demanding it, the experience turns out to be invaluable. "I nourish the students," says Carlos . "You learn of the problems that will arise, is very rich for your personal growth, learn what you apprehend them."

"Recently I considered the decision to re-create my own artistic projects and workshops to continue the performance." For Carlos, the fact of working in the ENSAD not a problem with the dictates of workshops. "A workshop is more particular" said. "The ENSAD offers a much more comprehensive." The work The forbidden apple was the result of his work with the group Free Word, which is part with Fiorella Díaz, Sergio Cárdenas Ota and Yuri. "They were all students of mine and I proposed having a group with who could say what we wanted with absolute freedom. "

projects

"I remember that I am also an actor," says Carlos, who last performed in Two for the road Cesar De Maria, next to Tatiana Espinoza (pictured), a work that Charles also directed. "I want to return to action and to demonstrate in full action." As director, Carlos needs its actors "have confidence in the person who will guide, which are intuitive, with a gesture that they know where to go, and have the mind willing, open and free." On the other hand, acting director want your "pick me as best he sees fit, as an idea or image."

Carlos is preparing to run in April suddenly a kiss, a text by Eduardo Adrianzén at Sound Theatre, which will be staging three young actors. "I have also planned to continue my acting workshop this summer and hope to arrange a quote for a project and acting as an actor." Carlos is important to continue to learn from the experiences offered by the theater as well as creating links with human beings involved in these creative processes. "It is important to recognize creative and human beings. Sometimes a director is like a merchant of illusions and so are people who want to share these experiences with you " he concludes.

Sergio Velarde

January 12, 2011

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Summer Reading: Mankell and "El Chino"

is widely known that the genre is one of the most popular in world literature. When Borges wrote with Bioy Casares's Six Problems for Don Isidro Parodi , a parody (phonetic redundancy is not accidental) of the genre, made a particular reading of the birth of Police. In a conference which is then introduced as a prologue to the book, said Edgar Allan Poe in fact had not only created a genre with its classic "The Murders in the Rue Morgue ", but had fathered a particular type of reader , which was an even greater merit. Yes, Poe had created a suspicious reader, full of suspicions, which reads in disbelief, with suspicion, a special suspicion . Thus, according to Borges, a reader of police coming down from another planet and you are told "Don Quixote" is actually a cop, when he finds that "Somewhere in la Mancha, whose name I prefer do not remember ... ", begins to wonder what is this place?, why Cervantes prefers not to remember?, surely has some complicity with what has happened is that then lost (or hidden) place de la Mancha .... and so continue its journey (or "research") by El Quijote looking to crack the puzzle, surely terrifying ways.

Poe and Wilkie Collins to Stieg Larsson and his trilogy on "Men Who Hate to women" , there is a long way for a genre which was a passion in those created by the first readers, including we are. Conan Doyle and the intellectual genius and a little aristocracy of Sherlock, the classic clean era of "problem novel," where the crime scene was never present, intellectual abilities were central to resolving the enigma the rational use of intelligence in an age of certainty of the positive sciences and bourgeois confidence in the strength of "Reason." Maurice Leblanc and his more worldly and even "lumpen" Arsenio Lupin, an anti-Sherlock working with intuition and cunning, rather than reason. Marlow Chandler and Hammett and others together to inaugurate the American black police and from any point of view the critical stage of the genre, where good and evil are confused, where the law does not really know where you are and the state spends large "Leviathan" and a great criminal. Expression of the crisis of the 20 and 30, prohibition, organized crime and the irrationalism of the Great War.

In Latin America we have

Leonardo Padura (lately famous for his novel about Trotsky and his assassin), who allowed her to portray Mario Conde (and denounce) the contradictions of political life and its everyday contemporary Havana. Mankell tells the stories of Kurt Wallander and brings to light what modern Sweden seeks to sweep under the carpet. In the same vein Stieg Larsson led to greater fame by Swedish police, Lisbet Salander gave us an avenging the torture suffered by women and herself in the ever apparently "peaceful" and "quiet" Sweden.

Rodolfo Walsh, a friend of the family, to whom we pay tribute to paraphrase and name of this blog, make use of the genus known for complaints deeper social and political crimes committed in this country.

Ernest Mandel was among the Marxists, one of which dealt with such critically analyze literature and "distinguished himself in the detective a critical dimension of the capitalist system. In undertaking historical theorizing of European and American detective novels, Mandel reveals how gender, although in the beginning had been produced and read ideologically, the way of justification for state repression against the individual or organizational crime, evolved to the point of presenting the State as responsible for the ultimate crime. (...) Understanding the detective novel as the genre had gone from yielding that the integrative function of moral values \u200b\u200bto the denial or, at least, questioning of those values \u200b\u200bin the area of \u200b\u200bpolitical and economic power " ( see here)

do not know if Mankell, endorsed this interpretation, but in his novels and enters unravels the complex story of the murderers, the engine of hatred and revenge based on their personal (and social) , translated in some cases, bloody morbid fetishes. Here are the answers that the surface always look police ( "this can only be the work of a madman" ), can never solve.

"El Chino" lives up to this form of crime fiction. A crime dramatically in a tiny village in the Swedish forests, the murder of nearly all the inhabitants, most of them elderly and one child. Slaughtered, some cut into pieces and where the first autopsy showed that exist in the killings intended to occur long martyrdom before heading to a better life.

A deranged (or more ?)... yet terribly accurate, mass murder, meticulously planned. It was not a crime according to the country, could be for the U.S., but not for Sweden. Mankell us leads to the ancestors of some of the inhabitants of that town, when they emigrated to America and worked as "overseers" of the companies that built the network of railways and roads structural opened the first steps of American democracy. Companies with "imported" Chinese and black slaves, kidnapped in Canton or other large cities that in turn had come from the poverty of the countryside, fleeing the bloody landlords and looking for a better future. Swedish whites turn employees of construction companies and automakers rail, enslaving the "yellow dogs" and "demons" soulless and brainless black leather. A complaint, first, a "crime" massive home in the emergence of the U.S., but also a description of the hatred that almost a century after the revolution unleash China. And while a description of the corruption and the passages through which the current Chinese bureaucracy, became a new capitalist class. And "for good measure" a critique of their married life and conservative of the "successful" Swedish families, portrayed through the story of a judge (Brigitte Roslin), radical activist of the 60s, he does not remember that time and place passionate life left in those years, to become an unhappy wife and a staff responsible for providing justice impossible. Among the readers

police "pure" by Mankell, this novel had many detractors because, they say, is an excessive character "pamphleteer." After all not have read this statement Mankell which states that the police is very boring . And there will have been aware of this last great action of solidarity with the people of Gaza, when he suffered one of the many attacks of the Zionist state murderers.
For us a great book, but Kurt Wallander has not intervened in this case.

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The nature of certain trades, Professor Toer and nonsense "subservient"

Friends of the Observatory answered some issues of this note Mario Toer published in the journal Irigoyen Kirchner government, for our taste very diplomatically. Facundo Aguirre also made his critical here, while writing this article.

There were several discussions in the blogosphere with Peronist as Manolo Bargue or Abel F. or even the same Artemio L. and although almost always impossible dialogues, the exercise of criticism and exchange of arguments results stimulate thinking, sharpening theories, "falsify" hypotheses and rebuild. Of course, all this is when the protagonists, despite licenses for certain Chicano and exaggerations characteristic of a "duel" ideological, intellectual honesty confronted with certain ideas and principles.

That is not the case of "professor" Mario Toer. Your article seems more like a tantrum and kicking against alleged Trotskyists few but intense and do not allow the transformative project "national and popular" now commanded by CFK and "strengthened" by Gildo Insfran, the Gallego De la Sota, Aldo Rico and several mayors Duhalde life is carried forward in "Pax."

Of course, as a university professor and nothing less than political science, must decorate your primal instincts with some pseudo academic definitions. But the pen (or keys) of a lord and obfuscated in years, leaving only real nonsense.

Thus, as defined by Toer " the art of politics involves, at least some capacity for a growing and appreciative audience on the stage in which it is embedded" . So now the politics (and art) ceased to be essentially the struggle for state power (in the case of the Marxists, the struggle to destroy this state and set up another with an opposite-class character and After the beginning of the end of every state) to become a problem of "audience."

Then comes the "richest" of geese Toer professor when he says that Trotskyism had never broken with the premises of the Second International. We're not going to relate to this professor of political science in the history of Marxism, Lenin and Trotsky's struggle against the leaders of the Second International, against their "August 4, when imperialist slaughter sent to the working classes of their own countries in the name of defending the homeland and so declared bankruptcy. Lenin and Trotsky and a handful of revolutionaries in Zimmerwald and Kienta L began laying the groundwork for a new International (the III), which Trotskyism and the Fourth International were continuity. The twentieth century revolutionary Marxism was fighting against the reformism of the Second International and the bureaucracy and the new reform of the III.

But the essence of "argument" Toer, is this statement: " did not understand the transformations of the twentieth century, the full implications of imperialism, much less the nature of conflicts in the peripheries. The strategic proposal, as in Norway, France, Mozambique, Bolivia, will be the same: workers' front "or" against workers. " Never tried to find a main enemy and seek the unity of the people ".

Translate, Toer is angry because the Trotskyists" not understand "that" right "is the main enemy, then Insfrán, murderous union bureaucracy, the Anibal Fernandez duhaldista or turned-Peronist neoliberal "boy" Amado Boudou, Galician De la Sota, the carapintada Aldo Rico, Duhalde as Mussi and other mayors, Menem and Scioli, fall into the categories of "enemy side" and "circumstantial ally ". It takes a true artist of the policy (or a clown academy) for to pass this as a "national and popular transformative politics, at least I could do as Artemio Lopez Peronism became a pure and simple, without many turns.

But Toer falls victim to his own statements, says apropos of time in politics that when a certain period of not achieving the objectives may change jobs. Toer would have to heed their words and focus on something else. The government argues that after 8 years of Chinese growth rates has not solved any of the structural problems of the workers and poor people in Argentina: Menem precarious work and outsourcing, flexibility, lack of homes and land for indigenous people (as they rercordaron who occupied the Indoamaricano and were killed in a joint operation by the Federal and the metropolitan and community members Qom, who ordered to kill the "circumstantial ally, Gildo Insfran) just to name a few issues of "heritage" that this government has not changed in the slightest.

do not deny that certain "Trotskyites" by their actions improvised and guided by the device, give letter to the government as unhappy as Toer to write these things, but the fact that it takes Toer for criticism, the makeshift court on 23 is not just an example of "Trotskyism."

That's exactly why he clings to this action and not talk about the great struggle of Kraft, the example of Zanon and the long struggle of the outsourced workers in the Rock, where the strategy of the partnership working and popular, healthy relationship between militant Trotskyites and auootganización working party, made those struggles in "schools of war" in the Leninist sense, struggles which enjoyed widespread popular support and demonstrated the potential of working hegemony.

Atilio Boron, was arguing with Toer, when the latter even said in another article in the Gazette , something like that Kirchner was a government "more deserved "by the Argentine masses. We had heard the truism that" people have the Governments they deserve ", but what of Toer is an absolute novelty, that after serving the Baldwin Brothers. This would be a government" is more than what they deserve, "the workers and the people. Arguing such a claim in a historical balance of forces in the country's political structure and so on. etc. For Toer the Argentine people deserve a government" worse ", but the good fellow of Nestor gave us more pure philanthropy.

only an "intellectual" do not have to think about where their children go to sleep tomorrow (as those to which his government expelled punteriles methods and computer Indoamericano Macri Park), which do not have to flee landlords who beat up and in Formosa or do not have to work charging half the salary, such as outsourcing, can "theorize" from his comfortable academic desktop (or sometimes "engaged" in talks this coffee as to say general), what the Argentine people "deserve".

know that workers and people deserve much more and this teacher barker all our contempt.

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Interview: XIMENA



XIMENA ARROYO: "We seek a self-representation"

Daughter Actress Sonia Seminar and administrator since 2001 of Amateur Artists Association (AAA), Ximena Arroyo hails from his office, amid the large crowd that asked for information on summer workshops in their space. "Sorry for the delay, but I figured this time would come so people to request reports, said after attending . But far from this being a good sign for the landmark theater, the issue of AAA is quite serious, as Ximena same account, in the cozy local coffee shop where this interview. "We made a strategic alliance with the cultural centers of downtown Lima, as the Underworld and The Experimental School of Mime, compared to the Municipality of Lima to not hinder our work," reported.

The situation of the AAA

move forward as the AAA space is not easy and Ximena is now assuming a great responsibility with that institution. "It's a very big house, pay 800 soles a month of light, water and 500 soles soles of 2.000 means, the place belongs to the Benevolent and rented" . Although in past years the AAA was part of a cultural movement Peruvian elite class not currently supported by the State. "For the public to come to the theater, we have to lower prices or not charge admission in order to gain viewers," he says. "We try to create a demanding public, who can assess the quality shows, that manages to awaken the artistic dimension to every human being."

The space has given Ximena advantages, such as the strength of the same name has. "The AAA was a landmark in the cultural history of Lima", says. "Here is presented the City Ballet, the National Choir, we had greetings from people like Jacques Cousteau, Laurence Olivier, among others." And in that time, the members and founders had many relations and friends abroad, turning the theater into a highly selective institution. "In the 50 and 60, were performed first in the AAA auto sacramental" Ximena as mentioned, this was possible thanks to money contributed by the partners at the time, those currently or have died or are no longer interested in investing in the place. "The most striking example is the current director of El Comercio, Francisco Miro Quesada, his father was a founding member of the theater and now, to this day, simply do not exist. Really the children, or repeat the story or do all the opposite, " says. Disadvantages

maintaining AAA include its location and infrastructure. In the first case, there is still denial in some quarters to go downtown to see theater, and people living in the same area is not linked or educated in the art, the second, temporarily lacks drama Dream Team, although able to purchase a new console 24 channels, of course, self-managed way. AAA currently working illegally as reported Ximena. "We renew the Mutual Aid Agreement with the charities, despite having been provided at no cost to activities Puericultorio at Hostel Canevaro, among others. Eye, we do not want our space free of charge, we pay in work ", sentence.



His works and projects

With a long career as director and actress Ximena Arroyo, won the award for Best Supporting Actress for her performances in Cacúmenes and Loves Don Perlimplín Belisa in his garden by Critical The Office, thinks "a good director should be clear about what it means, where it goes, and who can pass on to their players' . On the other hand, says that "ideal actor must have a purpose, knowing that should find something on stage, everything else is secondary. There are very good actors, but not seeking anything in the scene. " In Cacúmenes, written by Alejandro Alva and released last year in AAA, Ximena featured as an actress and director, but "was mostly an address attached, since the project was led by Hays Percovich."

Among the projects that have Ximena for 2011 include that of directing a classic like Yerma by Federico García Lorca, with text adaptation by Maria Laura Velez, scheduled for the second half of the year. "I like acting and directing alike," said . "As an actress I feel that the scenario is like my home, but when everything is more complicated turn, you get to your players, track and is moving to see how to deliver what you mean." One of the best assemblies that led was Ximena wake function, Aldo Miyashiro, the AAA in 2004, which received rave reviews.

"It's important to see the work of the partner," says Ximena , convinced that only thus can strengthen the bonds between the different groups, groups or independent theater troupes compare their proposals and generate much-needed dialogue . "Do not jump when they play us," says . "The idea is to jump when they plot against the partner, then we can find solutions to our problems." Ximena is also important for the independent theater has a presence in the middle. "The big problem with groups is not clear where they go. In the first call Isil of all leave. Commitment is important and be united in order to gain a representative person " he concludes.

Amateur Artists Association (AAA) is located in Ica Jr. 323 in the center of Lima, to contact management call 428-0432 or write to: aaaasociacion@yahoo.com. All information on workshops, exhibitions and assemblies to be carried out during the year, is posted on the blog: http://aaalima.blogspot.com

Sergio Velarde
January 5, 2011

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ARROYO Interview: RAUL DURAND

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Interview: SAME Betzabeth



Betzabeth same: "Do not be afraid of making theater

majored in communication arts at the Institute Charles Chaplin and his teachers of theater Pilar Núñez, who taught her body language and oral Jorge Villanueva, who shared dynamics between the cast of the AAA and the University of Lima, and Manuel Calderon, who instilled notions of professional theatrical production. She is Betzabeth Misme Award winner for Best Actress for the work group Species Clearance. "I love working in this group," says excited. "We independent theater speaking on topics that are not very common, I think the group Clearance has earned a name in the middle, always seeks to innovate, explore and present in unconventional spaces. "

Betzabeth the group began in 2006 in support of the director Diego La Hoz, who invited her to participate. "I learned a lot of action, dance and drama with Franklin Dávalos and Gonzalo Rodríguez Risco. Like any young man who must learn to survive in our difficult city, had to temporarily leave the theater to pursue other activities away from the performing arts. "However, in 2008 he was back. We made the group A war is not fought Sara Joffré and support in acting workshops, "says .

The work Species About

Species, by a vote winner as Best Play of 2010 in Blog Critical The Office, as well as a participant in the National Show to be held in Trujillo this year, Betzabeth described as documentary theater. "The actors (Omar Del Aguila, Joseph Palomino, Johnatan Oliveros and the same Betzabeth) interpret different cases of pedophilia for public awareness of the problem," says the young actress, who also notes that this work differs from the others, because he never says whether you are for or against the situation, leaving the public the last word.

With Omar Del Aguila, Palomino and Johnatan Joseph Oliveros.

"My character is a woman named McCarthy, who started a nursery and planned together with his entire family on abuse of children," says Betzabeth , who with the work he visited many remote places in the cones and received many comments viewers, who felt identified with the stories. "After the function, we organized forums to hear from people also sent us letters and written testimony, it is important to show strong themes, as many people are identified and played for them."

Stage Theatre born

Thanks to all the learning from these years, Betzabeth is dedicated today to push through their own cultural center. "Y located at my home, I have so much free space asked me one day: Why not promote theater in my community?". And so was born Stage Theatre, located on extension 8805 Javier Prado Ate Los Portales, and which seeks not only to decentralize Betzabeth theater, but also to promote the performing arts in Ate, believing that they are still very low.

"Do not be afraid to theater, he is very grateful," said this enterprising young man who is not afraid to devote 100% to your passion. "I have to thank the group Free Space, which has given me full support and is committed to give me a hand and thus get more people in Ate Vitarte have culture." Thank Betzabeth and other young artists, keep the theater alive, win new fans and encourage creativity in every corner of our country. Any report on Stage Theatre email: caja_escenica@hotmail.com . Sergio Velarde


January 3, 2011

Letterpress Thank You Cards

Interview: MARTIN and ROGER GUERRERO SEPÚLVEDA



SEPÚLVEDA MARTIN AND ROGER GUERRERO Theatre
new blood
The theater always be renewed. So it is gratifying to see that young entrepreneurs are enthusiastic and performing arts opportunities to develop their projects and seek strategies to premiere works quality theater. Thus, as a result of a strategic alliance, born Cultural Consortium "The company, formed by groups Theatre Workshop Broken Shoes, Theatre and Theatre Macuem extreme. And the winners in the survey conducted by Critical The Office, two of its actors: young people and Roger Martin Sepulveda Guerrero, the first as Outstanding Lead Actor for The orgy, and the second as Best Actor for Once Upon a Once a king, both works produced by "Company".

Martin began his training as an actor in college, then direct mounts in schools, colleges and universities. He has also acted in several plays with broken shoes and Macuem groups, but discovered only in 2010 that his true passion is acting. "I take much to be a director, in my short experience I have tried to give the actors plenty of freedom to explore their characters." With The Company has worked on nine plays and participated in seven of them as an actor. "It was challenging because each assembly required characterizations and staging completely different." For Martin it is important the work of playwrights in schools. "We must plant seeds in schools, drawn into the world of theater, "says . "Our assemblies allow us to attract more school groups, as they can come to our area or we go to school."

Meanwhile, Roger is a business administrator, but is dedicated to his acting career in Macuem group and is now very comfortable in the Cultural Consortium " Company." "I've learned to work together and with Arthur (director of the Consortium) have achieved many things," stresses excited. Jimmy was as directors Herrera (former director of the group Macuem), Arturo Martín Fernández and at the same Sepúlveda. "What I learned from Jimmy was always achieve perfection," he says. "Arturo suggests that you inquire into the character's thoughts and Martin gives you the freedom to explore your character."

About the play was once a king, a finalist for the Central Coast Regional Exhibition 2010, in which both participate alongside actress Gabriela Fernández, say that is still in process. "It's a great responsibility presentation at the National Show this year in Trujillo, which is why we are preparing, analyzing each paragraph of text to draw the person ality of Luchín and Chicho, our characters in the play. " Currently are enthusiastically participating in national and international festivals, as well gain more experience. " We also promote our space, we have been conditioning for a few, and be able to invite other groups wishing to use it." Cultural Consortium " Company" is located in Calle José de la Riva Agüero Stage III Mz.U Lt.33 Urb El Trebol, Los Olivos, at the height of the block 8 of Avenida Tomás Valle ( Serpost). " addition, we are on the way to choose our next work for this year," end. Sergio Velarde


January 3, 2011


Roger and Martin, headed for the Regional Show in Ica.

Record Community Service Hours

Interview: Interview



CARLOS LA ROSA: "Doing theater is difficult for all"

With just a quarter century of life, Carlos La Rosa, the simple and friendly producer and director Lock Out, written by Cesar Vallejo and winner of the prize for Best Editing of 2010 for Critical The Office has managed to attract attention as one of the young directors most promising at present. Formed in the specialty of Performing Arts at the Catholic University, he considers himself an actor, director and producer at a time, although management is prepared to study abroad this year, which is the area that interests you today. That

Vallejo is still valid, no doubt. "I read the book while preparing my final project for the Performing Arts in 2009, but I felt I still had no experience required" , but later, Carlos finished presenting the X Festival de Teatro Peruano ICPNA American made in Miraflores. "Ever since I read it I really liked, despite its density. Text is very realistic, even naturalistic, but was then reached by the images ". And so this young director managed aesthetic connection with the work. "He must have a very fast, very cinematic" . Also under the eight actors who play many characters each in the assembly, and eventually producing one of the most outstanding work in all of 2010.

Carlos La Rosa, Victoria Luna, Cecilia Lenybeth

Collantes

The cast

To select the players for giving life to Lock Out , Carlos was based on two fundamental aspects. "First, they have the time, since a project of this magnitude required much trial, in the end we worked for 3 ½ months, 3 to 4 days a week, 4 hours each rehearsal," recalls . As a second condition needed to perceive that much-needed confidence in his cast, which meant a total commitment to the project. It was thus that the elect were Cecilia Collantes, Lenybeth Luna Victoria, Alana La Madrid, Raul Durand, Renzo Garcia, Javier Guerrero, and Alex Sandro Mori Tower. "He had previously worked with Cecilia and Leny" the first is his current partner and the second is a friend and classmate, also for the Performing Arts as Carlos. "The other I met in various works in which we participate together, except for Sandro La Torre, who discovered in the staging directed by Mario Ballon." How

actors collaborated in the staging of Lock Out? Carlos said that the secret of success of a work will always be the mutual trust of the cast with its director. "I encourage my actors to take risks, to test everything in every scene." have clear concepts is important to him, and handled with great respect for their players, especially considering their contributions when they do not necessarily take communion with them. "Her very clear things for each scene in advance, but the cast was enriched throughout the final product" he says.

Entertainment
Reflection versus
As is known, Lock Out tied for first place with the piece Catholic Girls , by decision of the jury, among whom were people like Ruth Escudero director, actor and director Sergio Llusera and Cultural Director ICPNA Fernando Torres. About this staging, Carlos has his own assessment. "I think we drew two very different proposals together," says on the above play, directed by Katie Valencia and written by Casey Kurtti. "The director chose not to address the controversial issue of the work (in this case, religion), thus focusing on the friendship of the girls. And resulted in a staging entertaining, but not questioning, that it did not stress the public. "

Carlos is important to deal with projects seeking the reflection in the viewer, as this is more difficult and risky undertaking. "I like to explore the aesthetic of a work, is the aspect that interests me more," he says. And can attest to this wealth of images, symbols and atmospheres generated along Lock Out. "Maybe now I see many works easier and less relevant, but what I seek is to investigate new ways of making theater, the form is very important to me as director."

The return of Lock Out

For those they could not see Lock Out , the young director tells us that the work will be replenished at the Alliance Francaise, February 12 to March 13, Thursday through Sunday at 8:00 pm "I think the best compliment I received, "enthuses , " was that my own teachers advised their students do the work. " Fill a regular theater room capacity is not easy, but Carlos is optimistic about the short season of five weeks gives you the space in Miraflores.

Carlos is also preparing to participate as an actor at the Festival "Out of the Box" of the Catholic, in the work "Warm and cold, "Angelica Gabriel (actress of the assembly), directed by Lucía Obando. "From my point of view as an actor, I consider that a good director must be demanding and generate empathy with the cast for Workgroups" says with conviction. "As director, I want my players have two basic qualities: responsibility and maturity, so allow me to work with confidence."

One final anecdote: a while Carlos went to the Alliance Française with five projects under the arm and the director in charge of receiving, probably due to his youth, before he laughed. "Making art is difficult for everyone," says convinced. However, this young director knows that everyone must do their utmost to achieve their goals, find their own way. "The first projects are financed by myself did not get support from anyone. I invested my money and my effort, and in a short time I have received many benefits and satisfaction. " And is that not only the Alliance Francaise, and approved two of its projects (a children's show and Lock Out), but the name sounds Carlos La Rosa as hard as one of the promises of the Peruvian theater, who hope obviously even more. Sergio

Velarde

January 1, 2011

Plasma Donation, Arlington, Tx

CARLOS LA ROSA: DIEGO LA HOZ



DIEGO LA HOZ: "The theater is generous"

And boy is generous with Diego theater la Hoz , voted a Best Director of 2010 for the work species, text authoring and the group Sara Joffré Clearance. This dramatic piece, involving Omar Del Aguila, Betzabeth Misme, Jhosep Palomino and Jonathan Oliver, was also awarded as the Best Play of the year, after the poll closed. "I feel it is a kind of recognition my work ", reflects the director. "It's a great responsibility, to assume a posture of science and consequence."

"People need a reference, and I think for many we are," reflects director Clearance. "I feel it also as respectful treatment towards me, I feel I have idealized, I find it very curious." Diego says he feels capable of directing the great productions at theaters currently fashionable (and boy is ready!), But if it does not is due primarily to their unrelenting desire not to betray their position or their principles . "I assure that 90% of actors are only temporary theater groups, waiting to be called the Isil to go running, I do not work that way, " accurate.

theater group

Diego claims not identify with the commercial theater and that is why, today works in the "underground." "My group (space) has a certain posture, with a defined ideology," said . "The big problem is that Peruvians do not have capacity for reflection and self-criticism about what we do, that is why we do not take positions" . He left a while ago space Ovalo Balta Barranco for ideological reasons, in order to find a theater with an identity "on the other side." "Through Groupality seek to be better people," reflects . "We share the same space, we laughed together, cried together, live together. It is very important doubt, if we hesitate, we die. " Diego says

disagree with the term of Independent Theatre. "does exist in Argentina" he says. "As a result of a political struggle for several years, in which people were not in accordance with the commercial theater, and achieved get subsidies for alternative theater groups, in Peru, we have no financial support. "

claims have never regretted not having directed some assembly, as it believes that all means a valuable learning experience. "Suddenly I may not have liked the whole final product by directing some work, but I do not regret having taken the stage any" he says with conviction. "It is important to do everything I've done, and so I find my own way, playing or working frivolous issues like what people do nothing wrong, however, are rewarding experiences," says .

polls "Best of the Year"

on existing surveys on "Best Theatre" which appeared each year to the Dean of the National Press Diego has a particular viewpoint. "I figured in those annual accounts in 2003 and 2004, with two works: animal most tender, which premiered at the Mocha Graña and The triptych delight at the Casa Amarilla de Barranco, of course, that was before the appearance of La Plaza Isil. " And in the last years, the director seems to be no free space for the" researchers "responsible for conducting surveys and balances daily, despite having released successful and effective valuable pieces, such as bed Four stories or Demons in the skin, to cite two examples. For Diego, it is unthinkable that premiered works in alternative spaces now appear in the pages of El Comercio, and that apparently does not care. "It's very interesting to see how changing relationship between the media and the performing arts through history," says the director with 12 years of uninterrupted work, who prefers to opt for alternative or roaming areas, believing that Lima's most important rooms not approve his theatrical projects. Diego

also feel very happy for the victory in the poll Betzabeth Misme as best supporting actress for species . "Betzy is a very talented girl, out of the Open Space workshops and is in the midst of an interesting process," stresses . At the moment (says Diego) she is doomed to the creation of a space within her community called Scenic. But this more later, when the Office Critical the interview. "On the other hand, continues Diego, " I note the support we provide and Pold Caparó Gastello Paco, teachers and friends of the Theatre Club of Lima, as always recommend students to continue her acting training in the open space. "


Di ego with his cast and the playwright Sara Joffré

Projects Projects

Diego for next year, in addition to publishing his works and memories include the organization by its group III Theatertreffen in Barranco, where plans call for a critical group of Argentine youth AINCRIT researchers (Argentina Association of Theatre Research and Criticism). "Promoting a round table with them would be very interesting for our theater movement" says Diego, who met this association in one trip and it seemed an excellent idea that these critics we share their experiences and knowledge about the so-called theater the periphery in Argentina. And the exclusive

tells us that in the middle of next year, plans to pay a fitting tribute to Sara Joffre, our tireless promoter and theater critic and also one of the most respected playwrights in the country. "I was asked the direction of a work of Sara, written almost 40 years, called Story about Foam Circle, a beautiful love story, and I gladly accepted. " Diego not only be responsible for release in the auditorium the coffee in San Isidro, but also plans to make a par, a photographic exhibition of Sara, who hopes to get the importance that our author deserves. Diego

leaves us with a question: "The theater is generous and gives back all our effort and sacrifice sooner or later." And you are absolutely right Clearance director, because every artist who gives himself to his passion, reap fruit in the future. Proof of this is Diego La Hoz, an undeniable and valuable reference for our alternative theater. Sergio Velarde

January 1, 2011

Diego La Hoz director and actor Omar Eagle.