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We must preserve the space of creation

* Jean-Luc Lagarce (1957-1995): outstanding figure of the century French drama XX.


We must preserve the space of creation, the luxury of thinking places, places the surface, where invent what does not exist, the more questioning of the past, parts of the question. They are our beautiful property, our homes, for all and sundry. The impressive buildings of the final certainty, those, redundant, cesemos then built. The celebration can be something alive, the memory can also be happy or terrible. No need to whisper or walk past your toes. Our duty is to make noise. We have to keep in the center of our world a place for our uncertainties, the place of our weakness, of our difficulties to say or hear. We remain hesitant and remain in doubt, against the violent speeches peremptory kind of professional, economic logic, the advisors, working and living, our lords consensual.

can not be content with having or not clean conscience against the barbarity of others barbarism is in ourselves and only asks us devastated, that exploded in the depths of our spirit and we are founded on the Other. We must be careful to the world, and be careful with the world is above all be careful to ourselves. We must beware of evil and hatred that mamamos in secret without knowing it, without wanting to know, without even daring to imagine, hate underground, silent, waiting for it's your turn to devour us and use us to devour innocent enemies. Art spaces can turn away from fear and when you have less fear, less bad.

We should not be amnesic, but not longer be amnesic every day at seven in the evening, when our prayer and our collective pardons. Not to be amnesiac is not just look at how the past is slowly moving away from us, our beautiful convalescence, not amnesia is to look in the eyes today, today, tomorrow and look at ourselves as well, not seeing anything, not wanting to, let to affirm, but walking anyway, keep a clear view, walking slowly and keep smiling, gentle, not being sure of anything.

A society, a city, a civilization that waiver of Art, away from him, on behalf of cowardice, shameful laziness, lack of sleep perspective on itself, withdrawing from the heritage of tomorrow, heritage of becoming, to be content in the most pious self-satisfaction, with the values \u200b\u200bhe thinks he has forged and that really just inherited risk waiver that society moves away from his only truth, forget building your future in advance, waive potential, in his word, does not say anything or others or themselves.

A society, a city, a civilization that waives its share of unforeseen events, their margin, their time, their doubts, their poise and who does not give even a moment to produce without thinking, a society that stop laughing even a little, despite the misery and the uprooting of their own anxieties and loneliness, is a company -satisfied itself that is being waged entirely to the contemplation morbid and proud of his own image, still contemplating his own image and a liar. Denies his mistakes, his ugliness, and its failures, self-hidden, beautiful and perfect it is believed, is lying. And only then greedy, petty, empty-headed, the imagunación saved, eats away and destroys what belongs to others, and as much as we loath to admit it is reduced and is drowning in its own memory, the idea that projects of itself. It gets stuck up and thought, nourished by their own illusions, confident in its own brightness, without following or offspring, no future history and without spirit. It is magnificent, I think because it says so and the only one who listens. She's dead.


Translation: Laura Pouso. Tribute Collection. Editorial Atuel. Buenos Aires 2007

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In the complex process of dramatic writing, each party will need to raise active and constantly reconsider what to write, and why and what type theater. Is an important point, because as it is achieved particularize further, more will be the safety and soundness of the task.

The playwriting (extending the concept also to all artistic events) becomes a subjective expression of the world, always social - in their genesis, in its objectives, in its reception - even if done by an artist "individual" , objectified in a work, to meet diverse social needs, emotional, emotional, volitional, attitudinal and cognitive. The artistic creations express subjective modes of appropriation of that world. Remember: the artistic facts are social products, but are created by a single individual, their production is social.

At the same time, each subject - a pattern emerging interpersonal relations that constitute the horizon of his experience - he writes from his own needs, the link to other experiences or knowledge and confrontation and integration of multiple perspectives enriches each and every one of the participants. Sometimes you know the depth of what has happened to us, and we minimize our ability or willingness to write.

Gustavo Cano. Dictation Module 2 - April 2008
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Drama and Society in the Media

Titled "When writing out the sun" was published on 9/3/2008 a note related to our activity in the Diario Los Andes, Mendoza .- Anyone who wants to access it and its contents attached we ask you to click-below

http://www.losandes.com.ar/notas/2008/3/9/estilo-348648.asp
oldest
A note of when we appeared sun in the sky. The Journal also Andes, "Days of Arts in Central Park Sundial" by Silvia Lauriente.

http://www.losandes.com.ar/notas/2006/5/4/sociedad-192950.asp

Thanks.

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Playwrights Foundation of our 2008 Annual

education policies of recent years have moved towards greater openness to the community, encouraging all those initiatives that take action to play an important role in society. Theatre has not been left out, especially for his important and necessary direct contact between artist and audience. But how to improve communication so that it can be a greater participation of the artistic activity in social life, when there is a flaw in terms of quantity and quality of playwrights who can become sensitized to the problems affecting the society in which are embedded?

Currently, it works much the collective creation Mendoza theatrical atmosphere, as well as the adaptation of texts, which in most cases is up to the director or an actor without these have much knowledge on the subject. It is in the case of group creation, where the presence of the figure of the playwright is almost nonexistent, jumping at the sight of a big flaw because it tends to neglect the text, sometimes zero or collage of beautiful poems to weaken the lack of a structure, a backbone to organize the product, give shape and character. It is for this reason that the following proposal, designed to experience the drama from acting work, tend to improve the quality of theatrical work.

respect to education, is made an inadequate emphasis on literary analysis through its various aesthetic, marginalizing the "future playwright the lonely task of writing texts without tools help you unlock the word, a task that becomes tedious and incomprehensible to most that should work not motivated by action.

In many cases, those beginning in the writing tends to travel on public areas lying to himself, making himself believe that he has created a great innovation. Techniques tend to release these constraints and stimulate mechanisms to cross a barrier, go further, to a territory that the same person known to have, and which lives really the essence of creation. It does not mean they are the only or the best techniques and without them can not write or anything, it is interesting to know, and know that there are many great writers use them and recommend them for who wants to be involved in the writing world . Many times the methods are secrets that every writer stored in your personal synagogue, and only transmit a few, always under the concept of power being the only ones who handle that writing "creative and original."

does not mean that these exercises will make great writers assistants, that will tell the years, readers (in this case the public) and publishers. Who can teach you to write plays? You can only open doors to a world of perception, transit routes into and out of reality to fantasy, to meet, reject or affirm what we are and feel as individuals or society or individuals who make society.

can not conceive a writing under the full freedom, not full of rules. The whole is equal to nothing and both are useless. Start writing through triggers that activate the creative work, as a simple game for adults, increasing chances that the process of writing serve as a resource for the contemporary actor who attracted by the forms and images, tend to body directed towards abandoning the intellectual level. A complement of both would be more optimal for acting.

A wonderful literary experience enhances the skills to unexpected levels, and those who manage to experience this process encourages a greater predisposition to conflict resolution and an open mind to external stimuli.

believe this plan could fill much of the gap that occurs in young people wishing to express a wealth of feelings and ideals, but not find a way to communicate it to others , to translate this into an art.

2 groups working with Paul Arabena (2006)

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Coordinators and Guests 2006

For 2008 We have reorganized the schedule of activities. On this occasion we had the presence of two new playwrights Mendoza: Sacha Barrera Oro and Gustavo Cano, who along with Paul Arabena and Paul Longo will be responsible for carrying out the project.

Each module issue related to creative writing and drama. And the final module will work jointly support the process of interest in the realization of a work. Thus, we provide better service to the needs of the person concerned in writing. Give the possibility to appreciate the drama from 4 different points, to open doors to encourage creativity and to develop both group as well as in the lonely task of writing.

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The method to be used during the workshops is to LABORATORY. The intent of this system is to let the wizard experience, both the word and body, and can express themselves freely as it sees fit more along the lines with which the coordinator will lead the group.

is necessary under this type of process, not stifle creativity but unlock, always within a framework of respect for self and other, because the building plays a fragile limit, as the artist must compromise, and put into play, all their feelings in order to transcribe them to paper.

The LAB allows the wizard to work the mode of trial and error, through established guidelines and coordinated as the process moves forward, with subsequent theorization of concepts that have been in practice. The idea is that the wizard to discover for themselves the complexity of writing.

It pursues the realization of a theoretical publication, to analyze and leave a record on the phenomenon of dramatic writing process, so that serve to generate support for future experiences.

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Working Methods Origin and History

The project "The Playwright's Sundial" born in April 2006 due to the idea of \u200b\u200bcreating an open forum for anyone interested in drama. The announcement was made free of charge and the assistant only had to deliver a book to donate to any public library, this time they met 23 individuals who are now in the Library of N School No. 4-185, Tres de Mayo, Lavalle, Mendoza.

Due to lack of space for this type of projects do materialize outdoors, and the place was the new Central Parque Metropolitano de Mendoza. At the foot of the Sun Dial, hence the name of the group

Over 40 people attended the workshops over, because its form is free, allowing everyone to choose the moment when want to join. Clear that those who participate in all meetings of the order takes more knowledge of the contents, since they are spun continuously.

Three (3) young artists participated as guests to make matters referids to different areas of creation: Zamorano Martín (artist and art historian); Marcela Ortiz (Actress, final year student of social psychology) and Paul Arabena this new project in 2008 continues.

The completion took place in October, and throughout the year, the coordinators do not receive any remuneration for their work, and all the work has not been investigated yet developed into a publishing format.

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Welcome

Solar Clock playwrights began in Mendoza in 2006. Is a group dedicated to exploring dramaturgy and dramatic writing pedagogy. Born with the intention of being able to get the techniques and building bases all concerned, without distinction, which then could not find a meeting place where they realize their expression.

The meeting place is at the foot of Central Park Sundial of the city of Mendoza, which is why that arises from non-formal education to demystify the creation, in a society that encourages individualism of beings to fragmentation and the devaluing of art as a fundamental factor of human growth.

Only 3 hours, in which we abandon all our moral and social obligations, and dedicated to express through writing what oppresses the soul, that you choke. In the early

was believed that only the actors or direct participants in the world of performing arts could participate, but here we work and play outdoors, rain or shine, without walls or doors, so everyone can come and join our struggle.

contribution has always been the free delivery of books which are then allocated to different public libraries that remain outside the channels of citizens.