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)
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.
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.
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.
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.
