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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