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By Gilda Matos

CHARLYN was the great revelation of the Festival Theatre National Theatre of the Dominican Republic, 2010.

The monologue written, acted and directed by Stalin Rafael Morla is a scathing portrait, Ironically, sour and cruel of human existence in modern times. The piece reveals the essence and philosophical dilemmas of the reality of "Being" of today.

Marx is the hero of the dramatic, the hero is outdated, who rises in revolutionary resistance against a society based on consumption, which overrides and undermines the freedom of choice of Ser

The genius of this theater piece is in dramatic conflict, presents a revolutionary revolt and exiled to the closure of a toilet against the empire of consumerism called "Mafia Propa " from this situation reflects contradictions convincingly on philosophical, psychological and policies today. The author provides a speech nonchalantly risk using the word "stool" with all verbal modes, without ridicule or in bad taste, rather, leads and brings the whole rotten world that we reveals, and almost managed to convince us, that " The world is a huge crystal ball full of excrement."

The visual image and sense of evocative monologue keep a relationship with the iconography of the work The Death of Marat French painter David, held in memory of the death of Jean Paul Marat critical revolutionary, martyr of the French Revolution. In parallel, the stage picture created by Rafael Morla brings to the National Theatre Festival to Marat located in the XXI century, with a critical eye at a time where they have disappeared and utopian ideological struggles to gain strength to the opinion of capitalism until reduced global consumption of Being focused

Morla critical conflicts in the postmodern individual, communicating with words, signs, image and music reveals a speech that became the surprise of the National Festival of 20010.

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Exercise Dramatúrgistico

fable from The story I

The original work "Ooniia or the path of the sun ", the Puerto Rican writer Amilcar Aguilú Cintron is a narrative that articulates literary timeless. Ooniia, character around which the story unfolds, has its stages crossing between parallel universes. His past-present-future is represented in a simultaneous multiple experiences encountered, waking revealed between passages from memory, despite the reality, energetic contact with nature and importance of higher states of knowledge.

dramatic adaptation to first determine fully respect and maintain the original story, for all the poetic beauty contained in its narrative resources, raw materials which would produce our vision stage.

Aware that we were dealing with a text away from formal theatrical structures, we proposed an exercise of dialogue and dramatic translation, identifying the times and the descriptive stage, to thereby place the multiple narrative and symbolic spatiality of the text, recreating analogies and equivalence in a parallel embodiment in place represent extra hidden everyday gestures of the word.

We were interested in creating a new body acting owned by the actress, who translated the codes in that gesture, reinventing and revealing imagery and playfulness in his narrative, opening and proposing viewers a visual imaginary stream, where the playful, the physical and the object, trigger a bridge in sensitive and amazement dilated, leading that connect sensory and perceptual, that strange, terrible and familiar to the human drama that takes us back to visceral and vital.

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Narrative Painting and Stages Performing

(Exercise Dramaturgistico, Fabulous the Tale II)

1-The Waste Land 9-Zure
Bella Women Birth Rite 2-10 - Women
3-The Casería 11-The Lover-Magician-
Wai-4-12-The Beginning of the boat in Bodega
5-The Two Journeys - 13Edjag , Black Sun's Daughter
6-Memories 14-The Secrets of Nature
7-The Real 15-The Witch, Bringer of Wisdom
8-The Slave 16 - La Ruta del Sol

From This dramatic structure, we set our creative adventure training, research and spatiality stage.

The actress first center rigorous psychophysical training, where he faced to its limits, challenging new findings against his own body resistance and interpretive skills.

unexpected wealth in the process of searching and finding creative, we explored different ways of improvisation analogue approach, partnerships and distance from the text, accumulating spatial sequences, hand signals, equivalents symbolic, poetic objects, sensations associative and mixed feelings.

With all the budget materials and media available, and hybridized dormant in the body-psyches of the actress, is then officiate our aesthetic imagery, we act handmade fun and spectacular construction, our commitment and staging of "Ooniia or the Ruta del Sol".

Miguel Ramirez

Director Theatre Crafts The

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Ooniia dramatic structure or the Ruta del Sol

National Theatre Festival Hall

Ravelo, National Theatre in June 2010

Photo: Samuel Esteban Peña

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SATURATED MOVING THE THEATRE CELESTINA Gayumbo IN NATIONAL THEATRE FESTIVAL

BY GILDA MATOS

Gayumbo Theatre presented its version of La Celestina in the Dominican National Theater Festival in the line of interpreting classics of the English Golden Age dominicanizados, simply and for all age groups .

The group is one of the most representative companies of the theater craft in the trend of popular theater, with a distance of more than 30 years in an aesthetic that is characterized by originality in interpreting the classics of the English Golden Age as Don Quixote and Sancho Panza, Cervantes and Lazarillo, with which it has transcended international level by participating in major theater festivals in the world.

The success of their performance was marked by brilliance, simplicity and extraordinary ability to retain the essence of the works of classical authors, making our time more enjoyable and digestible to the Dominican Republic and Latin America.

The presentation of this assembly may notice some differences and similarities in the form of address Gayumbo classic English Golden Age in previous experiences.

METHOD:

The company is one of the most faithful exponents of the Theatre Brecht in the country, its mise en scene is based on the theory of alienation through reasoning expressed in the resources of stories, songs and expository mode of representing the characters in his shows. In the Celestina, presented at the festival, these elements were only partially.

narrative saw the characters of The Troubadour and Sempronius, played by Carlos and Manuel Chapuseaux, respectively.

However, the central character in the play, epitomized by Nives Santana, followed a different direction, closer to the truth, looking for the human side of La Celestina, bordering the circumstances inside a battered old and unprotected. Nives

plays a being justifies selfishness and greed are looking for financial security at any price, safety denied by society. This way of representing the character broke the harmony of logic Brecht's "reveal" instead of "being" the character.

TEXTUAL FITNESS

Gayumbo theater had got the better to adapt classical texts, because of cleverly has managed to transcend, or at least preserve the essence of them, however, this time, faces the choice of excluding from the scene some important characters to the plot or replace by puppets and voice-overs, as is the case Melibea and Callisto, an action that apparently limited understanding and strength scenic key dramatic event in the play.

also different from the Celestina tradition mythologizes as "a bearded old is dize Celestina, witch, cunning, shrewd in quantas evil and plenty of spells known, Gayumbo stage shows a sustained Celestina slow and lame that is diminished compared to the character of Sempronius, a wretched servant and accomplice of lying to trick fools in love. Contrast

therefore the concept of the character of La Celestina, Gayumbo conceived in relation to the original work. The central conflict of the lovers and Celestina becomes a secondary element, against which the director role at Sempronius, who with his magnificent gesture, agility and grace, seems to become the central character, as opposed to design intimate of La Celestina in this release.

The PUBLIC

The audience received with great care and without empathy history of the English author Fernando de Rojas in Gayumbo version for lovers of dramatic literature was a pleasure to hear a text has been understood, without further moments of interaction and play with the audience but with ease, expertise, and precision cleaning stage.

The great merit of Gayumbo Theatre in this production, is precisely to have fought in some way with their own tradition, to be faithful to the essence of the work, offering a new version that does not deny the author, but proposes to a new look, beyond the gaze of the audience.

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