Beldray Ironing Cover

The little Saint

The Bus of Lukas Bärfuss

María Elena López and Marco Bustos (standing)

Marilu Vaca , Roberto Sánchez and Marco Bustos (back)


Marco Bustos and Marilu Vaca

Erika wakes and discovers that he has uploaded the wrong bus, the bus totally wrong. He suddenly realizes he is on the bus tour of Hermann, together with a group of people who go to a rehab clinic in the mountains.

Actually she should be heading to the city of Nobol, Santa Maria, where you have to visit the shrine of the Black Madonna.

Several hours later, amid a lonely road, Erika is discovered by Hermann and passengers who intended to leave despite his pleas. Erika will then, in the longest night of his life going to save all that now: the great certainty of having been chosen to avoid a huge disaster.

An intense high-drama thriller intensity, which is much more to see what the eyes distinguish



With:

Marilu Vaca (Erika)
Maria Elena Lopez (Jasmine and old)
Marco Bustos (Anton and Karl)
Roberto Sánchez Hunting (Hermann and old)
direction and staging: María Elena López
Sets and costumes: Ojo de Agua
A production of Teatro Ojo de Agua

Humboldt Association

RELEASE November 15 to December 2
De Thursday to Saturday 20:00

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ME, SATAN Receives Three Awards 2006/07 Municipal

On August 27, 2007 were announced Teatro Municipal Awards 2006/07. In our show we were awarded three: Best Production, Best Director and Best Supporting Actor, William Goite.

I can enjoy, Satan until Sunday 2 September at the Teatro Luis Peraza.

are waiting!

Is It Possible To Use Chaining In Heartgold

more critical I Satan

Lean two criticisms to show the links

http://www.vayaalteatro.com/cronica.php?idc=141&id=19

and

http://victorvegas.blogspot.com/2007/08/tica-vs-poder.html

are waiting at the Teatro Luis Peraza

Congratulatory Message For Engagement

Review criticism (1)

In a previous letter spoke of the critical space as a place tainted by bias that, in most cases is carried out based on the personal and moral judge is limited to stage an event.

not talking about intentions, that is, do not think critics as evil beings who want to hurt the artists, that would be another flawed moral judgments of bias, we think that just by not having elements that go beyond personal opinion, the artwork is ignored in most of its elements and especially how they are articulated.

mental structure in which we use in daily life, the world is divided into good and bad, criticism, science and art, should try to see from third way, one that allows us to relate to the depth of the facts.

communication as fact, criticism is no exception to these parameters is not sufficient to render an opinion, whatever feels right to speak about the theater, we, and anybody says he would have done better than those who did. The fact is that the discourse of critique should talk to arguments that allow you to make measurable and comparable tangible points of view, as a scientist must do to demonstrate that what he looks like a black hole is a black hole and not a hole either.

How to explain but the existence of two views so diametrically different for the same show? (We use to clarify these points, public criticism of the work "No penalty" Ojo de Agua Theatre prefer not to mess with the work of others), consider the view that the Trade Journal published on opening day of the work at the Teatro Sucre:

A murder is solved aesthetic kitsch (5 / 10 / 2007)

The work, which could be seen in a trial last Tuesday, it is not all mature: it was the printing press and guests. There is an unmistakable spirit of experimentation and innovation, however, not consolidated.

The Aesthetics of staging retains the distinguishing features of the style of Ojo de Agua: black humor, construction of a 'kitsch' junk culture with national and folkloric characters placed in surreal atmospheres.

The script was based on a murder read in a newspaper crime reports. The piece looks at what were the impulses that led the murderer and the speech is not guilty or punished, just facts.

The lack of continuity in the script difficult to track narrative of 'Let there be no penalty. " The book starts with a presentation on stage of the 'dramatis personae ': each character introduces himself and describes. Only then recreates the crime scene, involving everyone. This idea is not working well.

Perhaps this lack of dramatic force, the situations of the characters pass with a slow, heavy and messy. The piece has a high degree of critical political farce, but its language, indirect, betrays its effectiveness in this regard.

between the lines, the playwright satirizes, among other things, focus 'naive' in the world offering cable television, music waged against cliche, against reality shows low quality and comments on domestic and mundane everyday life that fill the small screen world.

(...) The management of space is elemental in the start of Ojo de Agua.

A weakness of the assembly, which will be in season until Sunday at the Teatro Sucre, lie in an over-reliance on the spoken word (there are too many things said and not shown). Other resources, such as music or video, made by Cristian Proaño, turn out to be decorative and have no sense.

(...) The goal, he explains, is that "the body, video and text stories coexist making open to form all in one unit with multi, grotesque, ironic, "says Sanchez. This is a way to go: in the work today, although there is irony and provocation, the elements are not fully tacked. Let us now

something that says the composer and contemporary art expert Maria Cristina Breilh:

The first impression: a simple scenario and suggesting movement, with modern forms. At least at first glance, one would not think the issue as complex and deep that was to be addressed. It's like we used to do comfortably and watch these scenarios too clean ¨ ¨, where what it is just forget about reality (...).

This is definitely not the case, specifically that simplicity, creativity in the various components, the sound environment, how well prepared indeed raw and the dialogue is going head sticking (literally) on a piece of this piece of planet, which generally prefers not to watch: the death of a child by her own father. Sure, at first glance, the most reprehensible act of this world, but more penetrating and sharp eyes, watching the sides harder to see, it is clear that the only victim in this story (and many others) is not the creature.

This is seen from artists who are seeking temporary reach and aesthetically to the world and with its own identity, with its space, a double merit, rare to find items in the current proposals. (...)

How can there be two such different readings? Could it be that a person is a friend to the group and the other not? Is that one of them is good and the bad one?. Nothing is further from the truth.

There is a striking fact that the critical environmental issues is something full of emotional, are part of absolute truths, truths established at the whim, but absolute, "it seems to me that" the question is, what appears on what setting, what canon, from what vision. Not analyzed the effects of the elements of the proposal as a whole, isolated and dismantled each parameter and there is no trouble to read things according to what the play raises. If it is a fragmented piece then: what arises from the fragmentation and why, and it is, then what arises from the uniqueness and why use that uniqueness. The theater is still seen as a unique territory of the mimetic reference and try out everything there is simply labeled as incomprehensible and set aside. I did not understand, is the hollow crutch with which disqualifies any work, not only from critics, but even from the same theater environment. Meanwhile

critical analysis that makes the other text, understands things trying to establish a comprehensive line is much closer to an objective fact. Clearly the critics want, strive for it, qualify or disqualify you unravel critical analysis, understanding, context.

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photos Release function [03.08.2007]

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New cast of ME, SATAN

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BACK

I, SAT Á N ME, SATAN returns to the basement of the Basilica San Pedro

comedy which tackles the subject of the Church as a rule under which millions of pilgrims converge
as if it were a multinational

After his first successful season in 2006, the Centre for Artistic Creation and TET counterplay Theatre group join forces again to present I, Satan Original English playwright Antonio Alamo, version of his novel I Nata. It is a comedy directed by Juan Jose Martin, who may be enjoyed by the public from Friday 3 August until Sunday 2 September at the Teatro Luis Peraza of Los Chaguaramos. In the book, the author uses police-style intrigue (a mysterious dossier, lurking spies, plots to assassinate hierarchy uncomfortable ...) sprinkled with humor, and a gallery of obscure characters (cardinals, exorcists, bureaucrats and even the Pope himself), to offer an ironic approach to the Vatican today.

The book presents a lot of irony and humor to a situation curious: if the Pope began to doubt the existence of the Holy Spirit, what are the consequences? The central character I, Satan , Fray Olivares Gaspar arrives at the Vatican and is a worrying picture: he is forced to admit that the Holy Father's behavior leaves much to be desired. Suspicions and intrigues have taken over the Vatican and seems to threaten the continuity of the Church ...

Alamo itself, to define his work, says "it's a comic thriller and a metaphysical operetta. I, Satan speaks of the multinational oldest extant on this planet, and the expression belongs only to the theologian Leonardo Boff. In any case it is an organization that has over a billion souls and has been forced to constantly mutate to adapt to historical changes. So amazing the Church has always managed to occupy a prominent place. Whoever claims that his real power has declined in this is totally misguided. Just think about the fall of communism, one of its main architects was the late Pope. Yes, I could not be achieved with the threat of all nuclear missiles from the other half of the world, did this tiny state of just 44 hectares. "

I, Satan features performances by Omar Gonzalez (National Award Theatre 2006), Guillermo Diaz Yuma, Alexander Leterni, Ludwig Pineda, Israel Moreno, Jesus Flores Sosa and Maike. The costume design and scenery is Orlando Arocha, sound mixing and Xavier Agudo, design their own lighting director Juan José Martín and overall production of clusters of Artistic Creation Centre and Theatre TET counterplay.

The power of the Church continues
As indicated by the director, the staging of I Satan is faithful to the universe of text, which presents a strong vision, yet consistently evocative, controversial and, especially ironic. "It's a comedy about power, a power that stands based on a speech he starts to question himself. "In the case of the interpreters, Martin notes that the more serious situations, the more severe, the more tension, more gracious will seem to the viewer. Another attractive feature of this setup is the possibility for the viewer to witness a comedy whose protagonists are bishops and priests, in some underground areas to go where the echoes of the Mass celebrated in St. Peter's Basilica, a few steps above.


Premiere: Friday August 3 at 7:00 pm
Season: From Friday, August 3 through Sunday, September 2
Schedule: Friday and Saturdays at 7:00 pm and Sundays at 6:00 pm
Tickets: General Bs 15,000 / Students and 3rd. Bs 10,000
age: Teatro Luis Peraza, next to the Basilica of San Pedro, Valle Abajo,
The Chaguaramos, Telephone 662-3633.

For more information:
Juan José Martín - Director
0412-619 30 66
juanjosemartin.blogspot.com

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PRESS CLIPS

Articles in the daily El Nacional, El Universal and El Mundo

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photos 2006 season I, SAT Á N . Taken by Jesus Sosa.

The cast and director Guillermo Diaz Yuma as Cardinal Hacker
Juan José Martín (director) and Markel Méndez (Gray Gaspar)
Omar Gonzalo (Holy Father) and Guillermo Diaz Yuma (Cardinal Hacker)

First promotional image (Photography and design by Juan José Martín)

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Ojo de Agua in action



María Elena López, Andrea Ordonez, Marco Bustos, Javier Cevallos and Roberto Sánchez


"No pain" in his role debut in the sucre

We offer comments and feedback we gathered after the premiere of "No pain" at the Teatro Nacional Sucre.

about ¨ ¨ THERE IS NO PENALTY

's challenge
cruelty
Two murderers of children try in vain to escape their own mazes of guilt, while a troupe of three torturers, among clowns and entertainers of variety shows, gives an account of how the final web, which are entangled those who have bottomed out in our media society is made of the word. The relentless and merciless blabla media is everywhere with its superficiality and mediocrity and sets the benchmarks for judging. Both labyrinths, the inner and outer join. There is, therefore, output.

The express purpose of reaching the work outputs of different shaft in the elements of staging. In the set, consisting mainly of various segments of bleachers, recognizes the spirit of a closed world, even though the volume, the number of elements, in order to stage presence, makes sense indecision between the execution of a start or empty space, with scenery that relatively illustrate the maze. The costumes are functional and properly marked differences between the two groups of characters. Taking into account that the "fauna" in the media zoo is so rich in prototypes of ridicule, vanity and ignorance, perhaps greater precision in the locker room of the torturers media had helped to highlight the necessary contrast with the murderers. In future the management representations of scenes light show could also intensify, For if a theater minimalist, less is more, in a theater based on the grotesque and kitsch-versa. For the fever is plague, should become foul, loathsome. Very notable is the work of team of five actors, the action is rich and dynamic changes of intentions, even at times a bit run down, the team knows how to keep the viewer's attention till the end. Some individuals among youth of all stakeholders are consolidated as ex officio, issue of great importance for our theater environment.

Few dare creations in the current context to find a joint around its own theater of cruelty. "No pain" at codes made from black comedy. Get then cause a stir in the viewer particular, who seduces the laughter, though the world evoked by the comic action is cruel and inhumane nature. The greatest merit of this production, is in pursuit of risk and accept the challenge.

Javier Andrade Córdova

Sucre National Theatre Director Scenic

The first impression: a simple scenario and suggested the move, with modern forms. At least at first glance, one would not think the issue as complex and deep that was to be addressed. It's like we used to do comfortably and watch these scenarios too clean ¨ ¨, where what it is just to forget reality.

This is definitely not the case, specifically that simplicity, creativity in the various components, the sound environment, how well prepared indeed raw and the dialogue is going head sticking (literally) on a piece of this piece of earth, it is generally preferable not to look: the death of a child by their parents. Sure, at first glance, the most reprehensible act of this world, but more penetrating and sharp eyes, watching the most difficult sides view, it is clear that the only victim in this story (and many others) is not the creature.

This is seen from artists who are seeking temporary reach and aesthetically to the world and with its own identity, with its space, a double merit, rare to find items in the current proposals.

A sincere hug this young group, which is separated from the mass of art and click on our reality and, from modest material resources, but with much creativity and talent, offers and positions.


Maria Cristina Breilh Ayora

Composer

When confronted with a play must understand that this proposal involves a visual art communication which integrates all the elements that make up the temporary space of the act. The vision must be expanded in the sense of going to an alternate proposal, without prejudice of prior history, traditional or common what is officially called the "theater", is so perceptive sensibility that defines the validity of a proposal, in this case, beyond a descriptive narrative sequence and linear structure, proposed overturning the limits of this in an uncertain future of space time in the labyrinth of memory and guilt.

feel is complemented mental sequences transferred to the receiver, with the elimination of perceptual Euclidean space, by projecting invested vanishing points, placing the actors in the temporal evolution of approaches to the past in and out of this, advance from the past and present to trace amount to the claim of reaching the future goal that is truncated at a scale that leads to the same starting point. All this in a swarm of light and sound.

With little spectacular costumes, exacerbates the proceedings, balancing, based on the symbiosis between actor and character, very natural in some and exaggerations strong in others. The work itself is not spectacular, is significant and alternative worthy of being recognized as part of our production, which takes on greater meaning as we represent and can recognize and identify.

Angel Jacome
Master Design. PUCE professor

I've been in the closing function of "No penalty" on Saturday May 12 at the Teatro Sucre. I enjoyed from start to finish the work and I congratulate them all, since the work is intense. What a great job, congratulations!


Director Bernardo Mantilla Bolivar Theatre Foundation

long time ago that I found in our staging area so attractive as yours. An approach to death from a gritty and funny look overtly cynical, but sweet and resounding cynicism that can only populate the art. A territory of harshness and pain as he who dwells in our mind, a stunned world, I would say that hallucinated lucidity, to quote the words of our Prophet (Paul) Palacio.

Juan Pablo Castro
Social Communicator. Writer. Professor Salesian University

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The number was not an obstacle to creating an intense atmosphere.
The controversial and satirical work is already among the people of Quito ...
"No penalty" has been warmly received by the public, whom we thank for their assistance and we ask you to continue feeding their comments and criticism.

Here two links with the Ecuadorian press reviews:

The black comedy tells a History of Violence

In Hoy.com
'That there is no penalty', proposes the Ojo de Agua Theatre

In Ecuadorinmediato.com

Bloger Of Milena Velba

Photos the show taken by Roland Streuli

I, SAT Á N

Markel Méndez (Fray Gaspar) and Omar Gonzalez (Holy Father)

Ludwig Pineda (Cardinal Chiaramonti), William Goite (Archbishop Malama), Markel Méndez (Fray Gaspar) and Jesus Sosa (Cardinal Bruno)

Markel Méndez (Fray Gaspar), Omar Gonzalez (Holy Father) and Israel Moreno (Monsignor Vanini)

Markel

Méndez (Fray Gaspar) and Guillermo Diaz Yuma (Cardinal Hacker)

With Antonio Alamo, the author, in the role of Friday, November 10, 2006

Alexis Texas Does Not Do Black Guys

premiere Promotional Let there be no penalty

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PRESS REVIEWS

ON WORKS AND THE EYE OF WATER WORK:

"He, She and that dog"

"(...) We see in this book an important work body language, which becomes doubly significant (...). The stage is fully busy, small and barely defined cubicles become spaces that fulfill a specific function and variable, he, she and the dog will inhabit, fill and process (...) a few items: a bed, two chairs and a bench, are sufficient to live this crazy story (...) ingredients that complement a quality job. A structured work between narration and action, complete with a playful stage activity, which although in the text, gains on the scene for the way it is designed

Magazine "The Pointer Scenic." May 2006.
Quito - Ecuador


"(...) has been meet the splendid staging of Ojo de Agua Theatre which opened my eyes to a landscape that was there but for the intricacies of my own fog seemed to hide. And this book "He, She and the dog" is just a trap (...) and it takes the humor (...) should be why a knowing laugh like crazy, that is, pretending not to know, they're talking about a same, their intimacies (...)

magazine "Arts." Diario La Hora. 2006.Quito May 14 - Ecuador


Roberto Sanchez, at the address set the tone with the work "Shameful Confessions." The work "He, She and that dog" ... displays a lucid moment of his theater, which is supported for this implementation in several respects: the adaptation of the text, time management scenic and spectacular, one of the pillars to achieve fluency and dramatic pace , all anchored on a stage effective (...)

Magazine "The Pointer Scenic." December 2006. Quito - Ecuador

"ROMERO SOLO"

"Last month we were fortunate to attend the show" Romero Solo "that the Ecuadorian group presented Ojo de Agua Theatre "La Campana de los Perdidos" de Zaragoza. And the truth is I did not enjoy much time with this word and played well. With a smart and simple scenery, actors popped poems of Góngora, Quevedo, Garcia Lorca, Efrain Jara, Aleixandre, Jorge Enrique Adoum and Leon Felipe. Exciting was the interpretation of "The Song of the Gentleman" de Lorca, sublime to "sob at the death of Pedro Jara Jara and masterful Ephraim the" Like You "with music by Leon Felipe de Paco Ibáñez. Long was not feeling well that the verses in these parts. A show just brilliant. Congratulations to the actors! "

magazine "The Urban Chicken." Cultural Section. Zaragoza - Spain.

"KASPAR"

"María Elena López and Roberto Sanchez of Ojo de Agua, again demonstrate his discipline and his tireless exploration, this time coming from the hand of Peter Handke in his version of "Kaspar". The versatility of Lee shakes, challenges and entertains more than ...."

Diario "El Comercio". Issue 7 Days. Quito - Ecuador


This adaptation of Peter Handke's text is to strut their structure, armed conflict between silences, texts of a narrator, the actions of the protagonist and a successful musical se-lection. It is a work that accounts for commitment and discipline of two young workers and leaders of his craft.

Magazine "The Pointer Scenic." September 2005 Quito - Ecuador


PUPPETS


"Ojo de Agua" offers in the plane of Fantasy "The Adventures of Diablo Ucho." The work excited by the construction of the puppets and the nimble handling of funds in the teatrino. Moreover, the theme of the assembly has its weight (.........). And if this is coupled with the verbal games of the libretto, the assembling is one of the best in the current Ecuadorian puppet "

" El Comercio ". Section Culture." Seeing is believing. "Quito - Ecuador


" ... .. With a simple and direct language, with energy emanating from the puppeteers and which children @ s received with enthusiasm, with the fantasy that includes the staging and that accounts for a job well done which does not leak any details, the puppets are living the story written by the great puppeteer Argentine Javier Villafañe. The book serves the purpose of entertaining the children, to approach the understanding of an aesthetic language also tells of a process in which the group Ojo de Agua, in pursuit of their own language, shows quality work ... "

Magazine" The Pointer. " No.4 February 2005. Quito - Ecuador


"THERE IS NO PENALTY"

"That there is no penalty - Shipwrecks", this book won the National Book Award Aurelio Espinosa Polit, is a piece that must be present in the library. Written by Robert Sanchez Hunt, playwright indisputable, shows a way of telling stories by theater. A work that will give much to say "

Diario La Hora. Arts Magazine. Quito - Ecuador


OTHER

"He, She, Roberto Sánchez and María Elena López-going way to consolidate its search and has worked for them, their proposal is flat, the mix of languages , the musical play, irony realism worked from a volunteer, have an effect. "

Magazine" The Pointer Scenic. December 2006. Quito - Ecuador


" (Robin Smith) is, perhaps, the playwright and theater director heightened visibility in the country ... .. Journal

"Today." October 22, 2006. Quito - Ecuador

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not miss

WATER EYE THEATRE

presents:

"THERE IS NO PENALTY" Roberto Sánchez Hunting

Premiere: Teatro Nacional Sucre 10, 11, May 12, 2007. 20:00

A child has been killed by their parents, in the rain in Quito, C and D suspects, returned to find the little corpse was buried before fleeing. In this return - it seems an eternal return, the characters wander around, talk, justified, confess, are tried and convicted, they hope that somehow their fault inexplicably disappears, try to escape, but not to a place, but to a time "ideal" before or after where "everything was or will be better "....

Starring:

María Elena López, Andrea Ordonez, Marco Bustos, Javier Cevallos and Roberto Sánchez

How To Wear A Loose Tie

SUNDAYS ARE SO TERRIBLE .... NOTHING TO DO

She: I always thought the only thing I needed to be happy was a man, as always I was missing 25%, but now I have one, I am more unhappy than before .... why I have so much fear that if I leave before it was better off without him ?........ The

: My life ... if I had to compare my life with a phenomenon natural, I think I would define as a gradable autumn day, chilly morning, around noon with an incredibly intense light, and in the afternoon, mediums and night, like a gray cloud that drifts in from the tops devoid of trees killed ......., ....... I think maybe I'll take another beer

Dog: They could not just enjoy the fact that not a single morning rainy morning .... human beings are not made to understand that simple truth ....

"He, She and that dog ".... a love story.

Tell IF YOU SAW HER, WE LOVE TO GET YOUR INSIGHTS, QUESTIONS, AND ANYTHING ELSE ..... THERE IS NOT SEEN YOU LEAVE FOR THAT ONE textit READ AND COMMENT . HOW DO MEN AND WOMEN AT THIS TIME ?.... HOPE YOUR THEORIES