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.
0 comments:
Post a Comment