I arrived there with a realistic view of the situation and to check everything was in favor and against. In the "fishbowl", a brunette and petite (today is) treated me kindly. When I read the requirements to be met for testing access to school, I formed a knot in my stomach to think that "could be" ... Soon after came the tests, those which I spoke, and started back during summer. From minute one it was clear that my life would change completely: presentations, the initial talks, the first "formal coffee" with Patricia Torres, Carolina Sastre and Jesus Barrio, and relationships from the start it was announced.
Interpretation In started dropping, unlocked, unlearning, and work with our dear concentration exercise of the "Zas-Boing." Then came the improvisations according to the technique of William Layton, understanding concepts such as listening, protagonist, antagonist, conflict, desire, goal, activity, strategy, urgency, attitude, status, economics, etc., leading them to practice. In these improvisations worked with Paul Pacheco.
With this and with the active analysis Jorge Saura, my acting coach, Carlos Marchena, we chose to work on several micro-stories, making a complete analysis of the text to move after the conflict. In my case was the strange experience of a fisherman named Pascual. It was a complex work in practice, but I enjoyed it very much, and with him I learned to develop with greater ease the "score of action" in other exercises. This is the text of the short story Time by José Manuel Fernández Argüelles:
"An evening calm and placid sunny Sunday, Pascual caught in a meek and quiet river. I had no luck with the fish, and immobility and torpor were numbing him on the flat stone on which he sat. Pascual opened eyes, startled, when he nearly fell off his rock hard seat, but his surprise was even greater to see that, around it, it was night. He joined with effort, as all the joints ached, and once on foot turned out, surprisingly intense light of the moon, the river was dry, the other side had not any people and no longer behind him there was a forest, but a desert wasteland. Pascual
had slept as much as life on earth. "
We also rely on the Michael Chekhov technique to develop the imagination and advance learning: animal exercises, atmospheres (with whom I always enjoyed!), Irradiation, projection, works with some of the minimal stories Javier Tomeo, shaping imagination of our own body with clay and mud along the course, and even had time to become a buskins (shoes worn by tragic actors in ancient Greco-Roman).
In short, a good job that is not here: we must make new interpretations of various works for the forthcoming year.
List of works:
• The Seagull by Anton Chekhov.
• Ivanov by Anton Chekhov.
• Three Sisters, Anton Chekhov.
• Blood Wedding by Federico García Lorca.
• La casa de Bernarda Alba, Federico García Lorca.
• Roberto Zucco by Bernard-Marie Koltes.
• All My Sons by Arthur Miller.
• Long Day's Journey Into Night by Eugene O'Neill.
• The Glass Menagerie by Tennessee Williams. Acrobatics
has been one of the most exciting subjects of the course. Over time, was calling attention more and more of everything I learned, because I slowly was beating myself.
In the first quarter we are dedicated to work basic physical skills: tumbling (forward and backward, pooled, extended, released and pressed), strut, pine and haunted side wheel. From February to late March we worked on the Dove, the mortal (forward and backward), balance, and stage combat practice. From April until the end of the course we focus on the preparation of the final exercise, which was making a scene in which incorporated everything we've learned in the subject taught by Juan Merino.
Miguel Jerez, Elian Rodríguez and I (in that order, from right to left pictured) wanted to tell the story of the struggle between the element "fire" and two bodies to symbolize the element "water", two kindred spirits who, after meeting, are forced to fight against the destructive nature of the igneous body. With music from the show "Quidam" by Cirque du Soleil , did a fabulous job, for which I am very proud and grateful to my colleagues. I hope that, one way or another, we can work together, with the same vigor and enthusiasm on this occasion. This is the exercise video, Versus Fire Water :
With
Elia Muñoz, Class of Voice, correct exercise posture habits linked to the Alexander Technique , we learned to give massages to have a proper physical layout in the vocal work, and perform different types of activities to reach final work, which we should give a brief "musical concert" starting panting, through the wailing and crying, until the laughter.
Expression In Corporal study the anatomy of human beings, we bear, pull of the kite, we are carried by the hips, looking for someone special in a crowded airport, we were on the beach we went into the sea and seaweed were, pull wires and ropes and we move between branches, also cleared an entire forest, painted the walls of our classroom with the breath, and geriatric nursing were even "Jubete" ...
remember with emotion the body work we did four pairs of students, a collective game of shadows that played a snippet of text Canadian stage director Robert Lepage, on the occasion of the celebration of International Theatre Day .
All this and more at the hands of Socorro Anadón.
Monday and Tuesday of the second quarter we had almost two straight hours of English with Polish Dorota Wieczorek. We had a great time in their classes, learning English in a manner very different from how we've been doing so far.
One of the best times we had with a practical exercise in which all we participated directly or indirectly, was the show "Heart of Garlick" ("Heart of Garlic"), presented by Ruben Ajo. He posed as a television journalist who interviewed a number of women (Carmen "Sheep" Jessica "Towns", Patricia "Towers" Raquel "Hangman" Carolina "Tailor" and Elizabeth "Director") with unusual occupations.
Moreover, the theoretical subjects: In
Dramatic Literature, with Margarita Pinero, we study sixteen works to see the evolution of man, his problems, based on the myth until the seventeenth century. I worked especially texts Medea of \u200b\u200bEuripides, with Nerea Del Rio and Stephanie De Pablos, and Much Ado About Nothing of William Shakespeare, with Patricia Torres. With the first, understood the struggle within the protagonist, her emotional distress and its height, and the second issue noted as the French "Joie de vivre" ("Enjoy life"), a certain relationship with the Old Comedy Aristophanes.
Literature Today I see otherwise, I'm hooked on it.
The vast knowledge that gave us John Arregui in History Scenario was amazing. I had never met a professional of his caliber. Cecilia
Nocilli
The Italian took our training Theory and History of Dance and Theory and History of Music . He had appreciated the strength and emotion that host these arts, especially dance workshops through its reconstruction and analysis choreic asked us (the latter with the help of Bruno Calzada and Ignacio Laseca).
Labella Carmen style to approach the assumptions, bases, ideas, techniques, systems and methods in Interpretation Theory was a resounding success in their personal capacity. I remember very good working sessions, discussions and laughter with Jose Maria and Ruben Esbec Ajo.
new details appeared in high school that I discovered about the diversity of expression in art history . The most significant was Charo Charro as a person.
And lastly, Introduction to the Verso with Rosa Sanz, was very interesting to study the hows and whys of verse, from the theory and practice.
and colleagues cite the rest of my group, "Team A", Laura González, Elvira Domínguez and Ignacio Abad, and to remind the "B" and my people second.
For the good and the bad times we've been in and out of the hall "bun." In all, a big hug.
