THEATRE AND PUBLIC SPEAKING: 2. STYLES OF REPRESENTATION. In a strict sense to talk about representation is talk about doing something, in terms of scenic we present a story, an emotion or a moment in history, previous mind we saw the methods of action that exist, is to say, the steps to follow for an actor to carry out a representation, then we will see some styles or forms of representation, while there may be as many styles as we dictate creativity, we will discuss the most common. THEATRE IN VERSE. Also called the theatre of poetic because it is written mostly as poetry, and has its peak within the so-called Spanish Golden Century, it is a theatre that plays both the comedy as the tragedy and its main virtue is the word and the good use of the same, in this type of theatre, the actor must have an excellent vocal technique for over a working body, the actor this kind of style is to bet on the grandstanding. THEATRE OF PUPPETS. Watch Free Movies Online The Battleship Island (2017). It is believed that this type of representation has its origins in the middle ages, as companies roaming is supported in dolls to bring entertainment to the communities that had just been flogged by the inquisition. In this type of theatre the role of the actor is nulificarse or annulled to give life and voice to the puppet. The puppets can be articulated or flat and are manipulated by great part of the body of the actor, unlike the puppets that are manipulated by threads. The theatre is action, as we have seen, to act means to respond to stimuli fictitious, in this style of representation it is only necessary to the body and what this requires to respond to stimuli as fictional. The involvement of the body as a sensitive tool in the theatrical game, becomes the dance, that is why it is also called contemporary theatre unificándolo with the gesture, a tool that Eugenio Barba might call movement pre-expressive, a branch of this style of representation is the theatre of mimo dramatic. In this style there is not necessarily a written text, because the text is a necessity for the body and the body is able to reproduce, analyze, and reinvent the body is the bearer of its history. In this style of representation, both the story and the character are constructed from the body that we are, from the body that we perceive and from the body that we express. The Clock In The Country (2015) Online Free. While the improvisation is the realization of a thing which was not foreseen or prepared, in terms of scenic talk of improvisation is to speak of a style of representation is somewhat more complex than simply spend to solve or invent something. Unlike what is commonly we think, the improvisation has a source that could be found in the Comedy of the Italian Art, in this type of theatre arise specific character with specific characteristics that follow a particular structure, since there is where the actor - interpreter, develops a sequence of actions, conflicts, entanglements and situations that give rise to the representation, without leaving every one of the characteristics of your character and your time, in whole, but not outside of the structure of the situation. The actor in this style of representation requires to test all of your senses, your listening skills and your mental agility to keep up with the action. WHISPERS. Theater, Photography, Books, Reading. Ciro Zorzoli. With: Mamen Duch, Carolina Morro, Jordi Oriol, Marta Pérez, Carmen Pla, Albert Ribalta, Jordi Rico, Agate Rock, and Marc Rodriguez. Scenography and costumes: Alejandro Andújar. Address: Ciro Zorzoli. Madrid. Theatre of the Abbey. The appeal to the theatre within the theatre is not new, and has a history illustrious. Who does not remember, for example, The altarpiece of the wonders cervantes, or the troupe of comedians who recruits Hamlet to expose his stepfather And to cite any history more immediately, and keep a closer relationship with the work that occupies to us, it is worth remembering two splendid mounts, one anthology, in full thaw posfranquista and sound title calderoniano: Zephyr rugged olympic onslaught, Alberto Miralles, back in the 1. Rehearsing the Misanthrope, by Luis D'ors, seen here in the Abbey at 2. In both, two theatre companies reveal what's going on behind the scenes before, after, or even during the performance. How the private lives of the actors, their relationships, or your background reflection on the limits of the theatricality slip between the interstices of the weave and interfere in the development of the action. Ciro Zorzoli, who already at 2. State of anger we are delighted with an incisive reflection on the true nature of the relationships between actors among themselves and on the purity and the search for truth, scenic, bringing us together, again, to a delusional exercise metateatral to complete, if I may say so, this inquiry about the mysterious essence and paradox of the actor's work. To do this we will cross the access to the day-to-day of a theatre company and, in particular, one of the daily sessions of exercises that, supposedly, every good actor should perform to improve their practice stage. Here are the top 10 in the 2016. A film of science. Venice 2017: The wisdom of Wiseman, the intelligence of McDonagh. Carlos Elorza. 4 September 2017. November 2016. Reviews. Scenes followed each other where in each of them proceeds on the central argument. Fasting of a minimum plot outside of a fable or anecdote, let's say, prior to the representation, this piece of Ciro Zorzoli focuses on the exploration of the craft of the actor placing as the epicenter of conflict the tensions that come into liza in the process of building character and exposing unabashedly before the eyes of the beholder what is natural and artificial, true and false, of reality and fiction in this process and in their results. The work opens with an exhibit full of never-ending repertoire of exercises school exercises of imitation, of motion, postural, gestural, etc , which includes actions such pilgrims as, ironing, mending, writing, smoking, getting drunk, or stirring soup in a cauldron. Then will come a no less strenuous and repetitive practices of expression of certain feelings, emotions and moods, or actions to them associated, such as fear, anger, sadness, joy, sympathy; crying, kissing, cuddling, hugging, etc ; to end with examples of dramatic situations typical and any scene which involves several characters. Said so it seems that we are in a purely academic and that the work would reflect that work rigorous, systematic, silent trials, which we find, for example, in Paris 1. Louis Jouvet analyzed until exhaustion with the actress the second monologue of doña Elvira, the Dom Juan of Molière. But nothing could be further from the reality. The focus is away from any illusion of naturalism to enroll in the domain of parody. From the start the viewer knows that you are attending a game, a mock and casual chusco, where many of these drills and situations rub the grotesque and the absurd. Without excluding a critical background to the deleterious effects of the routine and the tyranny of the scenic conventions that end up annihilating the true personal creativity. The cast in general does an excellent job and shows a mastery surprising of the most varied resources of the humour, contaminated sometimes the more delusional histrionics. Each and every one separately, in an imitation of the most difficult yet the circus has, so to say, their small moments of glory, such as the hilarious attack of the weeping of Victor (Jordi Oriol), the descacharrante scene of the death by asphyxiation read garrotte - starring Rene (Marc Rodriguez), the melody of Francesca (Mamen Duch), the picturesque Julio César Salvador (Albert Ribalta) or the “heart-wrenching” scenes of pain of Amalia (Carme Pla) that without having a corpse to which to cling clings to the first thing it finds to hand. Not to mention the final scenes, in which, emulating as characters, specific, question, help, hinder, correcting, pointing to each other or duplicate the papers trying to flare up the prominence and losing even control of themselves in a party truly memorable. Gordon Craig. Awards and punishments. The central intelligence. The video is most similar to the trailer of a film. Flags announces closing soon to your theatre project. At the Teatro Bellas Artes. Premiered in England in 2014 with excellent reviews, and the January 7, 2016 premiered with success. Central De Inteligencia (2016) Teatro De Película ' title='Central De Inteligencia (2016) Teatro De Película ' />Teatro of the Abbey.