GabrielCalderon

Thepoliticalword

WorkshopforLaManufacture2017:
ThepoliticalWordforactors


GabrielCalderon
Thepoliticalword

subject

The whole exploration work of this workshop, will be study the Word and its various
theatrical projectionsranging from written text,thestagetext,theactor speaking,discourse,
argumentation,monologue,dialogueanddiscourseextracorporealsupport.

Basedon diferents plays ofBernard Marie Koltes LeretouraudesertCombatdenegreet

de chian Roberto Zucco as well as the study of the possibilities offered by his political
writingandcrossingasspeeches,monologue,debate,argumentation,etc.


GabrielCalderon
Thepoliticalword

WorkshopObjectives

The workshop will consist on four parts where the word emerges as a theatrical creation
engine. Working with four parts or four different times involves pursuing four different
objectives,whichshouldbemeasurable.
Eachpartisresponsibleforgeneratingdefinedandspecificmaterials:

Week1Tableworkaroundtheautor,teoricalmaterialandstudy
Week2GenerateExtrascenicSupportmaterialsandtraining
Week3Definethecreativewayofeachscene
Week4Ensambleofthedifferentsscenesandthecreationoftheshow.

Thefourtimesseektodevelopthreedifferentaspectsofthedirector:
Authorship,creatuvity,stimulationandResponsibility

FirstandSecondweek:Meetingtheactor,entertosubject,tablework,debates

DependingoneachplayofKoltes,thepreparationofdailyrehearsalsbasedonpromotingthe
actinggroup,thegreaterpossibilityofcreationbasedonthetexttobesought.It'snotabout
"staging"or"makingatext".Thismomentistousetheplatformasapromoteroftextual
creation.Whatmaterials,scenes,games,limits,iscapableoftravellingactorbasedonthis
text.
Themethodologyinvolvesstartingfromthebase,thereadingofthetextissupposedtogo
throughthememoryoftheactor,therepresentation,spatialpossibilitiesandcreating
narrativedevices.
Acreativeprocessinvolvesaddinglinesthinkingaboutmoralandethicsintheartobject.
Thisweekiscriticalasitpromotesthemultiplicityofwaysandpossibilitieslockedinatext.
Thisisthefirstrule,forcingtheappearanceoftheatricalspacesthatdonotemergeinthefirst
reading.Thisprovisionmustbemadewithalltheexpressive,technicalandintellectualtools
thatthecreativeteamhas.

Thirdandfourthweek:Theatricality.

Basedonwhathasbeencreatedandexperiencedsofar,nowimprovingtheselectionofthe
materialssuitablefortherepresentationcreatedisimposed.
Itistheweektohelptoimproveandrefinethematerialsfound,whichinvolvesworkin
severaldirectionssimultaneously:generateafullnotionofthework;determinecreative
responsibilitiesforeachactor:signallingpathwaystoexploreineachlevelofthecreativeact
sothatallinvolvedcanmovecreators.
Thedirectorasaleader:thisisleadingacollaborativeprocess,whereeveryonehas
contributed,everyoneisresponsibleforthematerials,butsomeoneshouldtakethesafeand
decisivevoicewho,inthesuccessorfailure,willdefinethefinalpathstotravel.

SummaryofWork

*WorkonthestatusofthewordandItsrelationshiptothescene
*Createenhancerstextsaction
*Tablework:readding,disccus,debate
*PlanningWorkWithActor
*Fitnessandcreatingmaterials
*Inclusionofdebatesandexternalperspectivestotheprocess
*Selectionandrefinementofmaterialscreated

GabrielCalderon
Thepoliticalword

Bibliografa

ThesesontheShortStory
RicardoPiglia
New
ThesesontheShortStory
RicardoPiglia

JuegoycompromisoJavierDaultesintraduccin
ADirectorPrepares:SevenEssaysonArtandTheatre
AnneBogart
TheActorandtheTarget
DeclanDonellan

GarciaBarrientosComosecomentaunaobradeteatrosintraduccion

Traitdel'argumentationChaimPerelmanyLucieOlbrechtsTyteca

ARulebookforArgumentsAnthonyWeston

ReadinginthebrainStanislasDehaene

PoliticaltheatreErwinPiscator

DramolettesofClausPeymanThomasBernhard

ReturntotheDesertBernardMarieKoltes
RulesforGoodMannersintheModernWorld
JeanLucLagarce

L'Obscene:lamortal'oeuvreCorinneMaier