Remembering a great new playwrights in search of the secrets of dramatic writing A cycle of lectures at the Malba. The authors address the preparation of texts in the framework of the South. Eduardo Pavlovsky began the cycle and Mauricio Ricardo Monti and will Lohlé Kartun and Philipp. Did the organizers? Joachim Gersteier and Alejandro Tantanián.
Who writes plays is called "playwright, but concise definition hides many problems. Where do you write drama? "From the stage, with actors, in the solitude of the desk? What status are the words of the drama?, Are worthy of registration, must be edited in books or their fate is lost in each role? What is particularly dramatic writing? Within the ambitious South Scene takes place in a nine Malba lectures given by leading Argentine and foreign playwrights. The proposal is to address the peculiarities of the dramatic text from the creative perspective. Without doubt one of the most interesting contributions of the cycle is the diversity of aesthetic and starting points to approach the dramatic writing. Eduardo Pavlovsky opened cycle and Ricardo Monti, two of the great masters of Argentine drama.
Pavlovsky was recently feted fiftieth anniversary of the release of his first play, Waiting tragic. In his lecture, was alternating strict reading of his theoretical reflections and impromptu explanation from examples and anecdotes. "What is put into the head of a character 'repressive'?" He asked. His conception of political theater was circumscribed to the reading of the years of terror. One of the most interesting moments was when exemplified how to build a stage and gave the audience a sample of his acting talent. He concluded by saying: "I am not a theoretician of the theater as an actor, I conceptualize my practice."
Another was the style of Ricardo Monti. Took the stage and to our expectant eyes became the love child of words that used to be. Visit the author told how difficult it was to write a dramatic text. Only made the dialogues and he sensed that the theater was something else. One day he discovered the solution and could transform the novel he was writing. So did his first work one night with Mr. Magnus and children. Monti understands the theater as the definition of a place where everything makes sense. "It's life, but more enlightened," he concluded. Over
class is putting together a map is complex and diverse of a thousand ways to reach a theatrical text. For example, Guillermo Calderón surprised always saying that part of a political idea. For its part, Romina Paula and Ariel Farace included another concept of improvisation with the actors. Spregelburd Rafael opened his lecture with a haunting music video Peru and focused its kind in the importance of working with chance in the creative process. He then proposed a writing exercise to illustrate his words. Provided insightful reflections on the nature and complexity of dramatic structure.
Lectures will continue until 13 August and will feature Kartun Mauritius, Philipp Lohlé and Emilio García Wehbi.
The intimacy of the creative process. Interview with Guillermo Calderón. 
The first week of lectures was completed with the presence of Guillermo Calderón. The Chilean dramatist of the past that was contained in Theatre Festival with his works Neva and December, he spoke of "the dictatorship of boredom." Before his talk, gave an interview Argentine Time:
- How should today's youth interested in dictatorship?
"The younger generation is bored with the idea of \u200b\u200bdictatorship. It is a challenge for everyone who does theater on addressing this issue without boring. No dictatorship make something entertaining but interesting. My next book is just that subject. So I chose that title.
- How to approach?
"First there must be a ultrainformación. A thorough investigation of what happened. Secondly there must be a true critique who earned impunity for the violation of human rights. Thirdly, we must take care of the vast divide of what has happened in the country. The current dominant ideology is that we can not continue forever stuck in the past. We must be able to look towards the future. That to me is the ideology of impunity. If one seeks to understand the Chile of today without this history, simply not understood and not worth it.
- How Chile is the theater today? "A theater
increasingly diverse, with young people. There is a generation very interested in the margins as the main political metaphor.
The life of the poor, violence, and that's what best portrays a kind of breakdown in the system. In Chile there are two major metaphors of violence and marginalization, to take over here is a trauma not explicit in the country. That's what I see mostly.
- How does a dramatic situation from an idea? "Basically
birth of a political idea. From there comes the need to explain, to discuss it. So what characters can create a dramatic situation?
- continues procreso How creative?
, then make the simple dramatic situation, usually a domestic situation. A classroom, a family Christmas dinner or a group of actors rehearsing a play. Beginning to explore the idea that they discuss. How can discuss and express their idea? Everything points to a climax of ideas and not to a climax of emotion.
- How is your job as the Director in writing?
"The director in me is the publisher of the work.
- What exactly does that mean?
"When the work is written, the director has no sympathy for the playwright. The short, breaks it. It's a pretty severe head, able to say clearly what works and what does not.
- Do you always work with the same cast?
"Usually working with friends. I'm not good at working with people who do not know.
I like writing for specific actors and then I can see how I like him or her to act. I write something special for them.
"You mean you prefer to establish close relationships with the actors.
"Yes, it's a very intimate relationship. Typical of the theater, too.
published in Time 5/8/2010
Argentino photos Ernesto Donegana
Kabaret 
