[Music]
ah
ladies gentlemen children and public in
general what about the theater made in
the rural world I say there are a thousand
theaters a thousand ways to play as there
a thousand worlds in this and the theater is a
place that dialogues with its environment is its
dialogue and is not the same as
one every day when I woke up I observed cars
and jams big mountains with snow or
the garbage of the sea today here to summarize
contrasted two ideals a theater of
city in front of the one of rural surroundings if
the theater is a mirror of conflicts
social if in addition to having fun we
speaks of our evils because he talks about
we with dialogic truth because
so much inspires us a city theater
because it influences us so much because
imposes us because so much of admiring a
theater that excludes me
but let’s leave here this
introduction start now the truth that
start the function and to talk about
theater the colloquy is my way to a
side any city and the other a
any town
the theater has traditionally been
located in the center of cities
because the theater itself is a center a
agora a square a clearing in the forest of
cement the theater has to be watching the
face the town councils and the courts of
the palaces the boulevards the cafes
looking at his face or faces
multiple faces to society and
feeling its influx and ebb and flow
be the drain the crucible of all your
passions and their contradictions a
package of mirrors always deformed
what would say valley include the pandora box
of the society
the box of conflicts the box
Scenic
in this we are equal the theater has been
always done in the center of the
villages where you also put the
markets and fairs will put us in
the orchards where nobody goes but
our conflict is not aristocratic
We know nothing of fashion parades
paris or who sings the great way ‘ the city
remains aristocratic to the old
custom raising its borders
ideological in front of the people or plebeians or
populace and telling us it’s nice
and that is in bad taste Juan Manuel is
garcilaso so be full creation from
up using me to the town to
pretend to idealize me or how I do
tecglen said of Maria Antonieta before
to be guillotined
to play the shepherdesses
this creation from above is
imposition of taste this despotism
illustrated or not illustrated is transversal
in history a package of mirrors
deformed to post and that do not have
No intention to reflect us only
is a reflection of a thing of the power of the
cultural power that is not only power but
which is the maximum power
culture the first power does not make me
laugh they are united by something the powers
executive and judicial legislative
those are concepts
those are concepts and how concepts are
cultural reasons why they change so much of a
place to another and from one moment to another the
laws are cultural systems
politicians are cultural the sense of
justice is cultural culture is what
that articulates all this and puts it in
practice for this who can control
the culture will have the greatest power is the
cultural hegemony of great yes or the
symbolic violence returned by
example is cultural that in a few countries and
not in others we have a monarchy is
cultural also that we do not pass by
the head guillotine the
it’s really cultural everything that is
it goes through our heads because cultural
it’s all about the world
so the look that I have is cultural
of you of course and the look that I
I have of you that is gives life that
flee from the world and the noise ja happ de
give away is nothing in the field you work
and a lot then the look is cultural
that I have of the field all look is
cultural until the look of a sunrise
or the snow is cultural because culture
is transmission and conditioning by
this as they say and as is usually
to put an example in order is there 40
words to designate snow
we do not have so many not the
we need not deny so much
This is also why words of
camps or ac milan to bat marranero hello
martín gada not only because there is
professions or tools in disuse
but because we all talk as we heard and
so we ended up talking about how
He speaks on television and television is
you of course I the city have the
money and working population have
museums and theaters
I have clear television and I have the
I therefore have the power and the
influence I hold the reins of the
culture the progress of culture and me
you leave me a lesser culture and above all
archaeological a culture of
immobility when culture is always
by definition contemporary culture
relegated under the folklore label but
I’ll tell you one thing the further I walk away from
you of your influence of power in
definitive plus I become culture
alternative
and that label if you know it if you use it
I am the chorus of the rats of your zarzuela
the great way that both liked night
I also have alternative culture
because I have everything but what do you
complaints I have the thought and I’ll
I wear
and think about some things and I about
others we think with what we see remember
what about the snow you think – the snow
because you have less time more
controlled and less annoying you do not think
about the sowing calendar on the
state of the roads its creators is
logical as urban beings because neither
they think about a lot of things that
think country people because they think
about what surrounds them
I know of no play
none whose subject is the precarious state
access to some villages either the
conflict between ecology and exploitation
as it happens between the repopulation of
wolves and the free and ecological ecology and
free and ecological livestock
of the conflict between the industry of
pig and the high pollution of their
purines neither of what is known as
the sun tax of the problem at scale
of transgenic seeds
only found a play
of a Chilean company
for having us to the theater
the art of conflict by antonomasia not
there are plays about these issues
however these problems and
many others could talk long and
the country people lie and it’s not because
they do not affect you because they affect you
then what are we going to see?
because the works that your
creators talk about your things and the
works that mine do because I have
Mine also talk about your stuff
see reflected in you reproduce your
molds
out because they want maybe because
they want maybe they do not realize the
cultural imperialism is tremendously
strong sometimes it’s even
intended as it is done with the
journalistic information the theater
it also suffers a controlling intrusion
by the powers that be exercised
indirectly through the filters
administrative when awarding
the financial aid and subsidies to
through the elections for
distribution channels and only in
last instance by direct censorship
to think otherwise would be to sin
innocent the kind of innocence that
makes the game the power
although I repeat now I want to insist on
the unconscious influence in the
enculturation that we have assumed
yes I even think I trace it in style or
in style in the formal features of
a play you see my influence
I do not tell you if you have to dress up
blue or red I do not tell you how you have
to walk on the scene
the theater has always been paradigmatic
the audience was going to the theater to see how
walked and walks the beau with what porte
elegance sits the lady from there the
alive and the divas who marked the
fashion of what was considered elegance
and that society as a whole treated
to imitate
the times of the divas have already passed
I would say better than that kind of elegance
has gone out of fashion yet today as I would say
Oscar Wilde
life continues to imitate art so
that you prefer in any case happened
because you are very influenceable no more than
you see yourself or you do not realize
it’s still happening because all the culture
is built on models that
we know to have more culture means
have more models simply and this
pretext is uniforming our
there are a thousand models there are thousands of works of
theater of all kinds
and it’s true but I’ll tell you that today a
of the supreme categories of criticism is
the cleaning of a play
this means that their movements are
perfectly clean perfectly
controlled there is also a way to
say the texts not to mention the
market conditions this is
influence of you pyramid we live the
supremacy of the consumer theater very
well done very attractive but alien in
a couple of days forgotten or are you
generalizing I am generalizing and
much but now life is
happens in general I often call
bourgeois to your theater that theater of
emotions in general and ideas in
general often we do not even
it really only entertains us
entertains and that’s why once again we must
remember these famous words of
federico garcia lorca
a people that does not help and does not encourage their
theater if he’s not dead he ‘s dying
like the theater that does not pick up the beat
social the historical beat of the drama
of its people and the genuine color of its
landscapes and their and their spirits with
Laughter or tears does not deserve to be called
theater but game room or site for
do that horrible thing that is called
killing time
I am defending exactly this the
theater made in the rural world for its
decentralization for its independence
perhaps because of its insignificance has a
greater freedom to find
that historic heartbeat and at least you have to
help you find your site your
reality
its true
this talk does not pretend to be a law
pretend to be something taxonomic not even
is a certainty is simply a guideline
of reflection a wake-up call a
provocation to whom then ladies
gentlemen children and the general public
difficult and arduous task for a creator
rural is to fight against tide without
Local public so go to see that
if you are not going to lose what you have to earn
the bread is true that every fight needs
of his fight
He said
light at the box office
small change account
in the window hands of hospital
was going to be the swarm
and gave the wire the shadow of hunger
[Music]
ah
ah
ladies gentlemen children and public in
general what about the theater made in
the rural world I say there are a thousand
theaters a thousand ways to play as there
a thousand worlds in this and the theater is a
place that dialogues with its environment is its
dialogue and is not the same as
one every day when I woke up I observed cars
and jams big mountains with snow or
the garbage of the sea today here to summarize
contrasted two ideals a theater of
city in front of the one of rural surroundings if
the theater is a mirror of conflicts
social if in addition to having fun we
speaks of our evils because he talks about
we with dialogic truth because
so much inspires us a city theater
because it influences us so much because
imposes us because so much of admiring a
theater that excludes me
but let’s leave here this
introduction start now the truth that
start the function and to talk about
theater the colloquy is my way to a
side any city and the other a
any town
the theater has traditionally been
located in the center of cities
because the theater itself is a center a
agora a square a clearing in the forest of
cement the theater has to be watching the
face the town councils and the courts of
the palaces the boulevards the cafes
looking at his face or faces
multiple faces to society and
feeling its influx and ebb and flow
be the drain the crucible of all your
passions and their contradictions a
package of mirrors always deformed
what would say valley include the pandora box
of the society
the box of conflicts the box
Scenic
in this we are equal the theater has been
always done in the center of the
villages where you also put the
markets and fairs will put us in
the orchards where nobody goes but
our conflict is not aristocratic
We know nothing of fashion parades
paris or who sings the great way ‘ the city
remains aristocratic to the old
custom raising its borders
ideological in front of the people or plebeians or
populace and telling us it’s nice
and that is in bad taste Juan Manuel is
garcilaso so be full creation from
up using me to the town to
pretend to idealize me or how I do
tecglen said of Maria Antonieta before
to be guillotined
to play the shepherdesses
this creation from above is
imposition of taste this despotism
illustrated or not illustrated is transversal
in history a package of mirrors
deformed to post and that do not have
No intention to reflect us only
is a reflection of a thing of the power of the
cultural power that is not only power but
which is the maximum power
culture the first power does not make me
laugh they are united by something the powers
executive and judicial legislative
those are concepts
those are concepts and how concepts are
cultural reasons why they change so much of a
place to another and from one moment to another the
laws are cultural systems
politicians are cultural the sense of
justice is cultural culture is what
that articulates all this and puts it in
practice for this who can control
the culture will have the greatest power is the
cultural hegemony of great yes or the
symbolic violence returned by
example is cultural that in a few countries and
not in others we have a monarchy is
cultural also that we do not pass by
the head guillotine the
it’s really cultural everything that is
it goes through our heads because cultural
it’s all about the world
so the look that I have is cultural
of you of course and the look that I
I have of you that is gives life that
flee from the world and the noise ja happ de
give away is nothing in the field you work
and a lot then the look is cultural
that I have of the field all look is
cultural until the look of a sunrise
or the snow is cultural because culture
is transmission and conditioning by
this as they say and as is usually
to put an example in order is there 40
words to designate snow
we do not have so many not the
we need not deny so much
This is also why words of
camps or ac milan to bat marranero hello
martín gada not only because there is
professions or tools in disuse
but because we all talk as we heard and
so we ended up talking about how
He speaks on television and television is
you of course I the city have the
money and working population have
museums and theaters
I have clear television and I have the
I therefore have the power and the
influence I hold the reins of the
culture the progress of culture and me
you leave me a lesser culture and above all
archaeological a culture of
immobility when culture is always
by definition contemporary culture
relegated under the folklore label but
I’ll tell you one thing the further I walk away from
you of your influence of power in
definitive plus I become culture
alternative
and that label if you know it if you use it
I am the chorus of the rats of your zarzuela
the great way that both liked night
I also have alternative culture
because I have everything but what do you
complaints I have the thought and I’ll
I wear
and think about some things and I about
others we think with what we see remember
what about the snow you think – the snow
because you have less time more
controlled and less annoying you do not think
about the sowing calendar on the
state of the roads its creators is
logical as urban beings because neither
they think about a lot of things that
think country people because they think
about what surrounds them
I know of no play
none whose subject is the precarious state
access to some villages either the
conflict between ecology and exploitation
as it happens between the repopulation of
wolves and the free and ecological ecology and
free and ecological livestock
of the conflict between the industry of
pig and the high pollution of their
purines neither of what is known as
the sun tax of the problem at scale
of transgenic seeds
only found a play
of a Chilean company
for having us to the theater
the art of conflict by antonomasia not
there are plays about these issues
however these problems and
many others could talk long and
the country people lie and it’s not because
they do not affect you because they affect you
then what are we going to see?
because the works that your
creators talk about your things and the
works that mine do because I have
Mine also talk about your stuff
see reflected in you reproduce your
molds
out because they want maybe because
they want maybe they do not realize the
cultural imperialism is tremendously
strong sometimes it’s even
intended as it is done with the
journalistic information the theater
it also suffers a controlling intrusion
by the powers that be exercised
indirectly through the filters
administrative when awarding
the financial aid and subsidies to
through the elections for
distribution channels and only in
last instance by direct censorship
to think otherwise would be to sin
innocent the kind of innocence that
makes the game the power
although I repeat now I want to insist on
the unconscious influence in the
enculturation that we have assumed
yes I even think I trace it in style or
in style in the formal features of
a play you see my influence
I do not tell you if you have to dress up
blue or red I do not tell you how you have
to walk on the scene
the theater has always been paradigmatic
the audience was going to the theater to see how
walked and walks the beau with what porte
elegance sits the lady from there the
alive and the divas who marked the
fashion of what was considered elegance
and that society as a whole treated
to imitate
the times of the divas have already passed
I would say better than that kind of elegance
has gone out of fashion yet today as I would say
Oscar Wilde
life continues to imitate art so
that you prefer in any case happened
because you are very influenceable no more than
you see yourself or you do not realize
it’s still happening because all the culture
is built on models that
we know to have more culture means
have more models simply and this
pretext is uniforming our
there are a thousand models there are thousands of works of
theater of all kinds
and it’s true but I’ll tell you that today a
of the supreme categories of criticism is
the cleaning of a play
this means that their movements are
perfectly clean perfectly
controlled there is also a way to
say the texts not to mention the
market conditions this is
influence of you pyramid we live the
supremacy of the consumer theater very
well done very attractive but alien in
a couple of days forgotten or are you
generalizing I am generalizing and
much but now life is
happens in general I often call
bourgeois to your theater that theater of
emotions in general and ideas in
general often we do not even
it really only entertains us
entertains and that’s why once again we must
remember these famous words of
federico garcia lorca
a people that does not help and does not encourage their
theater if he’s not dead he ‘s dying
like the theater that does not pick up the beat
social the historical beat of the drama
of its people and the genuine color of its
landscapes and their and their spirits with
Laughter or tears does not deserve to be called
theater but game room or site for
do that horrible thing that is called
killing time
I am defending exactly this the
theater made in the rural world for its
decentralization for its independence
perhaps because of its insignificance has a
greater freedom to find
that historic heartbeat and at least you have to
help you find your site your
reality
its true
this talk does not pretend to be a law
pretend to be something taxonomic not even
is a certainty is simply a guideline
of reflection a wake-up call a
provocation to whom then ladies
gentlemen children and the general public
difficult and arduous task for a creator
rural is to fight against tide without
Local public so go to see that
if you are not going to lose what you have to earn
the bread is true that every fight needs
of his fight
He said
light at the box office
small change account
in the window hands of hospital
was going to be the swarm
and gave the wire the shadow of hunger
[Music]
ah
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