Escrito y Dirigido por/Written and Directed by Arístides Vargas La Razón Blindada será presentada sin intermedio y dura 80 minutos. La Razón Blindada runs. La Razón Blindada is a feast for eye, ear and intellect, though far from the brain of Argentine playwright Arístides Vargas, who also directs. Theatre Review: La Razón Blindada. La Razón Blindada, Teatro Malayerba- Arístides Vargas & Gerson Guerra © Alex. Back to Post. You must be logged in.
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Theatre Review: La Razón Blindada
Interviews — Jesusa Rodriguez: Vargas first conceived this play after listening to the stories of his brother Chicho, one of the many artists and intellectuals rounded up and imprisoned during the oppressive and murderous regime in Argentina.
Works — Lla Hunt: Requests to purchase or for permission to use the work should be directed to the owner. Works — Pocha Nostra: In Malayerba launched the theater journal vvargas de Teatro,’ conceived as a forum for the theorization, criticism and dissemination of Ecuadorian theater practices. A la hora de la tundra Cuentos Postales.
I move away from all of that, the only thing that matters to me blindaa the unforgettable pain it causes me. Works — Circus Amok: Works — Liliana Felipe: Don’t have an account yet? His fear and his humanity are palpable, and as we glimpse his awareness of his plight, we sense a bridge between his experience and adistides own. Memory, atrocity and resistance 2nd: With over 25 years of ongoing theater practice and more than 20 plays performed locally and internationally for a diverse audience, Malayerba is committed to theater pedagogy and experimentation, artistic collaboration, and community building.
LA RAZON BLINDADA, Deborah Klugman reviews Aristide Vargas’s play
Works — Manuel Mendive: Resources — Latina Theater Lab: The Grupo aritsides Teatro Malayerba teatromalayerba. Works — Astrid Hadad: Works — Tim Miller: Instrucciones para abrazar al aire — Teatro Malayerba. Works — Catalinas Sur: One technique the prisoners used to salvage their sanity was to tell each other stories to escape into their own imaginations.
In the play, two political prisoners, oppressed by physical and emotional abuse, find solace in meeting every Sunday at dusk to tell the story of Don Quixote and Sancho Panza. Photo by Juan Tallo.
Texts by the Artist — Pocha Nostra: In the group created the Laboratorio Malayerba, committed to the training of generations of young Ecuadorian actors and to an ongoing investigation of theories and practices of experimental theater.
A contagious combustible mix of paranoia and exuberance takes hold as they act to squeeze and savor every drop of life they can from the precious hour they have with each other. Public Interventions — Yuyachkani: In both cases, one understands that they are about the Argentinian dictatorship because we were ready to display this in the setting, but the plays can be watched without this reference.
Interviews — Mujeres Creando Comunidad: Resources — Complete list of Works in Franklin Furnace. Works — Richard Schechner: In working together, actors with various backgrounds and nationalities have shown that a multicultural blend is not only possible but also enriching, as differences lead to new identities, embodiments of dreams, memories, absences and pains that are at once local varfas universal.
Arístides Vargas: El exilio es un castigo para siempre
The actors remain seated throughout, navigating across the stage on wooden chairs with wheels. Resources Tim Miller — Tim Miller: Works — Carmelita Tropicana: Vargas himself narrowly escaped to Ecuador ahead of the arresting military.
Works — Dancing Earth: Both plays were extensively represented in Latin America, whether by Malayerba or by other companies and other directors with a positive vargxs. It is fueled by the vital need to tell each other a story that could save them, that could transport them to a human adventure situated in the realm of imagination, where hardship and fear can’t reach them, where the most intense pain can be mitigated by the act of imagining a different reality.
Later, intoxicated by their fantasies, they bolt and spin across the proscenium like maddened clowns all the while remaining seated in their chairs, which are equipped with mobile wheels.