In what can and what the new show is not one of the most famous clowns of the local area. The cornerstone of Deeds is precisely the acceptance of both the successes and failures. "The clown takes fuck what happens seriously," Katz defined. The maximum clownish materializes in this show for young and old, and live musicians.
By Lola Kuperman
Photos courtesy of Deeds
Buenos Aires, March 18 (agency NAN-2011) .- The last mate is usually fought the clowns who give the final touches that make-up go on stage. Deeds is about to begin , the new work of Marcelo Katz, co-directed by Mark Arano, Recoleta Cultural Center (Friday 19.30, Saturday and Sunday at 19). The clowns, according to Katz, eliminate the concept of fourth wall and talk openly with the public. To April inclusive, the show with live music in the Courtyard of the cistern is offered to those who want a fun evening to laugh at the exploits that come out. But above all, with no.
Katz recalls the phrase "amuse you if you cheap" and relates to the essence of the magic craft of clowning. Then clarifies that "cheap" only in quotes because a lot of work is essential and previous training. However, when the clowns of Deeds are present on the scene, we realize that they need nothing more than to themselves. Given the ephemeral nature of theater phenomenon, Katz emphasizes to NAN Agency: "That's what the public has generated surprise, amazement and admiration, generate a world with nothing. " What is clear is that they have fun and that's definitely fun to the public.
Us and them, them and us
- Are there echoes of the fourth wall in the clown?
- really work without the fourth wall and present-tense dialogue between the clown and the viewer. The scenic material was generated during the tests begins to close when the public understands what they are indicating where in step eventually becomes a location that fattening. With each feature, there are more elements attached and less room to move. The idea is to be open to really beat the public, there are always small and almost imperceptible changes in how the character is feeling the scene, colleagues and the public. If there is a fourth wall, behind the theater closes.
- how the public weighs in the balance of the construction of the clown?
- The first link in the chain is the same clown, works for himself and then to the public. One of the things that interest me and I wonder much of the trade is when you're playing good rope, you start to move things of different size and color. And then you give it to your public transit by different emotions and feelings. Viewers not only enjoy what the clown, but what he does with what happens. And to work, the clown must never forget to have fun.
- The book goes through different stages, it always points to the humor, how a balance is achieved organic?
- I work a lot with three strands: the visual, poetic and touching and comic. Now the cistern in the courtyard of the Recoleta, no black box and there are too many external stimuli, like birds, airplanes, bells, fruits that fall from the palm trees ... Then in the poetic feats to give him little room because it is more difficult to build peaceful climate.
- How do you adapt the interpreter to the three strands is proposed?
- There are some actors who are specifically motivated him and others in the comic. From what is needed in the show, I propose triggers for internal material and through certain slogans and proposals that led to the trial, I guided between the emotional and comic. Even in the roles, the actors tell me, "people laughed," but I do not want to break the weather, I want to happen otherwise. Although in the balance if two hundred people laugh or not, many times, laughing at the clowns drunk. Therefore, it is necessary to be outdoors and not engolosinarte, to get different colors and decide what you want at all times. Anyway, we like a lot to laugh, we are clowns.
- What is the boundary between individual creation and the role of director?
- There are clowns who improvise in line with what you have to have the show and the smell it produces. Ten things to prove, all might have been, while with others, ten, almost no because they failed to understand, neither the show. I want to prove, but there are people that do so little empathy in the field of improvisation that I prefer not to play anything. My role is to score from outside which was a goal, which should not be re-done and to do certain things momentum.
- A clown takes its characteristic features and exacerbates?
- No two clowns the same because each has different colors to put in play, because no two people alike. Just as a person carries a gene from their parents and ancestors, the clown has a large genetic load of the actor who is composing. The work is one put into play. At school we say it is "taken into fuck what happens to you seriously." What is your paranoia, staging can make fun and make others enjoy. When you see that is not so terrible and that people amused, liquefy much you weighed before.
- So Is it a means of promoting self-esteem?
- Yes, because when you learn to tolerate what and who you're with the good and the hand is a great way to befriend ourselves and scenic use. This enormous work of making peace with one is hard, while spectacular, and the way, if you're not looking for the result, it is also a goal. Six years ago I did not act and I'm about to release a single judge has to do with the story of my life. I hope to release by May, I really enjoy being on stage, acting is much stronger than direct.
playful status
- With a work like deeds, do you need a return to children and adults regain their ability to play? - I think the people sitting to watch a clown show is looking for a lock their lost childhood. No game is great technology, but have to do with a universe that everyone lived. The clown returns as the guys playing, not taking, but as an adult who has already grown and has its joys and its scars, yet who manages to recover the capacity of children and playful puppies. What we do, those great stunts inside, we all know, the ability to have fun with anything, not to control the head and from there children recovered.
- lost the ability Adult fun?
- It is very difficult, we are very much into the Western education that will mark a path that has to do with creativity, to be intelligent and educated. And simultaneously, there is a standardization of the physicality of the movements, and you have to backtrack a long way to recover the body open, playful, spontaneous, with a head that this post of "what fun" and not a priori . Training takes years of clowning, the friendly vacuum and not knowing, with the moment of chaos that precedes any state of order playful. A first class of the school, I answer question, it costs much to recover that ability and put it into play.
- After all, what is the great feat of Marcelo Katz?
- able to live what is happening with your acceptance, tolerance, joy, that's a feat. There are a few things that is hard to live it well, but most of our bugs and Mufasa and daily disappointments are things that when we are open and light we can live differently, they are not so heavy as to ruin the evening. That is what the show, things that go and not.
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