“Nerd” por Sergio Langarica dirigido por Sigfrido Aguilar en el Concurso Nacional de Circo, FiCHofest, Guadalajara

“Nerd”

por Sergio Langarica

Dirigido por Sigfrido Aguilar
Concurso Nacional de Circo de Creación
FiCHo 2013

 

 

Con el ánimo y objetivo de estimular el trabajo de creación en artes vivas, así como favorecer el puente entre las corrientes artísticas y acercar a los espectadores a los nuevos estilos y visiones de los artistas de circo y multidisciplina, el FiCHo – Festival Internacional de Circo y Chou de México convocó al Concurso Nacional de Circo de Creación 2013 y donde Sergio Langarica resultó premiado. En la actualidad Sergio forma parte de la Compañía Impulsus del Estudio Búsqueda de Pantomima Teatro AC.

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With the intention of stimulating creativity in the performing arts, encouraging artists to explore a variety of circus disciplines, as well as introducing viewers to new styles and visions of contemporary circus, International Circus Festival and Chou of Mexico held the National Circus Creation Contest 2013. Our student, Sergio Langarica, received an important award.

Sereno Aguilar Izzo Accepted into The National School of Circus (ENC) Montreal, Canada

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Cactus flowers bloom

as we move into

gentler seasons

and another young member

of the Estudio Búsqueda

thrives

passing a difficult trial

a break into new-fangled possibilities

and future training and performing abroad.

 

Sereno Aguilar Izzo

passed the final audition

to study at the National School of Circus

École Nationale de Cirque (ENC)

in Montreal, Canada.

 

This past academic year 2014 – 2015

Sereno

was chosen

for the Mise Nouveau –

a preliminary foundation year

at the ENC.

 

In March 2015

he was accepted into

the higher education program –

The Diploma of Collegial Studies in Circus Arts

starting August 2015

a three year program.

 

Sereno is a juggler.

He has studied and performed physical theater

With el maestro Sigfrido

at the Estudio Búsqueda for 8 years.

He has taught and performed

in North America, Europe and Asia.

 

Unwavering Sereno

has always dreamed big

and

from an early age

the ENC

was an important component

of his vision.

 

Well done, Sereno.

We are proud of you!

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Grata noticia de ayer, 18 de marzo de 2015, para la familia Aguilar Izzo de Casa Arte Teatro Tanque La Valenciana y los integrantes del Estudio Búsqueda, fue la aceptación de Sereno Aguilar Izzo como estudiante formal para cursar los estudios de Formación Superior (DEC) de Artes Circenses en la Escuela Nacional de Circo de Canadá en Montreal (École Nationale de Cirque).
“El programa superior, de una duración de tres años, se centra en la formación práctica y teórica en artes escénicas y en las cinco grandes familias disciplinarias de las artes circenses: disciplinas aéreas, equilibrios, acrobacias, manipulaciones y artes del payaso. Basada en la polivalencia y la interdisciplinariedad, la formación permite al estudiante desarrollar un amplio registro de competencias, orientándose a la vez al dominio de una o varias disciplinas según el perfil elegido: especialista o general.”
Sereno ha sido, desde su infancia, un buen observador del proceso creativo en la construcción de piezas del teatro corpóreo cómico de muchos egresados del Estudio Búsqueda de Pantomima Teatro AC.  En el inicio de su adolescencia se interesó por la práctica del malabarismo, luego por la actuación y música, y antes de salir de Guanajuato realizó por un par de años los estudios de acrobacia y danza con diferentes maestros locales.
Su perseverancia, a través de tres audiciones en dos años, para obtener su entrada a esta fase DEC – Diploma de Estudios Colegiales en artes circenses, es sobresaliente y heroica. Este meritorio logro de Sereno Aguilar nos engrandece como centro independiente de formación actoral de teatro corpóreo que hemos sido y somos: el Estudio Búsqueda de Pantomima Teatro AC en Guanajuato capital.

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From the Estudio Búsqueda to the Cirque du Soleil.

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Friday the thirteenth

March heading into spring

as winter waves begin to calm

the youngest of our student family

brave David Azofeifa

an accordion playing

ball spinning

physical comedian

was chosen amidst a sea of aspiring artists

to perform in the next show

of Cirque du Soleil.

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Last February

as David

took his second intensive workshop

with us at the Estudio Búsqueda

he asked el Maestro Sigfrido

to direct

to fine tune

a solo piece he had created

in our previous workshop

October 2014.

His intention

was to audition

for Yves Sheriff

a talent scout

for Cirque du Soleil

holding auditions

in Mexico City

at the National Center of Fine Arts.

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David sailed clear

and passed

the treacherous waves

of a difficult audition.

He was chosen to be on the list

of possible future performers,

physical theater actors

for a possible future show.

Soon after

Sr. Sheriff contacted David

requesting additional

information and videos.

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David finished our workshop

with much creativity

and perseverance

as always.

The tea leaves settled

and he was selected

to perform

in the next creation

of Cirque du Soleil

to be directed by

Daniele Finzi Pasca –

an artist we greatly admire.

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David’s sincere

and constant efforts

have been recognized

and we are proud of him.

As David loves to remind us:

¡¡Pura Vida!!

Past Workshops / Nacionales e Internacionales

Joshua Franco, mimo-clown de las servilletas, en su primer taller con Sigfrido.

Joshua Franco, mimo-clown de las servilletas, en su primer taller con Sigfrido.

De un primer taller intensivo de Sigfrido Aguilar, 10 días en la ciudad de Chihuahua, en agosto de 2012, sale una nueva generación de artistas de Teatro Mimo-Clown.  Algunos de ellos quedaron muy interesados en continuar profundizando sus estudios profesionales por medio del método del Estudio Búsqueda, la Pantomima-Teatro de Sigfrido Aguilar en Guanajuato capital.

Al taller intensivo e internacional de octubre de 2012 vienen de Chihuahua José Sandoval, Jorge Mendoza y Joshua Franco.  Estos dos últimos, Jorge y Joshua siguieron viniendo a cada taller intensivo: enero-febrero, mayo y octubre de 2013 y enero-febrero y mayo de 2014.  De esta manera lograron pasar por sus tres etapas de estudios: principiantes, intermedios y avanzados como creadores actores del método de pantomima-teatro para producir obras originales del Teatro Corpóreo Cómico.

Desde su primer taller intensivo, Jorge y Joshua, lograron crear piezas de dúo bajo la dirección de Sigfrido Aguilar.  En poco tiempo obtienen un buen repertorio de piezas con el estilo de mimo clown, se integran como compañía ‘Tia Tro’ e inician a presentar su espectáculo “Juegación” ante diversos públicos en su natal Chihuahua.

Del primer taller intensivo de MimoClown por Sigfrido Aguilar en Chihuahua Capital.

Del primer taller intensivo de MimoClown por Sigfrido Aguilar en Chihuahua Capital.

A Letter from a Former Student, Creator and Teacher, David Chantler

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Hi Sigfrido,

I hope this message finds you.

I attended the Estudio Busqueda de Pantomima in 1978-79. We were a group of about 8 people – including Peggy, Bruce, Andy, Ariela.   It was a transformative year for me, performing at the Festival in Guanajuato and touring all over the country, let alone just living in San Miguel.

I was on your website, looking at all of the great things you are doing. What a great life path you have made and followed. 

When I came down to Mexico, I had studied character clowning – in the Richard Pachenko style  – for a few years in Canada. I was thrilled to be able to provide more craft and form to that work by studying with you. After returning to Canada, I started Trickster Theatre, and then returned to Mexico in 1982 to tour with your help.  I have been running Trickster Theatre ever since.  After studying with you, I studied improv in San Fransisco and then actor training with the Odin Theatre in Denmark.  These things – your work, improv. Pachenko clown style and the Odin work are the 4 forces that shaped Trickster Theatre’s style.

We have ended up creating something that is quite unique. We create original shows in schools, with up to 600 actors – in one week. We have now created more than 600 of these shows -over a 25 year period. It is a physical theatre process that combines the object mime style that you taught (like the shower and typewriter pieces that we used to do) with the prop exploration work from the Odin.

I know you have changed many people’s lives over the years, and your training certainly changed mine. I don’t think my company would have ever been as successful without your influence. You also demonstrated a commitment that exemplifies what it means to stay focused and dedicated to an art form. That is important thing to model for students. So, I thank you for all you have done for me.

I stopped performing about 5 years ago, and am now almost 100% focused on producing and directing.  All of those are large cast productions created in a week – many of them in Aboriginal communities.  Our residency program (the week-long process) is one of the largest in Canada. It is easy to trace back the roots of that success to your work. When I left Mexico in 1979 I started performing almost immediately. I turned the pieces that I had created in your studio into a show and was successful right away. The company did more than 4,000 performances over 2 decades, as well as developing the week-long residency program.

Here are a couple of clips of the work we create with students in a week.

https://vimeo.com/channels/314505/107829087  – part of our Kids Go Global Program (linking schools to global issues)

https://vimeo.com/channels/314505/79643873 – also in the Kids Go Global Program

Perhaps the biggest affect your work has had on our work in the last 15 years is a program we call Act2learn.  In that program we show schools how to act out the curriculum by being the components of things. – sound waves, magnetism, chemical reactions, processes. It is all about making the parts of something physical. Our work in that field is now being studied by the University of Calgary and is part of a new curriculum prototype being created with the Calgary Board of Education.  

An interesting thread from the San Miguel days relates to Pierre DeLattre.  I met him and loved his books Walking on Air, and Tales of a Dalai Lama. Trickster created a show loosely based on the ideas in that book, and in 2009 performed for the Dalai Lama in Calgary, Alberta ( our home ) for 18,000 people in the Saddledome Arena. It was another thread that wove back to you, as I met Pierre after a show i did in Guanajuato.

So – I’m very happy to know you are still doing the work that you believe in so much. It changes lives. Thanks for changing mine. 

Best,
David Chantler
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Fall 2014 -Theatrical Clown Creation and Performance International Workshop for Semiprofessionals & Professional

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taught by SIGFRIDO AGUILAR in English and Spanish

OCTOBER 2014

Based on his collective creative process of “Comic Movement Theatre”, Sigfrido guided the workshop participants in the creation of a collaborative performance, integrating a balance of creative training and improvisations in preparation for a final performance.
Theatrical Clown Creation and Performance developed selected aspects of the disciplines involved in Pantomime-Theatre, depending on the specific group of theater artists involved: Lars Uribe Rodríguez (Querétaro), David Azofeifa Marín (Costa Rica), Aline Comignoghi (France), Karol Varela Cordova (Chihuahua), Joel Medina Maldonado (Chihuahua), Paola García Nolasco (Hidalgo)

This course took place during Guanajuato’s Festival Internaciónal Cervantino. Students were invited to perform their recently created pieces at our Teatro Tanque as an independent extension of the programmed festivities.

A Review from Gilles Ste-Croix, founder of Cirque du Soleil:

“Thank you for your warm welcome yesterday. We were all very pleased to meet you and Sigfrido. The class and the students are very stimulating. Lot more refreshing … We will keep in touch. Congratulations to Sigfrido for a wonderfully commitment to teaching his art.” October 17, 2014

♥ DESPEDIDAS ♥

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De los alumnos, taller intensivo de octubre 2014.

Todos en la obra: “Mimo Clown Musical”

Espectáculo en estilo de Teatro Pantomima Circo

✠  “Vida y Arte, Pasión y Corajito.” Pao Nolasco, Pachuca, Hidalgo.

✠  “Dios bendiga tu HaSer … Mis mejores deseos para tu existencia, las circunstancias, las decisiones.”  Joel Medina,        Chihuahua, Chihuahua.

✠  “Agradecido totalmente con la vida, este mes pura maravilla, pura vida maestro!” David Azofeifa, Costa Rica.

✠  “Merci Maestro! Me voy del Estudio Búsqueda llena de alegría, creatividad y con un espíritu artístico feliz!” Aline Comignoghi, Francia.

✠  “Feliciando: Palabra inventada en teatro búsqueda de pantomima y significa andar caminando feliz por la vida, claro con presencia natural-neutra juguetona.” Karol Mildred V.C., Chihuahua, Chihuahua.

✠  “Gracias muchas Sensei del Arte y la Vida por todas tus enseñanzas, un mes que me ha cargado más que la carrera (teatral).” Lars Uribe, Querétaro, Querétaro.

 

 

Sereno Aguilar Izzo enters the École Nacionale de Cirque in Montréal

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Guanajuatense ingresa al École Nationale de Cirque de Montréal

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Guanajuato, Gto. Sereno Aguilar Izzo, oriundo de Guanajuato ha sido aceptado como estudiante en la Escuela Nacional de Circo de Canadá (École Nationale de Cirque) en Montreal.

Sereno es alumno del Estudio Búsqueda de Pantomima-Teatro, desde niño ha estudiado técnicas circenses, como el malabarismo principalmente.

Sereno Aguilar se ha desempeñado también como actor del Teatro Corpóreo y maestro de malabarismo en todas las giras internacionales que la compañía del estudio ha realizado, en los últimos 9 años a Estados Unidos, Eslovenia y China.

La Escuela Nacional de Circo de Canadá en Montreal es la de mayor prestigio mundial y la que posee una audición de 4 días, intensa y difícil con disciplinas corporales, como son: danza, actuación, acrobacia, resistencia, flexibilidad y presentación de un número con la técnica circense de especialización.

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Sereno Aguilar, student of the Research Studio of Pantomime Theater, Guanajuato, was accepted (among hundreds of applicants) to the École Nationale de Cirque, in Montreal, Canada. Sereno has been an actor of physical theater and juggling teacher touring the United States, Slovenia and China.

The (Very) Physical Comedy Institute

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The (Very) Physical Comedy Institute was an intensive two-week laboratory

providing a unique opportunity to dive into the physical comedian’s tool chest

and have a whole lot of fun in the process.

 

Course Descriptions
Leonard Pitt: Bringing the Mask to Life

Explore the basics of physical theater with the most ancient tool of theater, the mask. There’s an art to getting your imagination into your body with clarity and intention. The mask will lead us there. Learn how posture, gesture, gait, and movement come together to create interesting characters. Work will focus on improvisation, movement technique, and voice characterization.

Leland Faulkner: Hocus-Pocus with a Physical Focus: Magic for the Non-Magician

Actively using magic techniques can add a unique dimension to a performer’s work. We will explore how to use the art of deception for adding wonder while getting laughs. Participants are encouraged to bring an idea for a magical effect and to have thought about how the effect will fit into the context of their character and narrative. We will draw on classic mime and movement techniques to express that character and justify actions that would otherwise be under suspicion. We will brainstorm on the creation of comedy magic effects. One must ask lots of questions: Is it a blow-off joke effect, a running gag, or a feature trick with a twist? Is there a way to escalate the value of the effect, or otherwise elicit humor from the illusion? Participants will present material to the group for feedback.

Mooky Cornish: Slips, Slaps, and Spills

Mooky will share some old school rules of comedy, and tips on trips, slips and falls, both physically and metaphysically. This workshop will dabble in range and depth of emotion, and how to convey those states using posture, gesture, breath, and point of focus. Mooky teaches what works – effective tools and tricks of the trade that aid in creation of material, and delivery.

John Towsen: Physical Comedy: Old Techniques, New Applications
A crash course in physical comedy vocabulary and its application for clowns, mimes, dancers, actors, and street and circus artists. You will be introduced to a wide variety of skills centered around your own physicality, playing with partners, and confronting the physical world of objects. You will have the opportunity to integrate these techniques with character, gag structure and story and to experiment with a variety of performance styles. You will work as individuals, partners, and in small break-out groups for drills, combinations, and original sequences for in-class presentation and feedback. Rare archival video footage will be screened, and resources for further exploration of physical comedy will be provided. Spotting techniques and safe working methods are emphasized, and participants are strongly encouraged to work within their limitations.

Betsy Baytos: Eccentric and Character Movement

My approach to teaching character movement, whether with animators, physical theatre performers, clowns or dancers is essentially the same technique, as the components in creating character or becoming character are essentially one in the same and all about eccentric. As both an animator & visual comic dancer, I think of choreography as not merely steps, but action & reaction as a result of story. Add to that all the elements that make our ‘character’ recognizable as a personality…the comic mannerisms, grotesque costuming, and exaggerated body language of each performer, all provide the core of who our ‘character’ represents.
In my class, I will teach the basics of ‘Eccentric Dance’ and ‘Becoming Character’…..
1) Thinking ‘character’…..through written biographical and physically animated & exaggerated movement: how we walk, gesture & move as part of becoming our character.
2) Dressing ‘character’…..how costume & props enhance our characters.
3) Story…..How creating a narrative, however short, provides the framework for movement & helps to diffuse boredom in repitition.
4) Body Language…..How exaggerated body language can characterize emotion, thus generating believability for our audience to connect & relate to our character.
5) Timing…..Musical & comedic timing, so we punctuate each gag or bit of business.

Joseph Herscher: Kinetic Scenography — Human Rube Goldberg Machines

Rube Goldberg Machines are elaborate chain-reactions that use familiar objects in unfamiliar ways: rakes become levers, trash cans become rolling vehicles; inanimate objects come alive and become whimsical characters in a story. But what happens when you inject human characters into this world? Following up on the physics (levers, counterbalance, etc.) played with in John Towsen’s physical comedy class, we will explore the interplay between human and kinetic interactions as we develop sequences with a variety of props and characters, focusing particularly on the roles of anticipation and surprise in captivating an audience.

Karen Gersch: Balancing Bodies: Serious Comedy Partnering

If you don’t succeed — fall! From pratt to splat, teetering to tottering, pivoting to riveting: the fundamentals of adagio and pyramid acrobatics. Learn to counter weight and encounter each other’s anatomy to build with and attach to. “Portering” (the art of carrying others) uses principles of physics, movement, timing and emotional energy to create comedic moments and enrich agility. All levels and body types welcome. One’s working partners will be matched and chosen within the class and will change with each exercise.

Sigfrido Aguilar: Comic/Dramatic Movement (Teatro Corpóreo Cómico)

Dedicated to the development of a tangible method facilitating the creation, direction and teaching of a unique approach to ‘gestural theatre,’ Sigfrido’s Pantomime-Theater is a blend of the modern mime, theatrical clown, and natural actor. This technique integrates a balance of creative physical training and improvisation. The Pantomime-Theater process incorporates drama image work, improvisation, role-play, and collective creation while engaging participants in generating, interpreting, and re-presenting their ideas through the corporal acting of scenic movement and gesture.

Drew Richardson & Leland Faulkner: DIY Silent Movies

How to make a short silent movie in just five days! Have fun, and walk away with the experience of making movies. Drawing on their extensive experience in film, video, and physical theatre, Drew Richardson and Leland Faulkner will share indispensable methods for building silent films. Effective approaches to scripting, silent acting, movement for the camera, and developing visual gags will be explored. Solo performers will get the creative stimulation of group collaboration, and everyone will get a chance to do things large and small that would never work on stage. Original projects will get produced inside and around the eleven acres of Celebration Barn property. Some films may even incorporate performance material and characters developed from the other institute classes. By using everything from high-definition cameras to smart phones and tablets, it is now possible for almost anyone to create and disseminate an inexpensive silent movie. Lights! Camera! Chase scene!

Don Rieder: Give and Receive — a Performance Lab in Choreography, the Articulate Body, and the Significant Image

It makes no sense to perform unless you bring the news, news that stays news, news that is something from you, and something we need. This is a performance lab based on locating sources of passion, and finding exciting, powerful, personal, and specific movement. We’ll focus on content first, moving from action to action along a path of linked and expressive images. Later we’ll clarify and polish the work with an attention to variety in rhythm and dynamics and a sense of the power of stillness.

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http://veryphysicalcomedy.blogspot.mx/

El Vagabundo

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……..

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Photographs by Research Studio Students

El Augusto – Mayo 2014

1Un Augusto

Mira!

Allá va un excéntrico cruzando la pista

Con su tonto caminar en diferentes niveles

Sembrando risa entre el público asombrado

Sube y baja sin razón alguna

Cambia de planos sorpresivamente

Nunca sabemos a dónde va

Aquí o allá?

No, allá!

 

 

12

 Y vuelve cambiar de dirección como un relámpago

Y de repente va al Norte, o al Sur, no, al Norte,

sí al Oeste y luego al Este.

Y el público absorto se pregunta:

¿Quién es ese zafado que salió de la Nada,

pero que en su inocencia nos hace reír?

Y mientras la curiosidad crece, la torpeza también.

Comienza a tropezarse con todo y con nada

Locura pura, el sinsentido de caer

y levantarse y saltar y volver a caer y nada pasó.

 

 

13

 

En su bobería toca el Cielo y la Tierra

Porque como lo que hay arriba es como lo

que hay abajo

Así va de lo divino a las vísceras del

vagabundo.

De manera ilógica

Invierte las leyes naturales

Pero sin ser absurdo

Más bien vive el tiempo-espacio de un otro

mundo.

 

 

 

11Ahora

Para el regocijo de todos choca con el

elegante Cara Blanca en el centro de la pista

Y vuelve a chocar

 En su inocencia no lo deja en paz,

Se entromete

Se inmiscuye en lo que no le importa

Y lo que era algo simple de realizar se

complica demasiado

hasta el punto en que el Cara Blanca

indignado

lo deja con su desvarío.

 

 

4

 
 

Entonces, de la Nada aparece una bofetada

que lo detiene en seco,

 rompe con su ritmo loco,

 en una enorme inmovilidad triste queda.

Ahí descubrimos el ridículo del Augusto

Y nos conectamos con su humanidad

Porque él será para siempre

Aquel que recibe la bofetada.

-Sergio Langarica. 2014

 

 

 

Photographs by Tzintzun Aguilar Izzo

DEL CUADERNO DE BITÁCORA DE LOS ALUMNOS AVANZADOS

Movimiento y gesto repetitivo y su significado.

Al repetir un ejercicio o un momento en una pieza me puedo dar cuenta de las posibilidades que pueden cambiar favorablemente la acción, por ejemplo, uno de los ejercicios vistos hoy fue el de “expansión-contracción”, técnicamente éste ejercicio indica como abrir y cerrar el cuerpo o partes de él. Al hacerlo varias veces, con ciertos ajustes del profesor, el ejercicio se va haciendo más claro y toma diferentes tonalidades: pasa de ser algo técnico a ser una interiorización del movimiento, un significado específico en la actuación corporal y del alma…

Hoy hablamos de un espectáculo que fue hasta cierto punto ofensivo para mucha gente. El profesor lo describió como un “No payaso”, pero ¿qué es un “no payaso” del Arte del Payaso? ¿Cómo combatir esto?
El entrenamiento y compromiso diario deben de ir en pro de esparcir esa energía interna que está oculta, debe ser una premisa para que “no parezcamos actores lejanos ya que no despertamos nada en el público”. (Yoshi Oida)
Este compromiso se debe convertir en una necesidad. Tener en cuenta que el payaso es más que un humorista, es un provocador de sensaciones, acciones, emociones incluso situaciones; es un ser libre que viaja en distintos mundos invitándonos a ser partícipes de ello y que siempre está en una constante búsqueda del contenido actoral…

Del cuaderno de bitácora de Cristina Córdova Trevizo
Mayo 2014

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Vivir en las pausas

“El arte de escribir consiste en decir mucho con pocas palabras”
Antón Chéjov
El trabajo sobre monólogos con énfasis en el fraseo entre el mundo del ejercicio cotidiano y el creativo, tocando el animalesco; además el monólogo entre ambos mundos llegando al concreto del animalesco, hasta el comportamiento del ser vivo con su gesticulación fue lo que marcó el inicio de la clase. Con un interesante apego a la cuestión del fraseo del cual definimos algunas de sus cualidades:

1. Lleva síntesis del monólogo interior, con una tendencia poética.
2. Juego de velocidades.
3. Inmovilidades.

Así pues hago hincapié en la calidad de movimiento que hubo en la muestra que hizo el maestro, movimientos que pierden el sentido social humano y se vuelven naturales, movimiento por sí mismo que es capaz de generar un significado, en éste caso, hizo alusión del reino animal.

El escuchar es para mí una de las cualidades del ser humano más bellas, cuando se realiza en toda la extensión de la palabra, el estar atento al otro, a aquello que habla, que se comunica y no necesariamente con palabras; cuando tenemos la oportunidad de escuchar a algo o a alguien nos nutrimos, es como “vivir en una pausa”. Para los animales, el escuchar muchas veces significa sobrevivir. La escucha es una acción, y de las más importantes en el arte escénico, evita caos, malos entendidos, falsedades y genera conciencia, en el actor y en el espectador. Retomando algo de lo que en un principio hablo, sobre el menos que es más, la escucha es sólo un algo que puede ser todo en el momento de la interpretación y siendo así de importante para la veracidad escénica, es así o más difícil de lograr.

Del cuaderno de bitácora de Ana Caro
Mayo 2014