Virhuez Ricardo Villafane: Theater Reviews
Survey conducted by Alfonso Balbuena Lurin
Do I need to implement Theatre School of Management Specialties Theatre and Drama?
"Yes, because we need to strengthen Peruvian drama with new artists, as one learns in practice management or through workshops conducted by other directors, and dramatic readings and finally by comparison with current needs. Ideally, to stimulate the creation and thoroughness in directors and playwrights, is to provide a stronger background will undoubtedly contribute to the National Theatre, both traditional and experimental practices.
Do you consider a director ...?
-Self with training. How
which of the following proposals is attached ....?
"I think in my experience there have been dramatic encounters of various persuasions. For example, I made mounts within what might be called the theater of the body, collective creation, experimental theater, social themes, urban, university, group, outdoor, living room, they gave me a margin of experimentalism fascinating. And I've done in theater productions copyright and theater, of course. For all the above, I would say that I aspired to a full theater, looking for a functional language and mixed better, in new ways, the relationship between audience and actor. I'll never know if we succeed, but in any case was Tumueca group practice.
Do you think it necessary that in Peru there is a stream of Experimental Theatre?
-SI, because the theatrical experiments have been taken as natural by the theater group, and no room for the theater, to the point that identifies the theater of the experimental theater group. Teaching would be good even for Experimental Theatre para conocer las diversas variantes teatrales realizadas en todo el mundo, y que este tipo de teatro no se dé sólo de manera empírica sino que tenga sólidos basamentos históricos y académicos. El teatro experimental puede darse dentro del teatro de sala, lo que aún no ha sido asumido a plenitud por prejuicios poco profesionales que estancan cualquier desarrollo teatral fértil. Creo que el carácter experimental del teatro es una necesidad del mismo, que tiene alturas y descensos en determinadas épocas, por lo que jamás puede ser producto de una imposición o de modas.
¿Cree Ud. que la "Creación Colectiva" como propuesta metodológica para la elaboración de espectáculos teatrales is doomed to disappear ...?
"On the contrary, collective creation in Peru has shown that in the absence of a dramatic literary sufficiently large and well known is the best vehicle for theatrical productions, especially in the regions and institutions where it is difficult dedication exclusively to this activity, and is also ideal for theater groups in which creativity bonus stage of the participants. There are types of theater as peasants, urban, street, theater spontaneous, etc, in which the collective creation is essential, not to mention the theater unions and social groups or political situation, where the message is so important that it requires a special creation, that is collective, in line with the interests of the community. In short, the collective theater applications are broad and can not even dream of her disappearance. The situation of the theater in the provinces now, for example, shows the preeminence of the collective theater over any other kind of theater, and address the decline in activity of the Group Theatre in Lima apparently emerged as the dominant indoor theater and copyright, which gives the sense that the collective creative theater disappear. No doubt there have ups and downs, but I doubt that will disappear now. Does
called "Theatre of the Body" is antagonistically opposed to the "Theatre of text?
"No, and I think that shows Cuatrotablas or Barricada are the best proof. Moreover, the so-called theater of the body assumes the voice, speech, the text, with greater concern for its sound and musicality of what makes other types of theater. What happens is that the theater only assumes the speech text, and not the word, as a valuable representation. In any case, it is good to clarify that there is also a theater of the body completely outside the text, which promotes other "textures" or tissue media. Experimental theater is a very radical and very interesting. "According
your opinion, what is / are the main problems of Teatro Peruano?
"I think that all the options outlined part of the problem. What happens is that it's noticeable lack of interest of the State to develop the theater at the various levels of education (and not just theater, all the arts in general), and it is individuals who have taken practice shows many ups and downs and many problems. Ideally, the state promotion, it is true, as competing with private companies. Municipalities would also be a good choice. But believing in the theater of a private nature only lead us to an elitist vision of the theater, as happens now in many respects (except for some middle-class audience, no one else seen the shows of the room). This problem requires consensus for their first steps. Once the momentum of the promotion, each group should develop the theater in his own ideas freely, and there would be no justification for poor performances in their implementation.
What about the Teatro Peruano in general and Art Direction in particular?
"I think that despite the obvious downturn in the national theater production is well under way. As a staging Hamlet, despite the cultural importance of riding Shakespeare has no national significance if very few people see. Major assemblies efforts should go hand in hand with efforts to promote them in various parts of the country. In direction, I have always felt that in Peru there are many good managers, especially in the provinces. The trouble is that not everyone gets the same recognition or promotion itself. And many well-known theater directors and heavily promoted even in film and television, have, however, unfortunate events. However, the decline of the theatrical production in Peru has to do with the decline in the activity of the theater groups of collective creation. There are events that promote youth directors, it is true, but I still think a theater audience is a little effort with little reward. If the public is not going to the theater, you have to take theater to the public. That remains an inescapable truth for our country.
Lima, May 2001
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