El Método Rojo

Constantin Stanislavski

Este es un curioso video institucional hecho en los años 50, que critica El Método desarrollado por Stanislavski y su influencia en los Estados Unidos.

http://www.youtube.com/watch?v=8nWPv9xkvZ0&feature=fvsr

Stella Adler

"When you stand on the stage you must have a sense that you are addressing the whole world, and that what you say is so important the whole world must listen."




Stella Adler (10 de febrero de 1901, aunque pudiera haber nacido en 1898 ó 1899 – 21 de diciembre de 1992) fue una actriz estadounidense, considerada durante décadas como una de las más destacadas profesoras de interpretación. Nacida en Nueva York, Adler era miembro de la dinastía de intérpretes de origen judío americano Adler, hija de Sara y de Jacob P. Adler, hermana de Luther y de Jay Adler, y medio hermana de Charles Adler. Jacob y Sara Adler fueron dos de los mejores actores del Teatro Yiddish estadounidense. Fueron una parte significativa de un movimiento teatral que prosperó en Nueva York desde finales del siglo diecinueve hasta bien entrada la década de 1950. Stella estaba destinada a ser la más famosa e influyente miembro de la familia. Empezó su carrera interpretativa a los cuatro años de edad, y la concluyó cincuenta y cinco años después, en 1961. Durante ese tiempo, y también años más tarde, Stella Adler se dedicó a la enseñanza de la interpretación.



Fue la única actriz estadounidense que recibió clases de interpretación de Konstantín Stanislavski. Fue un miembro importante del Group Theatre, pero diferencias de opinión con Lee Strasberg sobre la correcta enseñanza del sistema Stanislavski (más adelante conocido como el Método), contribuyeron a la posterior disolución del grupo. La mayor controversia de Adler con Strasberg se refería a si un actor debía usar la técnica de la sustitución (defendida por Strasberg), recordando la experiencia personal para lograr un resultado creíble o, por el contrario, vivir el momento, usando al compañero para crear una actuación convincente.
Entre 1926 y 1952 Adler actuó con regularidad en Broadway. Con respecto al cine, únicamente intervino en tres filmes, Love on Toast (1937), Shadow of the Thin Man (1941), y My Girl Tisa (1948). Estuvo casada en tres ocasiones: la primera con Horace Eliascheff, padre de su único hija, Ellen, la segunda con Harold Clurman, famoso director y crítico teatral y uno de los fundadores del legendario Group Theater, y la última con Mitchell A. Wilson, físico y escritor fallecido en 1973. Adler falleció en Los Ángeles, California, a causa de un fallo cardiaco en 1992, y fue enterrada en el cementerio Mount Carmel Cemetery, de Glendale, Nueva York.
El centro de estudios que Adler fundó todavía funciona en Nueva York y Los Ángeles. Su método, basado en la imaginación del actor, ha sido estudiado por muchos renombrados actores, tales como Robert De Niro, Martin Sheen, Roy Scheider, Vincent D'Onofrio, Mark Ruffalo, Warren Beatty, y Benicio del Toro, además de Marlon Brando, que fue presidente de honor del mismo hasta su muerte. Adler había sido la primera profesora de interpretación de Brando, que la conoció gracias a su hermana, Jocelyn, que estudiaba drama con ella. El legado de Adler continúa con el trabajo del Stella Adler Studio of Acting.

Carrera en Broadway



Todas las obras son las producciones originales en Broadway.
The Straw Hat (1926)
Big Lake (1927)
The House of Connelly (1931)
1931 (1931)
Night Over Taos (1932)
Success Story (1932)
Big Night (1933)
Hilda Cassidy (1933)
Gentlewoman (1934)
Gold Eagle Guy (1934)
Awake and Sing! (1935)
Paradise Lost (1935)
Sons and Soldiers (1943)
Pretty Little Parlor (1944)
He Who Gets Slapped (1946)
Manhattan Nocturne (1943)
Sunday Breakfast (1952)

Pueden ver este documental en You Tube sobre la vida de esta insigne mujer.


http://www.youtube.com/watch?v=k61Nkvy-QCw

http://www.youtube.com/watch?v=pQscEf7KBM8&feature=related

http://www.youtube.com/watch?v=cBkexBVgdhg&feature=related

http://www.youtube.com/watch?v=KiD2mQOtEsE

http://www.youtube.com/watch?v=lBUHEIq0SB0&NR=1

http://www.youtube.com/watch?v=J5mFWZjBGas&NR=1

What is the Actors Studio?

WHAT IS THE ACTORS STUDIO?

The Actors Studio is a non-profit organization dedicated to the development of actors, playwrights and directors. It is NOT a school but an active studio where the members come to practice their art. Activities at the Actors Studio are for the membership only. To become a member you MUST be invited in after passing a series of auditions. Please see our Audition Information and Guideline pages for greater information.

The Actors Studio was formed in 1947 in New York City to provide a place where professional actors could work together between jobs, or during long runs to continue to develop their craft and to experiment with new forms in creative theatre work. In 1967 the Actors Studio opened its only branch in West Hollywood, California.

Membership provides a place for theatre artists to advance their craft and talents. For sixty years The Actors Studio has lived a very rich artistic existence and will endure as long as talent needs a home. It is not open to the public for tours.

The work of the Studio is made possible in part by contributions, bequests and generous gifts from patrons of the Actors Studio. Donations are tax-deductible and should be addressed to:
Deborah Dixon, Executive DirectorTHE ACTORS STUDIO432 West 44th StreetNew York, NY 10036(212) 757-0870 , extension 21

ARE THERE ANY OTHER ACTORS STUDIOS IN THE WORLD?No. There is ONLY the Actors Studio in New York City and Actors Studio West in West Hollywood. Our only official affiliations are with Pace University for our Actors Studio Drama School MFA program (which includes the Bravo Network’s INSIDE THE ACTORS STUDIO television show) and with the Rome Film Festival in Rome, Italy through 2008.

There are no other branches, studios or acting institutions officially affiliated with or partnered with this original Actors Studio. Anyone in the world using our trademarked name or logo is doing so without our approval or permission.

Please feel free to contact us to inform us of any illegal use of our name or to inquire if someone is legitimately using our name.

WHO HAS HEADED THE ACTORS STUDIO?

The Actors Studio was founded in 1947 by Elia Kazan, Cheryl Crawford and Robert Lewis in New York. Lee Strasberg served as Artistic Director in New York from 1951 until his death in 1982. In 1967, Mr. Strasberg began spending half of each year in California moderating sessions and continued doing so until 1982. Ellen Burstyn and Al Pacino became co-Artistic Directors for the following year. Ms. Burstyn then served as Artistic Director until March 1988. Paul Newman became President of the Studio from 1982 through 1994. Frank Corsaro served as Artistic Director from April 1988 through June 1995. Arthur Penn followed Mr. Corsaro as Artistic Director and President from June 1995 until 1998. In 1994 Mr. Penn stepped down as President at which time, Ellen Burstyn, Harvey Keitel and Al Pacino formed the Presidential Troika beginning in 1994 and remain as such currently. Estelle Parsons served as Artistic Director from 1998 until the summer of 2003. There were no Artistic Directors in New York for 2003/04. Beginning in the Fall of 2004 Carlin Glynn, Lee Grant and Stephen Lang shared the duties of Artistic Director for 2 years. Carlin Glynn and Lee Grant served as co-Artistic Directors in New York through 2008.

In 1967, the Actors Studio opened its only branch in West Hollywood, California. It is currently run by Martin Landau and Mark Rydell. For both the New York and West Hollywood Studios, the Executive Director is currently Deborah Dixon, who is based in New York City. Brenda Hearing is the New York Studio Administrator and Helen Sanders is the West Coast General Manager.

HOW DOES THE ACTORS STUDIO CHOOSE ITS MEMBERS?

All members of The Actors Studio have been invited into membership after passing successfully through a series of auditions. Once they are invited into membership, they are able to participate in any of the activities as well as use the facilities to advance their talent. Any professional actor over 18 years of age is eligible to audition. This consists of a five minute scene. Actors are advised to choose contemporary material close to themselves in age and experience. Auditions are presided over by Board members and long time members of the Studio. Those interested in auditions may call the New York Audition Hot Line number at 212. 946-5768 or the Los Angeles office for further information at 323.654-7125.

International Auditioners are welcome to audition only if they have already relocated to the New York area or Los Angeles area in order to participate and have a meaningful relationship with the Actors Studio. Actors from other countries must already be living close to New York City or Los Angeles in order to apply for an audition.

HOW DOES THE ACTOR BENEFIT FROM THE ACTORS STUDIO?

Once admitted to membership, the actor is free to use all the facilities of the Studio in New York and Los Angeles. Members of The Studio enjoy a number of luxuries not usually available to actors in the commercial theatre. They are free to choose their own material - classical, contemporary, published, unpublished, novel, short story, screenplay, teleplay, poem, song, dance, musical, opera, ballet, etc. The actors can also write their own material. He or she is free to pick their own part and partners, and no longer waits to be cast by others. The actor now has a home in which to work. He or she can take as much rehearsal time as necessary and can show the work, either undirected or directed. The work is commented on by members present at the session, and guidance is given by the moderator. Moderators have included; Ellen Burstyn, Frank Corsaro, Carlin Glynn, Lee Grant, William Greaves, Salome Jens, Elia Kazan, Harvey Keitel, Elizabeth Kemp, Jacqueline Knapp, Martin Landau, Stephen Lang, Andreas Manolikakis, Vivian Nathan, Al Pacino, Estelle Parsons, Arthur Penn, Sydney Pollack, Mark Rydell, Gene Saks, Christopher Walken, Eli Wallach, and Shelley Winters, among many others.
Activities and participation in any activities at the Actors Studio are for members only. To become a member you MUST pass successfully through a series of auditions and be invited in. Please see our Audition Information and Guideline pages for greater information.

DOES THE ACTORS STUDIO OFFER COURSES OR CLASSES TO ANYONE THAT IS NOT A MEMBER?

No, The Actors Studio does not offer courses or classes for non-members to apply and pay for. It is a “studio” where only its’ members can use the facilities to work in private on scenes, characters, plays,projects, alone or with other members. This is self-directed work. There are other organizations that offer courses that you pay for, such as an “acting class”. The Actors Studio is not structured to operate this way. It is not a commercial operation. The Actors Studio has been likened to be like a gymnasium for athletes. Athletes go to their gym to improve their talent, skills and techniques and the members of The Actors Studio go to the Studio to work out for the same purposes. Membership is gained solely through a free audition process. If you pass the series of auditions, you will be invited to join the membership, for free.

DOES STUDIO WORK EVER GO FURTHER THAN THE SESSIONS?

If the work shows merit, members are encouraged to develop it further with varying stages of exposure culminating with a “project” which is a fully rehearsed, staged with minimal production values, open to the public version. A large number of Studio projects have gone on to considerable commercial success: A Hatful of Rain, The Rose Tattoo, End as a Man, East of Eden, Night of the Iguana, The Zoo Story, The Death of Bessie Smith, Sundown Beach, Any Wednesday, Marathon ’33, The World of Beebee Fenstermaker, Camino Real and Sly Fox. The plays Company and Twigs came out of the Studio in Los Angeles and went to Broadway, as well as The Best Little Whorehouse in Texas which was developed at the Studio in New York.

HAS THE ACTORS STUDIO EVER GONE COMMERCIAL?

From 1948 to 1952 The Actors Studio Television Series, a pioneering experiment in National “coaxial cable” broadcasting, produced 56 shows that consistently received excellent reviews. Mostly adaptations of short stories, each program was rehearsed by Studio members at the workshop for two weeks before being broadcast live. The Studio provided acting and directing talent, as well as stage managers. The series was honored with a Peabody Award. In 1962 The Actors Studio Theatre presented Strange Interlude, Marathon ’33, Dynamite Tonight, Baby Want a Kiss, Blues for Mr. Charlie and The Three Sisters on Broadway.

CAN OUTSIDERS OBSERVE THE WORK OF THE ACTORS STUDIO?

Professional Observers’ privileges are sometimes available to actors, directors and writers with sufficient theatrical experience. Those interested should apply in writing to the Administrative Offices. A limited number of internships are available to actors and theatre professionals willing to volunteer a predetermined number of hours a week in return for the opportunity to observe a Studio session. You must apply in writing and request consideration for these limited opportunities.

ARE DIRECTORS AND WRITERS WELCOME AT THE ACTORS STUDIO?

Yes. The original Playwrights Unit was begun by Clifford Odets and Molly Kazan in 1952 and the first Directors Unit was formed by Lee Strasberg in 1960. William Inge started the Writers Unit at the Studio West and Jack Garfein formed the Directors Unit there. In the past, the Unit has been led by Elia Kazan, Joseph L. Mankiewicz and Arthur Penn.

New York has also developed the Playwrights/Directors Workshop which focuses more on scene work than full length play readings. The Actors Studio West Playwrights/Directors Unit is supervised by Lyle Kessler and Mark Rydell.

Playwrights and Directors are encouraged to use Studio members in their readings but are permitted to use non-Studio members wherever desired in their respective readings. These readings are generally moderated by leading playwrights and directors.

WHAT IS THE ACTORS STUDIO DRAMA SCHOOL MFA?

Beginning in the Fall of 1994, The Actors Studio engaged for the first time in its history in offering a Master of Fine Arts degree program in Acting, Directing and Playwriting with James Lipton as Program Chair and subsequent Dean while at the New School. After twelve years of residency, the Actors Studio Drama School re-established itself at Pace University with Andreas Manolikakis as the Chair of the program.

The Actors Studio Drama School at Pace University is a fully accredited academic three-year Masters Program. From the beginning, all MFA candidates study acting together to learn a shared “language” and technique. On parallel tracks to that “ensemble” experience, every student actor, director and writer, is undergoing intensive training in his or her own discipline, at the hands of one of the most distinguished acting, directing and writing faculties ever assembled. All core teachers are Lifetime Members of the Actors Studio and approved by the Board of Directors. The three-year program culminates in a fully professionally produced Repertory Season which is open to the profession and the public.Bridges.com, the leading provider of software-based and online education planning, career exploration, and high school/college test prep resources has singled out the Actors Studio Drama School’s MFA program at Pace University as an amazing ONE-OF-A-KIND program for students all over the USA and Canada looking for an education in acting. We are extremely proud of this very prestigious honor.

For in depth information on the curriculum and admissions, please click on www.pace.edu/ActorsStudioMFA

WHAT IS THE RELATIONSHIP BETWEEN THE ACTORS STUDIO AND THE BRAVO TV SHOW CALLED INSIDE THE ACTORS STUDIO?

The Actors Studio is a separate organization, founded in 1947, that is an active studio where its’ professional members go to work in private in order to improve upon their craft and talent.
The Actors Studio created in 1994 a separate arm to its organization that is the 3 year MFA program called The Actors Studio Drama School at Pace University. As part of this 3 year MFA program at Pace University, the third year curriculum includes a series of craft seminars that in 1995 grew into the BRAVO Network TV show called INSIDE THE ACTORS STUDIO. This craft seminar series was originally developed as a series of seminars of senior Studio members discussing how they developed their talents and careers. James Lipton has hosted and enjoyed such guests as Paul Newman, Sally Field, Shelley Winters, Robert DeNiro, Alec Baldwin, Eli Wallach, Sidney Lumet, Al Pacino, Ellen Burstyn, Faye Dunaway, Dustin Hoffman and Norman Mailer among many other great luminaries.

In 2007, Mr. Lipton was awarded an EMMY Lifetime Achievement Award for hosting INSIDE THE ACTORS STUDIO since its inception in 1995. Please note that not every guest interviewed on the show is a member of The Actors Studio but perceived to be a prominent artist our students can learn from.

Edward Albee

"Writing should be useful. If it can't instruct people a little bit more about the responsibilities of consciousness there's no point in doing it."



Edward Franklin Albee III (IPA: [ˈɔːlbiː] "AWL-bee") (born March 12, 1928) is an American playwright best known for Who's Afraid of Virginia Woolf?, The Zoo Story, The Sandbox and The American Dream. His works are considered well-crafted, often unsympathetic examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Jean Genet, Samuel Beckett, and Eugène Ionesco. Younger American playwrights, such as Pulitzer Prize-winner Paula Vogel, credit Albee's daring mix of theatricalism and biting dialogue with helping to reinvent the post-war American theatre in the early 1960s. Albee continued to experiment in new works, such as The Goat: or, Who Is Sylvia? (2002).

According to Magill's Survey of American Literature (2007), Edward Albee was born somewhere in Virginia (contrary to the popular belief that he was born in Washington, D.C.). He was adopted two weeks later and taken to Larchmont, New York in Westchester County, where he grew up. Albee's adoptive father, Reed A. Albee, the wealthy son of vaudeville magnate Edward Franklin Albee II, owned several theaters. Here the young Edward first gained familiarity with the theatre as a child. His adoptive mother, Reed's third wife, Frances tried to raise Albee to fit into their social circles.

Albee attended the Rye Country Day School in New York, then the Lawrenceville School in New Jersey, from which he was expelled. He then was sent to Valley Forge Military Academy in Wayne, Pennsylvania, where he graduated in 1945 at the age of 17. He enrolled in the graduate studies program at Choate prep school in Connecticut, graduating in 1946. His formal education continued at Trinity College in Hartford, Connecticut, where he was expelled in 1947 for skipping classes and refusing to attend compulsory chapel. In response to his expulsion, Albee's play "Who is Afraid of Virgina Wolf" is believed to be based on his experiences at Trinity College.

Albee left home for good when he was in his late teens. In a later interview, he said: "I never felt comfortable with the adoptive parents. I don't think they knew how to be parents. I probably didn't know how to be a son, either." More recently, he told interviewer Charlie Rose that he was "thrown out" because his parents wanted him to become a "corporate thug", and didn't approve of his aspirations to become a writer.

Albee moved into New York's Greenwich Village, where he supported himself with odd jobs while learning to write plays. His first play The Zoo Story, was first staged in Berln. The less than diligent student later dedicated much of his time to promoting American university theatre. He frequently spoke at campuses and served as a distinguished professor at the University of Houston from 1989 to 2003.

Honors

A member of the Dramatists Guild Council, Albee has received three Pulitzer Prizes for drama — for A Delicate Balance (1967), Seascape (1975), and Three Tall Women (1994); a Special Tony Award for Lifetime Achievement (2005); the Gold Medal in Drama from the American Academy and Institute of Arts and Letters (1980); as well as the Kennedy Center Honors and the National Medal of Arts (both in 1996).

Albee is the President of the Edward F. Albee Foundation, Inc., which maintains the William Flanagan Creative Persons Center, a writers and artists colony in Montauk, New York. Albee's longtime partner, Jonathan Thomas, a sculptor, died on May 2, 2005, from bladder cancer.

In 2008, in celebration of Albee's eightieth birthday, a number of his plays were mounted in distinguished Off Broadway venues, including the historic Cherry Lane Theatre. The playwright directed two of his one-acts, The American Dream and The Sandbox there. These were first produced at the theater in 1961 and 1962, respectively.


The Zoo Story (1958)
The Death of Bessie Smith (1959)
The Sandbox (1959)
Fam and Yam (1959)
The American Dream (1960)
Who's Afraid of Virginia Woolf? (1961-62)
The Ballad of the Sad Cafe (1963) (adapted from the novella by Carson McCullers)
Tiny Alice (1964)
Malcolm (1965) (adapted from the novel by James Purdy)
A Delicate Balance (1966)
Breakfast at Tiffany's (1966)
Everything in the Garden (1967)
Box (1968)
All Over (1971)
Seascape (1974)
Listening (1975)
Counting the Ways (1976)
The Lady From Dubuque (1977-79)
Lolita (adapted from the novel by Vladimir Nabokov) (1981)
The Man Who Had Three Arms (1981)
Finding the Sun (1982)
Marriage Play (1986-87)
Three Tall Women (1990-91)
The Lorca Play (1992)
Fragments (1993)
The Play About the Baby (1996)
The Goat or Who is Sylvia? (2002)
Occupant (2001)
Knock! Knock! Who's There!? (2003)
Peter & Jerry retitled in 2009 as At Home at the Zoo (Act One: Homelife. Act Two: The Zoo Story) (2004)
Me, Myself and I (2007)


Entrevista que le hizo Charlie Rose a Edward Albee, 27 de Mayo del 2008

http://www.charlierose.com/view/interview/3206

http://www.charlierose.com/view/interview/9105

http://www.charlierose.com/view/interview/2526

Elio Palencia - Excelente Dramaturgo

Nacido en Maracay, Venezuela, en 1963, define su vocación por el arte dramático tras participar en el teatro universitario, del que pasa a la escena profesional. Como actor, ha trabajado en elencos de compañías como Rajatabla y La Compañía Nacional, participando en montajes de autores como I. Chocrón, F. de Rojas, L. Pirandello, J. Ruiz de Alarcón, W. Shakespeare, C. Goldoni, C. Rengifo, A. Miller, R. Mahieu y J. I. Cabrujas; bajo la dirección de Carlos Giménez, Román Chalbaud, Ugo Ulive y José Ignacio Cabrujas, entre otros. Posteriormente, inicia su andadura como dramaturgo, a partir de los Talleres del Centro de Estudios Latinoamericanos Rómulo Gallegos –CELARG- y como director de escena en el Centro de Directores de la Fundación Rajatabla. En 1990 participa en la fundación de Urbe, colectivo teatral. Su carrera en el TEATRO ha ido paralela a su trabajo para la TELEVISIÓN donde ha formado parte de equipos de programas de ficción, como guionista, argumentista y coordinador de proyectos. Como autor de teatro ha escrito más de veinte textos para adultos y niños, así como adaptaciones y versiones de algunas novelas. Algunas de sus piezas han sido publicadas por el Centro Literario Rómulo Gallegos (CELARG), Instituto de la Juventud de España, Fundación Editorial “El Perro y la Rana”, Fundarte y la Revista teatral de Casa de las Américas de Cuba, “Conjunto”. Su trabajo en la dramaturgia se ha caracterizado por la vinculación con los centros de producción, investigación y el trabajo actoral. Muchos de sus textos han sido el resultado de talleres en los que se contempla la relación autor-director-actores, a través de dinámicas de grupo, improvisaciones y otros ejercicios, como premisa de creación. Ha recibido premios entre los que destacan el “Marqués de Bradomín” para Jóvenes Autores de España -1993- y, en Venezuela, “Esther Bustamante”, 1988; “Juana Sujo”, 1989 y 1990; Puesta en Escena “Carlos Giménez”, Mejor Propuesta escénica en el “II Festival de Directores para el Nuevo Teatro”, 1989, “Orden José Felix Ribas, en 2ª clase”, Premio “Marco Antonio Ettedgui” de la Fundación Rajatabla en su primera edición, 1990, Premio CELCIT, Mejor Auror 2004 y por dos años consecutivos (2007 y 2008) el Premio Municipal de Teatro “José Ignacio Cabrujas” como autor más destacado del año. En España, donde residió entre 1991 y 2004, ha colaborado con salas del Teatro Alternativo como Cuarta Pared, El Canto de la Cabra y Teatro de Las Aguas, ha sido Coordinador de publicaciones y eventos especiales con el Centro Latinoamericano de Creación e Investigación Teatral (CELCIT-Madrid), colaborando en el FIT de Cádiz, Badajoz, el FIT de Títeres de Bilbao, La Casa de América y la revista Primer Acto. Ha participado en Festivales internacionales de Nueva York, Madrid, Cádiz, Badajoz, Lisboa, San Francisco, Miami, México, San Juan, La Habana, Caracas, San Salvador y San José de Costa Rica. Ha participado en eventos como el Aula Iberoamericana de Teatro, el Encuentro 2000 de jóvenes creadores, el Simposium “Stanislavski en un mundo en evolución”, en Moscú, URSS y “Literatura y Compromiso”, en España. Ha dictado talleres de creación teatral (dramaturgia e interpretación), en la Escuela Cuarta Pared (Madrid), el Taller Nacional de Teatro de Rajatabla y Monteávila Editores (Caracas). Entre sus trabajos para televisión cuentan colaboraciones con las productoras hispanas Globo Media , Fernando Colomo PC y BocaBoca TV para series de ficción transmitidas en Televisión Española y Tele5 (“Al salir de clase”, “Famosos y Familia” “El Grupo”) . En Venezuela, ha formado parte del Staff de escritores de Coraven-RCTV y de Venevisión, trabajando como libretista de telenovelas de autores como Ibsen Martínez, Perla Farías, Leonardo Padrón, Indira Páez, Salvador Garmendia, Alberto Barrera y Mónica Montañes, entre otros. En cine, ha participado en varios cortometrajes y ha sido guionista del largo “Detrás de la Avenida” para Gente de Cine junto al cineasta Román Chalbaud. Recientemente, la Fundación Villa del Cine de Venezuela ha culminado el rodaje de su guión “Una casa pa’ Maíta”, bajo la dirección de Eduardo Barberena, basada en su premiada pieza “La Quinta Dayana”.

Se pueden conseguir sus obras en http://www.eliopalencia.com.ar/sec/biografia.php

Concurso Hispano Americano de Dramaturgia

Concurso Hispanoamericano de Dramaturgia
En Celebración del Cincuenta Aniversario del BID

El Club de Teatro “Bárbara Simon” de la Asociación de Empleados del Banco Interamericano de Desarrollo (BID), convoca a los autores teatrales a participar del Concurso Hispanoamericano de Dramaturgia en celebración del Cincuenta Aniversario del BID. La Asociación de Empleados del BID es un organismo representativo de los empleados, que entre otras finalidades, promueve el bienestar de los empleados a través de actividades sociales, culturales, de deportes o recreacionales.
Los dramaturgos contemporáneos hispanoamericanos tienen por delante un arduo camino para convencer a los teatros de la posibilidad de estrenar sus piezas teatrales y es aquí donde los concursos literarios desempeñan un papel fundamental: avalar la calidad de un dramaturgo y abrir así una oportunidad que eventualmente impulsará su carrera artística. El público tendrá entonces la última palabra y decidirá el destino de su obra, mediante su aceptación o su rechazo. Pero para llegar a abrir el telón, los concursos constituyen en nuestros días una gran puerta que conduce a un dramaturgo al escenario. Para participar de este concurso los autores podrán escoger una de las siguientes categorías:
Gran Comedia Hispanoamericana para un mínimo de siete personajes (Escrita en español)
Hispanos en USA, but sin estereotipos (Escrita en español, inglés o spanglish).
Teatro Infantil (Escrita en español)
Podrán participar del Concurso los ciudadanos nativos o extranjeros que cuenten con más de cinco años de residencia comprobable en cualquiera de los países miembros del BID:
Alemania, Argentina, Austria, Bahamas, Barbados, Bélgica, Belice, Bolivia, Brasil, Canadá, Chile, Colombia, Costa Rica, Croacia, Dinamarca, Ecuador, El Salvador, Eslovenia, España, Estados Unidos, Finlandia, Francia, Guatemala, Guyana, Haití, Holanda, Honduras, Israel, Italia, Jamaica, Japón, México, Nicaragua, Noruega, Panamá, Paraguay, Perú, Portugal, Reino Unido, República de Corea, República Dominicana, República Popular de China, Suecia, Suiza, Suriname, Trinidad y Tobago, Uruguay y Venezuela.

Las obras presentadas no tendrán limitaciones de propuestas estéticas y deberán ser originales (no adaptaciones), inéditas, no estrenadas, no haber sido premiadas anteriormente, ni escenificadas con anterioridad en ningún país, ni tampoco podrán estar participando en procesos de selección de ningún otro concurso durante el periodo de tiempo comprendido desde el comienzo de la fase de selección hasta el fallo de premiación de este concurso.
El jurado seleccionará 4 ganadores por categoría otorgando premios por la cantidad total de US$ 17.000 en efectivo que se suman al siguiente paquete de premios especiales:
El Club de Teatro “Bárbara Simon” representará la obra ganadora de la categoría “Gran Comedia Hispanoamericana para un mínimo de siete personajes” en el Auditorio Enrique Iglesias (EVI) del Banco Interamericano de Desarrollo (BID) en Washington, D.C., durante su temporada teatral 2010/2011.
El ganador del primer premio de la categoría “Gran Comedia Hispanoamericana para un mínimo de siete personajes” viajará a Washington, D.C. con los gastos de viaje y alojamiento pagados para estar presente en el estreno mundial de su obra.
El Club de Teatro “Bárbara Simon” publicará en 2011 una selección de las 10 mejores obras del Concurso (ver detalles en Bases). La publicación será posteriormente distribuida a teatros y bibliotecas de Hispanoamérica que determine el Club de Teatro.
El Thalia Spanish Theatre (Nueva York) representará la obra ganadora de la categoría "Hispanos en USA but sin estereotipos" en Estreno Mundial en producción bilingüe durante su temporada teatral 2010/2011.
La Sociedad Educativa de las Artes Inc., SEA (Nueva York) seleccionará una de las obras ganadoras de la categoría “Teatro Infantil” para ser representada durante su temporada teatral 2010/2011.
El Teatro GALA, a través de su programa infantil GALITA (Washington, D.C.) seleccionará una de las obras ganadoras de la categoría “Teatro Infantil” para ser representada durante su temporada teatral 2010/2011.
La convocatoria se abrirá el 1 de abril de 2009 y concluirá el 1 de septiembre de 2009.
Las obras deberán enviarse, por duplicado a:
Luis SimónDirector EjecutivoConcurso Hispanoamericano de DramaturgiaAsociación de Empleados del BID1350 New York Ave. N.W – Stop B-0670Washington D.C. – 20577 -USA
Auspician este concurso: Banco Interamericano

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Muy Pronto "Realidad Virtual" de Alan Arkin en Teatrex Piso 5

“Realidad Virtual” de Alan Arkin, es una comedia de un acto inmersa dentro de una serie de tres comedias de un acto escritas por Alan Arkin y Elaine May tituladas “Power Plays” y contiene además, las piezas “The Way of All Fish” de Elaine May y “In and Out of the Light” también de Elaine May. Esta pieza original, fue presentada por primera vez en 1998 en el Promenade Theater en la ciudad de Nueva York. La obra es un ejercicio a la imaginación que nos invita a ver lo virtual que puede llegar a ser nuestra realidad. Dos hombres, Diestro y Zurdo, quienes no se conocen entre sí, son asignados por sus superiores para hacer una operación muy delicada, aparentemente ilícita y cuya naturaleza ignoran; se encuentran de noche en lo que parecería ser un galpón. Ambos esperan la llegada de tres cajas que contienen el equipo necesario para la operación y la lista de embarque. Diestro, muy atado a las normas y en vista de que las cajas aún no llegan, insiste en hacer una prueba de desempacar las cajas y chequear su contenido. Zurdo, mientras tanto, bastante práctico, se niega a realizar dicha prueba. Poco a poco, Diestro va logrando que Zurdo comience a desempacar las inexistentes cajas con su inexistente contenido hasta que poco a poco lo virtual se va volviendo cada vez más real. Esta comedia inteligente habla de las infinitas estrategias de manipulación que se desarrollan en la lucha de poder. La obra presentada por el Gimnasio de Actores, cuenta con las actuaciones de Gonzalo Velutini y Jesús Nunes, la música original de Boris Paredes, la promoción de Eduardo Fermín, la iluminación de José Giménez y la dirección de Matilda Corral. Se presentará próximamente en el nuevo teatro que felizmente se abre para la Ciudad de Caracas, Teatrex Piso 5, en el Centro Comercial El Hatillo.