Ana Elisa Fernández's performance: "El Círculo que Gira"

A rare photograph taken in 1993 during our physical taining at Escenología, México.

Last month I receive an unexpected e-mail from an old colleague and friend with whom I shared one of my most explosive creative seasons in my life, my years in Escenología, between 1992 and 1994 (1).

Even those years didn't finish with any spectacle they inevitably gave us a strong mark in our future theatrical work: a deep knowledge about physical actions and physical training for the stage.

This Blog was the way Ana Elisa found me again, and after some words trying to give each other an update on our life we started to gave an update on our current plans and work. She sent to me some photographs of her spectacle and wrote to me some interesting thoughts.

Here some words from her:

"In remember that time at Escenología in a distant manner, almost as if I had lived it in a different lifetime, but I realise that on my training, on stage, it served as platform for growing and for developing a self conscience. Of course, I see it in a totally subjective way, after all, that's what theatre is about; to aknowledge your history and to celebrate it on stage."

("Yo percibo de forma lejana aquel tiempo en Escenología, casi, casi como si hubiera sido en otra vida, pero en mis entrenamientos, en escena, me doy cuenta que me sirvió de plataforma para desarrollar un crecimiento y una conciencia de mí misma. Claro que también lo veo de forma absolutamente subjetiva, finalmente eso es el teatro: asumir tu historia y celebrarla en escena.")

So, here a few photographs from her last spectacle "El Círculo que Gira" based on "The Dolls House":

Ana Elisa Fernández performing in "El Círculo que Gira"


Ana Elisa Fernández performing in "El Círculo que Gira"


Ana Elisa Fernández performing in "El Círculo que Gira"


Ana Elisa Fernández performing in "El Círculo que Gira"


Ana Elisa Fernández performing in "El Círculo que Gira"

(1) Escenología is a Researching Instutute on Performing Arts directed by Edgar Ceballos in Mexico City. From 1992 to 1994 we participated in a Ceballo's project, "La Compañía de Escenología".

Picasso is painting... One way to understand "acting creation" through a physical action chain.

Teatro Potlach

More than 15 years ago Teatro Potlach, from Italy, visited Mexico City to offer some master classes and courses about their technical work.

At that time I was working for “Escenología” and I was part of the small company that Edgar Ceballos, the director, was preparing and which never made it to its first performance (1).

Everything around us was about physical actions, from Grotowski’s point of view as well from Theatre Anthropology’s views researched at I.S.T.A. (International School of Theatre Antrophology) (2), so these series of courses and master classes were very important for our development.

Teatro Potlach, Pino di Buduo (their director) and their actresses exhibited a concrete example of what our work could be in the future but, even more important, they were a reference point for a total comprehension of that technique we were trying to assimilate.

Creating physical actions, editing the line of actions, understanding the dramatic chain inside the line of actions by the player (the creator), those were really difficult points to comprehend; in general, practicing and working with details is the solution, but examples were absolutely necessary. So, how did Teatro Potlach show those points within a 1 hour master class?

At one point, one of the actresses called our attention; after showing in many acting ways the creation process of physical actions and how they become a chain of actions and a final story on stage, she decided to use a final example which comprised all the points in synthesis, an example that didn’t come from Theater but from Art: a singular scene from the documentary “Le Mystère Picasso”.

"Le Mystère Picasso" (DVD, Chinese version)

That scene showed us Picasso painting live before the camera and creating a painting in a minimal lapse of time: 5 minutes. We observed the development of creating a piece of art, in actions (in this case painting actions) which exemplified that chain of actions we were trying to understand before. The painter had many levels of creation, every one apparently independent from each other but inevitably connected: Picasso first painted three sunflowers, after that and over it a fish, after that and over it a cock, finally adding colour over all the images depicted before arriving to the conclusive figure, a Picasso painting.

That final figure was a result of each one of the others, step by step, but in the end, who couldn’t watch the process could only see the end result, the final figure, the final story.

Those 5 minutes were decisive for my professional activity, Picasso, as a genious, taught me, by creating, how every action could be woven with others to finally create the story we were looking for. Since that moment I’ve just continued exploring my way of weaving actions, literary actions, physical actions, image-actions. Picasso and his process are still working in my memory.

Well, after more than 15 years of my seeing this documentary at the old “Escuela de Bellas Artes” in Mexico, I found this video on sale inside a Chinese shop. I couldn’t resist sharing it, so you can use those images as you wish.

If you are interested in the whole documentary, a simple “google search” will direct you to Amazon or any other dedicated site. (3)

niveles creativos, cadenas de acciones... from Gustavo Thomas on Vimeo.

"Le Mystère Picasso"
A film produced and directed by H.G. Clouzot
With: Pablo Picasso
Paris, France, 1956.

(1) Escenología... that company didn’t become a reality, but the experiences we lived there formed an epoch in my life. Escenología must be a pretext for many posts in this Blog.
(2) For information about I.S.T.A. visit: http://www.odinteatret.dk/ista/ista.htm
(3) About the documentary:
http://topdocumentaryfilms.com/the-mystery-of-picasso/

Slideshow with photographs of playwright Antonio González Caballero (1993)

In 1994 Gaceta Publishers (Editorial Gaceta) and Escenología published a book with three González Caballero's plays (1); one year before Edgar Ceballos, the editor, asked me to go with González Caballero and have a photo session with the teacher and get the main photograph for the new book. The photo session was at a small square close to González Caballero's home in Pino Suárez Street, Downtown Mexico. I kept with me the 16 photographs taken that time.

Now, 14 years later, I share in a slideshow those photographs of my teacher and friend.

Slideshow with photographs of González Caballero (2):

(1) See my Blog about González Caballero and his Acting Method:
agcmetodo.blogspot.com
(2) If you have problem trying to see the video in this page go to my youtube chanel:
www.youtube.com/teatroesferico
or directly to the page in Youtube:
http://www.youtube.com/watch?v=RcW1q6CaaB0