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POPULAR CULTURE 17 YEARS

LIVE THEATRE COMPANY

17 years building CULTURE

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CULTURAL

LIVE THEATER

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PROGRAMMING

COMING

II NATIONAL THEATRE FESTIVAL POPULAR

" THEATRE AND SOCIAL REALITY"

CALLE 30 N º 23-32 Palmira

(FRONT OF HOUSE OF CULTURE)

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FORGING WORK "human universe"

REVIEW

" the human universe"

CONFINED SPACE WORK FOR

"THE UNIVERSE HUMAN " is a theatrical company THE LIVE THEATRE, laboratory result of the narrative approach to theater. We have sought a balance between performance and cuentearía, ensuring that the narration does not delete the action and become cuentearía more than theater. the human universe a adaptation free the story Writer Colombian ELMO VALENCIA, is an exercise created with the belief that narrate the scene is a theatrical possibility. The assembly is a journey into the imaginary world of of goblins, elves playing and talk about other myths closest our reality

Ludic and narration stage combined with the view that people have not lost our sense of fantasy .. During fifty minutes the cuentearía and drama are mixed with laughter and adventure.

In "The UNIVERSE HUMAN ." The visual narrative of the theatrical composition invites viewers to invention and reinvention of the tales we tell the actors. In these stories the laughter and reflection come to bury the sadness, the heartbreak and tears that sometimes brings everyday.

"human universe"

CAST

CIELO: LEIDY Mr. Juliana Jimenez

DUENDES ANA ROSARIO GRISALES T.

LUIS EDUARDO JIMENEZ .

MARGARITA T. Grissom

TECHNICAL: ALEXANDER ESCOBAR

CAMILO E. JIMENEZ

TECHNICAL

PRODUCTION " LIVE THEATER"

DIRECTOR GENERAL : EDUARDO LUIS JIMENEZ BOAT

REPRESENTATIVE: ANA ROSARIO Grisales

WORK FOR SPACE CLOSED

5 MTRS WIDE - FUND 4MTRS-HEIGHT 5 MTRS

3 HOURS ASSEMBLY - DISASSEMBLY: 1 HOUR

PROJECT DURATION: 50 MINUTES

"human universe"

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STREET 30 N º 23-32 PALMIRA VALLE

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WORK "EYES OF BLUE DOG"

REVIEW

BLUE DOG EYES

LIVE THEATER has mounted the play " BLUE DOG EYES " from the story of Gabriel García Márquez , that we believe it is a story that should be emphasized precisely these post-modern despair better than dreams. Those dreams of everyday love, love of searching and finding that raises the work to bring back the hope we need in the hearts of Latin Americans in these times of loneliness, stress and heartbreak.

Since it is not known as a man and a woman are always the same dream. She prepares every night to see the man of her dreams. He does not remember her dreams. "Eyes of a blue dog" is the phrase invented by him, that identifies them. She looks when we wake up and write everywhere, even in the walls of the city's expression that they would someday be found in reality. The woman is obsessed and will do everything possible to achieve. The chairs, lights, scenery, music and the actors are ready to start rolling in the theater this story to all audiences who want to learn, imagine and dream and say with " BLUE DOG EYES " that utopia lives.

CAST

The

Luis Eduardo Jimenez B. She

MARGARITA Grisales

La Niña

Leidy Juliana JIMÉNEZ

Actor

invisible: JULIAN GARCIA

invisible Actress

LILIANA MARTA SUAREZ

Sound and Light

ANA ROSARIO Grisales.

DG LUIS EDUARDO JIMENEZ

SCENIC AND CULTURAL CASA

LIVE THEATER

STREET 30 N º 23-32 Palmira

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WORK "Insurrection"

Insurrection

STREET THEATER - ROOM

DIRECTORATE

LUIS EDUARDO JIMENEZ

BOAT

"Atadme if you will, but I say there is nothing more useless than an organ" Antonin. Artaud.

Moods .. joys, anguish, and despite a poetic text and after a preparation process that essentially seeks to rediscover the body and voice as instruments available to the actor, began to express the contemporary man. Motivated

Antonin Artaud results by creating a work that approaches the poetic drama that stems from the need of expression: when everything seemed "there is nothing to say," Bodies move to a thousand beats. The spirit is born. Joy blooms and not just for those involved in staging, but for those who are impacted from the public:. This part is an opening of their senses of actor and spectator. One spirit, it is to unravel and express the most dark and deep. For this insurrection is not complacent with anyone, but at the end of the show makes everyone a sense of serenity and cleanliness as love, or death.

WORK SHARING Insurrection Julián García Ana Margarita Rosario Grisales Leidy Juliana Grisales Marta Suárez Jiménez

SOUND - LIGHTS - VIDEO Luis Eduardo Jiménez

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CULTURAL POLITICAL DECLARATION

I REGIONAL FORUM ON "POPULAR CULTURE"

PALMIRA 20 JUNE 2009

in Palmira, Valle del Cauca, Colombia, on 20 June 2009 conducted the first regional forum on "popular culture" southwestern Colombia. Event included the participation of grassroots organizations and cultural groups in the departments of Cauca and Valle del Cauca.

This forum is organized with the prospects of a popular meeting place for artists with the projection of the creation of the network popular artists southwest Colombia. It is a points

to meeting the creative energies of the need for dialogue for cultural exchange in our region, will also be the starting point for THE NATIONAL CONGRESS OF ARTISTS popular.

This event is the beginning of a process organization of artists that will support the work each organization, group or collective in making awareness of the demands of makers of artistic and cultural sector in the region and also strengthen unit processes popular in the southwest

e Colombian then build collectively a platform of ideas that allows us to fight for

s demands of artists and culture alive and processing that needs our country.

The objective of this meeting was to create a space for communication between folk artists of the South West Colombian reflecting on our work cultural and sharing experiences to build a network of popular artists of western Colombia. This important event, held in Palmira at a time when the Colombian people in general, including a large section artists are being prepared, for more days of mobilization and protest which seeks to defeat policy measures affecting conditions of artists.

The forum was held in two sessions, the first touched on three themes: "Towards the conceptualization and action of popular culture," Culture and Globalization "and" theater, pedagogy and politics "in order to provide elements that allow conceptualize term" culture popular " defining principles of this type of task and continue in the organization artists and reflection around to culture and globalization, benefits and disadvantages, while the second is to share experiences about the work of popular culture by artists of the region with the aim of promoting the work of popular art groups .

In this regard, and product of this meeting were discussed issues surrounding culture and the task c

ultural a unifying approach to the organization network that can be summarized as follows:

·

Defining culture and its popular character

· Culture as a factor of domination and the role of the media

· Predominance of patriarchal culture

· The evolution of cultural expressions through time

· Role of processes and foreign cultural expressions

· role of autonomy, identity and memory of people

· Language as a determinant of culture

· Transformation from popular culture environment

· pedagogical models consistent to local

· Evolve fine arts from the work of groups

· Claiming speech and debate

· Debate about tangible cultural heritage

·

role of artists in the creation of culture.

· commitment of artists popular with the creation of a network southwest.

· The commitment of popular artists and improving the conditions communities.

conclusions to which I arrived in the FORE REGIONAL POPULAR CULTURE Palmira 2009 were:

· Emergency unit in favor of the claim itself cultural sector as a guild. Actions must be consistent with reality and with the artist's role and autonomy to come together in a network of artists

· Overcome persecution of artists (as the director of the Poetry Festival of Medellín and Patricia Ariza corporate Colombian theater)

· demand respect for cultural artistic processes (in the case of the Casa Teca)

· legal action and media plan (creative reactions , articulating elements of art and cultural) towards the mobilization of artists.

·

structural causes that address the various policies in the country are predominant to the economic situations and policies local.

· Claiming popular and community from various art

· po Claiming the basis of cultural heritage processes that involve the community linked to a particular territory basis of their membership.

· The cultural manager and the artist must transcend the imposition of having staff to generate inclusion of the community from the actions we take the artists.

· artists should be facilitators for the same communities generate proposals artistic, cultural and social and pursue the process in which emerging new leaders and managers. consider obviously must have a processes educational community to get to this goal.

· believe that is necessary to transcend the political single "event" as this artistic preventing progress in the process of real expression of the community and examine the actual construction of popular culture.

· believe the need to generate alternative art spaces and with the community, other than those generated by the hegemonic class.

· There is concern by some cultural organizations failure to attend popular cultural spaces and alternative part the same community. This requires do study mode

's, shapes and of calls content.

· the sake of building the unit must create spaces for qualification in terms of popular culture. When communities are able to interpret their culture can understand the dynamics of other cultures, in this sense should be based on the processes and interests for an effective call.

· conclude that culture and art can not be isolated from the political arena . This implies implementation of joint actions in the search unit improvement of the conditions community and the artists themselves.

· The State does not recognize the artists (and least the popular) and not active in terms of their labor rights and social sector.

· It provides the difference between functions Manager cultural, artist and educator. Sin embargo many artists them has played in the assume reality, for the economic conditions, managers, artists and teachers with society itself.

· also reflect that the communities work with the resources they have and not much we depend the state. Tending towards self-management, as this is important in that the community feels an appropriation of what does and generate their own models and perspectives and not which the state imposes its policies we know obey globalizing models (alkaline TLC)

·

Give the importance of the relationship with the urban farmers, as the countryside and city are linked.

· what comes to the communities outside ( hegemonic culture and globalizing) is different to our content and interest as Therefore we must be very careful of what strange without leaving be culturally universal.

· not forget what identifies us, what we are essence. Po this tending mainly by identities of the peoples of the country .

· us the important fact is the cultural discussion on the popular conscious of what we want and think about these issues.

· In the peasant sector that raises is not making art for art but that what is done in the arts should be about principles and purposes create identity and belonging in relation to territory, for example for water and the modes of production , way to do or ways of being and relating.

· Assume Like art and culture and raises awareness to the community ownership of their needs and resources .

ACTIONS AND COMMITMENTS OF ARTISTS

IN ORGANIZATIONAL PROCESS

· Share experiences of each organization I sector for feedback. These experiences the conduct from documents or via internet where we started to communicate by e-mails.

· The company LIVE THEATER is committed to giving to organizations the each group or individual participant in this forum.

· From this forum The company THEATER LIVE is committed to developing draft public letter with information specific provided by the collective Frida Kahlo on the issue of co-teak and the fellow artists arrested or persecuted by the current regime. This document be open letter to the community and will released by internet. we are committed to the conduct that letter solidarity and specifically rejected persecution of fellow artists Fernando Rendón director of festival international of poetry - Prometheus and patricia Ariza of the corporation Colombian of theater.

The groups and organizations participants is committed to providing the process of network organization popular artists of southwest Colombia.

salute all the artistic and popular organizations in Colombia and peoples and their organizations in Latin America to resist and fight against economic system and political inhuman and against the hegemonic culture in all its manifestations.

continue to move forward and weaving unit levels of artists and all social sectors, taking effective steps to identify collectively the basis of a high level we aspire to build and walk the trails to a transformation of society through a struggle against poverty and the brutality of this inhuman system.