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D omingo July 18 IMPROVISATION MARATHON

in

Chucre Manzur Sala

different improv shows to enjoy during the day.

* From 16 am

* have recovered funds will cover the costs of the theater.

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Chucre Manzur Sala

(Mammoth Theatre)

Chucre Manzur S / N, Bellavista.
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$ 3000
$ 5000

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AGONY (The Ballad of Sacco and Vanzetti)

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Lucia Morett and theater, a real relationship (seventh round)

Sunday August 2, 2009
Lucia Morett and theater, a real relationship (seventh round)
The tests were started immediately. The possibility of initiating a very short time that was an incentive to cast so large that in which all alike were willing to risk (as known to all we do at the independent theater) to win very little money or work for a scarce public. Never, in the fifteen years prior work, we found much unity around a theme. It was obviously important for everyone to tell this tale of crime and injustice perpetrated by man against man himself. The relevance that had to say something through our work was a unifying factor that had hardly known in our daily drama. So Lucia Morett notes in a videotaped interview on the occasion of the documentary "CORPORATION, a window to freedom" which tells twenty-year history of clusters and Black Light Company, recognizing the importance had the contents of the book "agony" for its integration into the Black Light Theater Company.
The work had been assembled and presented in such a unique role in the East FARO so the work would focus on the character of Luisa Vanzetti, to be characterized by Lucia. The challenge here was to preserve the introductory scene videotaped by Armando Casas, so that the management had to put special emphasis on the careful assembly of the new character to play. Lucia's acting versatility Andrea was highlighted by quickly finding the characteristics that distinguish one character from another to represent them. As rehearsals for the premiere coincided with the beginning of a new semester, was able to find the correct timing for the re assembly of the work albeit not more difficult for our actress and that, if required to work on the end of the semester, surely the need for submit final examinations of the practical matters that demanded the race would have given rise to major problems. Fortunately there was
asi.Con the best wishes of all the cast for another look at what has already been mounted to support their work with Lucia, the tests flowed in harmony, aware of the urgency that pushed us towards the desired release. To this is added the staging in the new Cultural Centre raised the Pyramid the challenge of giving continuity to the successes achieved in that FARO function, ie the use of stage space in a creative enough to give the viewer a certain intimacy in which there is no escape, to make it part of that story recounting the past twenty four hours in the life of two characters who are about to die in the electric chair because they did not commit a crime, fostering in them a sense of belonging to that time limit which seeks to prevent, without success, the execution of an unjust sentence.
As often happens in these cases, the resources to reach our goal were few, but the will of those involved was immense. Lucia Morett, as surely we all saw great learning to take responsibility for work in what was for her first theatrical production with projections beyond the classroom. Her attitude was always one of deep commitment and solidarity with a group that his group along a path of more than fifteen years until that time always looking for transcendence beyond the material resources that would surround his work.
We also learned a lot working with a new partner whose attitude, mostly quiet, unobtrusive but highly committed, showed us a new and refreshing way in relationships working within an independent theater company .

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Lucia Morett and theater, a real relationship (PART VI)

Friday July 31, 2009
Lucia Morett and theater, a real relationship (PART VI)
Once released the work, came immediate changes. Before the departure of persons who represented the character of Luisa Vanzetti, María Elena González, actress and close friend of the group since its inception in 1986, there was need to revise the composition of the cast to continue giving functions. That was when we all agreed to propose to Lucia Andrea Morett as the perfect candidate to take on the characterization of Luisa, sister of Bartholomew Vanzetti, complex character by the duality of values \u200b\u200bit represented, being a deeply religious woman, had taken a long pilgrimage materially from Italy, his country, to be near his brother in his last days, because his family was so poor that he could hardly bear the possibility to be present throughout the legal process, as he had taken seven long years. Through this trip was collecting huge outpouring of sympathy for the cause of his brother for all the countries that succeeded in crossing and in fact conclude the trip thanks to this solidarity, leading marches and protests of all kinds to get to America turned into a woman deeply conscious and politicized by the strength enough to demand the release of his brother.
There was also another difficulty. The fact that Lucia appeared in the introductory scene was shown in video, forced to make clear the difference that must exist to avoid falling into confusion about the identity of both characters.
Once again a full smile preceded the positive response that Lucia gave the request was formulated, conscious of the seriousness of our proposal, despite his apparent inexperience (courses only the second half of the race), accepting responsibility to bring their work to a very heterogeneous group in which mixed the longest experience with the fullest enthusiasm for learning, firmer path to the theatrical debut of more than one, the madness and moderation, wisdom and excess. Ultimately she was an actress whose inexperience was on training, because in reality Lucia Andrea Morett Álvarez had stepped on stage for the first time since he was seven years old. Thus, AGONY (The Ballad of Sacco and Vanzetti) takes up way so fortunate as to the salvation of our cast by Lucia, the meeting was added an appropriate setting for the staging of our work. The Cultural Centre The Pyramid, where they make our first and very brief season of eight performances.

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Lucia Morett And theater, a real relationship (PART 5)

Tuesday July 28, 2009
Lucia Morett and theater, a real relationship (PART 5)
AGONY (The Ballad of Sacco and Vanzetti) was released during a conference held theater in Faro de Oriente, which by not having a theater room forced us to be creative enough to solve the staging. The building that houses the factory called Arts and Crafts East is architecturally similar to the huge vessel of a vessel within which, distributed on two levels along its surface, is a series of workshops and small rooms and offices crowned in one end by a reflecting pool and the so-called "Hall of Performing Arts" which in reality was only a space separated from the rest of the construction by a flimsy wooden wall with a floorboard and a set of folding chairs that served as seats. True to our search for alternative spaces that break with the traditional idea of \u200b\u200ba theater, we decided to avoid using the performing arts hall in exchange for using the entire building located in various parts of the whole scenario that the work required and which together represented a prison facility in their backyards, their workshops, their cells and their terminal flag, where they carried out the execution in the electric chair. Importantly, the fact that the electric chair would be represented by a chosen piece of the exhibition of iron metal chairs happened to be exposed in those days as a result of metal sculpture workshop taught by the teacher and artist Gabriel Macotela in FARO own facilities.
The work began with the projection through a television monitor, the video recorded by Armando Casas showing the aforementioned scene in which a law professor of criminology class taught using as a basis for the anarchists Sacco and Vanzetti who are about to be executed that night in the Massachusetts State Prison in the United States charged with a crime they did not commit at the end of his presentation, the teacher is strongly questioned by a student about the injustice that is about to happen. This student is represented by Lucia Andrea Morett and this is your first stage appearance at a professional level beyond college classrooms.
would also be the first function of a project that by its magnitude stage we already exceeded that, with the fortunate result of experimental use of space to the task we would, from then on, to find a stage as to make this a participatory show in which the public could integrate directly with what happened during the development of the work.
Interestingly, Lucia Andrea Morett did not attend the function of his debut.

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Lucia Morett and theater, a real relationship (PART 4)

Thursday July 23, 2009
Lucia Morett and theater, a real relationship (PART 4)
The video recording was arduous, with due professionalism, widescreen repeated again and again the scene, either due to faulty technical details, either by errors in the performance or the need to have some decision-support for editing.

In fact, nobody within the group hoped the professional level treatment Armando was giving us and that emphasized the responsibility that we all felt towards our own work. The comings and technicians come in space, doing light testing and refining the details of sound while another actress of the group put the finishing touches to the makeup and costumes by Lucia Andrea are scenes that we can hardly forget the participants in that session. And Lucia, who until now had only been invited to record the video and who actually is not even envisioned as an integral part of the group gave us a good lesson in responsibility. Student just the second half of the race, like us she imagined a different session, perhaps more easily. However, to get to the small theater where they take out the recording, vision of that move an entire production team of TV UNAM was as surprised as us moments ago. Distant from the rest of the group, whom he hardly knew gave concentration while preparing for the characterization of his character. The apparent nervousness enveloped us all resulted in it through slight smiles and brief comments about what would be their parliaments. Attentive listening to the brief indications of stage manager and director of cameras in this case was Armando, began recording that lasted about two hours. At the end of the same Lucia, who had done their job with great professionalism took off his character, leave of those present and departed in silence outlining just a brief comment about the possibility of seeing the result of his work when the editing process would be terminated. Lucia Andrea Morett had scored him an early mark on the floor of the old and decadent theater group called Black Light.

Basically we all knew we really wanted it within the group and inside, above all, of our lives plays.

That would happen later, while she would continue attending school and growing into the Academy.