TM-ENGLISH
TM
THEATER MEMORY
teatrodelamemoria@gmail.com, j21monsalve@hotmail.com
Tels: (57-1) 2449610 – 2683865 - 3115830705
Bogota - Colombia
The foundation Theater of the Memory was created in 1989. It is a research center on theatrical Anthropology (study of man in situation of representation. International School of Anthropological Theater- ISTA) that works on independent projects supported by state and private Institutions. Its trajectory began in 1967 with the group Acto Latino. The foundation has done research activities in Asia, America and Europe. It works on scenic pieces, workshops, conferences and texts (drama, essays, poetry and novel). It understand the scenic arts as a fusion of the arts in the reconstruction of original spaces of representation.
The foundation search its essence in the living memory, in the symbolic sources of dance and sacred texts, in its magic, mythological and religious roots.
Outstanding pieces: The colonel does not have who writes him; Every time you speaks your nose grows, Pinochet; Blancamán; Stories of silence; Peter and the wolf; Dance of changes; The mirror and the mask; Edipo King; Ondina; Lunario; The source of the Ayes; The fall from the highest tower; Lost City; Fish Tale; María de la candelaria; El huso de la Nacencia; Blood flower; The blue angel; Happy days; Freebooters; Sabbat; Pavesas; Old Khajuraho; The blue night; Flor del Alba, Ambrosia.
“ASHES”
S. Beckett
“Move on, move on, move on!”
Dance-theater with corporal techniques from east and west. ¿How to create an old man? Like the flower of a dry tree, the old man looks to the sky. Hands open, leaned on a stick. He dances with an umbrella, the fragile legs, the spinal column straight. The old man contains the soft flower (women) and the strong one (warrior).
Author: Samuel Beckett. Irish. Disciple of James Joyce. Nobel prize 1969.
Piece: Pavesas, original for radio broadcasting. Adapted for the scene as interior dialog.
Argument: Henry, old man, by the sea, remembers his life, speaks with the phantom of his father, his friends, his daughter and his wife. Move on, step by step, stories never finished, move on, move on…
Production: Recording: Estudio Radial de Libardo Gonzalez.
Actor and director: Juan Monsalve Pino.
“BLOOD FLOWER”
Dance-Theater
Program
1. If they ask (feather dance)
2. The beggars (coins dance)
3. Death does not exist (knife dance)
4. The true names (feather dance)
Argument
Inspired in some of the episodes of the Popol Vuh, Maya Indians. The piece tell the story of the defeat of the prince Xibalbá by Hupnaphu – Ixbalenqué (tiger – deer), who goes down to the Xibalbaba Kingdom, fool the demon with the sacrifice dance and then comes back to her grandmother home. At the end he ascends to the sky, where he becomes the sun and the moon, by the young martyrs that are in the stars.
Production
Text Popol Vuh
Music: Juan Sebastian Monsalve
Singing: Beatriz Castaño
Percusion: Orlando Morales
Slides: Diego Samper y Pablo Amargo
Actors: Brenda Polo Tenorio, Juan Monsalve Pino
Direction: Juan Monsalve Pino
“AMBROSIA”
Dance-Theater
THE LIFE OF AMBROSIA
Kazuo Ohno
Being at the threshold of death
we visit over again
the joyful moments of our life.
With wide–open eyes the man looks at his palms
and sees there death, life, plesure, sorrow and is filled by calmness.
This everyday training of soul,
would this be the real beginning of the path in itself?
Undisturbed I‘m sitting in the playground of death.
There I went to dance, dance and dance,
dancing over the life of the Ambrosia.
I see the Ambrosia. I am the Ambrosia..,
I become one with the Universe.
This transition is the training and espiritual cosmology.
In the richness of nature I do see the fundaments of dance.
Perhaps it is because my soul would like to touch
the reality in its corporal verity?
When my mother was dying all night
I was fondling her without being able
to say even one word of solace.
Later I got to know that it was not me who nursed her
but that night she was the one who took care of me.
Fingers on my mother‘s palm are
my most honored leaves of grass.
From the very depth of my heart
I wish to dance the Dance of Ambrosia.
Undisturbed I‘m sitting in the playground of death.
Based on Kazuo Ohno's text The life of ambrosia. The piece Is a fusion of eastern techniques: Butoh, Noh, Buyo, Kabuki, Kathakali,
Music: Bamboo In the wind. Yang Xiu–Ian, Ouyang Qian.
Actor, Direction: Juan Monsalve
“THE BLUE NIGHT”
How will I begin my sings
In the blue night that comes?
In the great blue night
My heart will go out to the fields
The shadows come to me
Sound
In the great blue night
Outside
My heart will go
The Blue Night is a dance-poetry recital with liric, epic and artistic themes. Dance fusion of east and west. Corporal techniques from Indians and Amerindians. Feet positions, the face, the hands, the body. Contemporary music, fusion of rhythms from different cultures.
Program
1. Greeting
2. The blue Night – Papagos –
3. A car came one day – Guahibos, Colombia
4. Song of Seated Bull – Sioux, North America
5. I ask it- Nahualt, Mexico
6. Farewell song to the anthropologists – Araucanos, Chile
7. I went up to a hight – Chibchas, Colombia
8. Song to a poet – Nahualt, Mexico
9. Song of the earth – Pampas, Argentina
10. Red pepper flower – Quechuas, Peru
11. Farewell– Chibchas, Colombia
12. Outcome
Production:
Texts: Amerindian poetry
Dance: Brenda Polo Tenorio
Singing: Beatriz Castaño Uribe
Percusión: Urián Sarmiento
Music: Juan Sebastián Monsalve Castaño
Direction: Juan Monsalve Pino
“OLD KHAJURAHO”
There, where Vayu god of the wind sings among the branches and loving Parvati and Shiva dance
This poem is inspired on the old city of Khajuraho (Madhya – India). In this place survive the temples constructed by the dynasty of Chandela. Sons of the moon.
Each one of them is dedicated to each god of India. The motifs of the sculpture are two: Mithuna (couple in loving position) and Maithuna (couple in sexual intercourse position). A man and a woman in loving position is a symbol of Moksha (salvation). A couple means streng. The National Festival of Sacred and Traditional Dances of India is celebrated each year in Khajuraho. The city is visited by people form all over the world.
Multimedia
Slide projection about the temples
Poem Old Khajuraho
Music Ragas of India
Argument
Poem in shlokas about the living testimony of a time that is surprising because of its aesthetic sense and contemporary value.
Production
Directions assistant: Brenda Polo
Text and Direction: Juan Monsalve Pino
“Dawn Flower “
Anthropology of sacred dance
The music has the power to dissolve the tensions of the heart produced by the vehemence of dark feelings. The enthusiasm of the heart manifest itself freely in the singing, the dance and the music. Beheld as sacred they purify the feeling of men. When praises to God are singed, the divine virtues renew their selves, creating in this way a bridge to the invisible world. Such thoughts are the last and highest synthesis of cultures.
The dawn
Symbolism
In all the civilization the dawn is the symbol of the joyful wakening to the light. The shivering dawn dressed in pink and green. After the long night -her sister of anguish and fear- the dawn, always young, without aging or dieing, goes on according to fate and sees the generations follow one another. Symbol all the possibilities, sign of all the promises. With the dawn the world begins again and man can believe that his fate will change …. The dawn is hope in each one of us. The boreal dawn symbolize the luminous existence, being the power of God and the announcement of his victory.
Production:
Dance: Brenda Polo Tenorio
Direction: Juan Monsalve Pino
Audiovisual Production: Lavinia Fiori, Fernando Riaño
Video ans sound edition: Andrea Bonilla, Andres Peña
WORKSHOPS: The secret art of the actor. Theatrical Anthropology. Physical training of the actor-dancer. Balance. Oppositions, Energy in time and space. Acrobatics. Eastern and western techniques of the body and the voice.
LECTURES: Different subjects of the scenic art: The actor in war time; program imagination and consume; Theatrical Anthropology. Improvisations, Laboratories, etc.
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