The Tsunami is the most important theatrical Dominican Republic so far this year. A Theatre by Guloya, three actors and a creator of text, make a vital contribution to the theater Creole current exhibitions. Game goddesses spread with the unjust social x-ray picture, making the complaint scented a visual aesthetic that is now a challenge to show that you can make a universal feature local theater.
has earned critical acclaim with authority and knowledge, but not enough. It is much more.
Guloya The Theatre presentation of The Tsunami has important implications for redefining the characteristics of a contemporary drama that delves thematically Dominican approach via social anthropology.
But the tsunami is more, it offers a glimpse of the challenge of the Dominican scene to outdo herself, giving renewed themes and excellence the use of technical elements to ratify while racing established by the drama and revealing talents from now take very seriously.
resituation The Tsunami is the local imaginary pantheon Anaísa Pie, source of beauty, and Yemaya, life, motherhood, and Ogun, Yoruba god of life and death.
And this is coupled with the handling of the concept with the expertise of an accomplished writer, which will stage it or na
work to keep her under any excuse. The dramatic quality Garcia Cartagena, sturdy intellectual training, shows a vibrant vision and sensitive use of the deities of popular imagination to add this dimension by way of social criticism with grace is completely different from the pamphlet as usual when there are consistency, talent, training and clarity of vision.
Claudio González Rivera and Vienna back on themselves, probably at higher levels of interpretation, to give life to their characters and goddesses. Rhythmic body movements, rhythmic and fully integrated with the text of García Cartagena. Theatre
Guloya probably has no clear responsibility
qu e le implies that the company got when he decided to mount. It is not good and multivalent achieve performances from three players, or to impress the audience with the perfection of the costumes (especially those of popular goddesses), that make you laugh and feel. This is more than praise these acts which now become part of theater history and say that it is possible to validate issues and scenarios for the immortality of theatrical activities "Made in RD." Noble clothing and use the skill that is evident in the scenery.
But the tsunami is more, it offers a glimpse of the challenge of the Dominican scene to outdo herself, giving renewed themes and excellence the use of technical elements to ratify while racing established by the drama and revealing talents from now take very seriously.
resituation The Tsunami is the local imaginary pantheon Anaísa Pie, source of beauty, and Yemaya, life, motherhood, and Ogun, Yoruba god of life and death.
And this is coupled with the handling of the concept with the expertise of an accomplished writer, which will stage it or na
work to keep her under any excuse. The dramatic quality Garcia Cartagena, sturdy intellectual training, shows a vibrant vision and sensitive use of the deities of popular imagination to add this dimension by way of social criticism with grace is completely different from the pamphlet as usual when there are consistency, talent, training and clarity of vision. Claudio González Rivera and Vienna back on themselves, probably at higher levels of interpretation, to give life to their characters and goddesses. Rhythmic body movements, rhythmic and fully integrated with the text of García Cartagena. Theatre
Guloya probably has no clear responsibility
qu e le implies that the company got when he decided to mount. It is not good and multivalent achieve performances from three players, or to impress the audience with the perfection of the costumes (especially those of popular goddesses), that make you laugh and feel. This is more than praise these acts which now become part of theater history and say that it is possible to validate issues and scenarios for the immortality of theatrical activities "Made in RD." Noble clothing and use the skill that is evident in the scenery. Micky Thomas
Developer. Sparkling. Breath acting in perfect balance and grace. This graduate of the National Theatre School, we enjoy it in the 28, becoming part of theater history. Additional points if you figure linking facial expression and voice management. The tone of farce in the humor helps. An actor to be taken into account.
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