BOLIVARIAN REPUBLIC OF VENEZUELA

MINISTRY OF PEOPLE'S POWER FOR EDUCATION

BOLIVARIAN HIGH SCHOOL 'HUGO MONTIEL MORENO'

EDO-ZULIA MUNICIPALITY: MARA PARISH-SAN RAFAEL DEL MOJAN

INFOR
ME ORIGIN OF THEATER
EDUCA
TIVO
MADE BY:
YEFRI CAMARGO

CABIMAS, MAY 2017

 DEVELOPMENT
1 Origin of theater in the world: Dance is the first theatrical manifestation.
it arises in prehistory when man covered himself with animal skins and
he imitated the movements of the beasts he was going to hunt. The origin of theater was in the
ancient Greece where the Greeks attended the ceremonies of the gods in them they
they asked Dionysus (god of vegetation and wine) for the field to be fruitful
to achieve good harvests. The celebration consisted of a procession that
they were traversing avenues and streets and carrying the statue of the god Dionysus mounted on it
about a car, followed by dancers who were disguised and drunk;
Dionysus, according to belief, died in winter and was reborn in spring. In this
During the celebration, a ram (male goat) was sacrificed whose blood fertilized the
fields. During the sacrifice, the goblins (dancers) danced spinning over it
sacrifice to this was known as dithyramb. In the year 534 BC, Thespis was the one who created
the theater and during the rituals they would sing and cover their faces with masks they were
twelve men who formed a choir, and Thespis was the one who incorporated the use of
makeup by the actors.
The word TRAGEDY comes from (TRAGO) which means goat horns and ODES.
They mean songs or hymns, they were called tragedies because that is how they disguised themselves.
that formed the chorus to sing and dance in front of the audience. The first tragedies
they consisted of the songs of those choirs that represented the people and sometimes
they represented the truths to counselors or to the women of some city
linked like Troy, other times they represented truths like the furies or
supplicants.
Presistrato is the first actor of the Greek tragedy the word HYPOCRITE that
comes from (HIPO) which means masks that signifies what it represented
behind the mask.
The audience understood that sooner or later life ends with death, that is how it is.
how tragedy was born and with it the cathexis with which the audience
vented.
2 Origin of theater in Venezuela: The theater of Venezuela is one of the most
recognized and popular worldwide. It is a theater recognized for its
antiquity and also for the quality of its shows that do not leave one indifferent
to no one. Moreover, his works show how the theater of Venezuela has a great
influence of cultures from the earliest times to the period in which they are realized.
The theater is a form of collaboration of works of art that uses actors and
actresses to present to an audience the experience of a real or imaginary event
in a specific place and do it live. In the theater, it is represented through
gestures, words, singing, music or dance. It can also represent the
scenes with painted landscapes or other elements that give meaning to the setting
within the context of the theatrical work. Lighting and the
sounds to give immediacy to the experience.
Currently, there is also modern theater which broadly includes
representations of plays, musical theaters and connections between the
theater, dance, and singing. Theater in Venezuela did not begin with the arrival of the
Spaniards, but it was already in effect among its citizens long before. The theater
Venezuelan began in the time of the American aborigines. They showed
different scenarios with artistic demonstrations for people who
they enjoyed it.
Later, with the arrival of the Spaniards in American lands, theater had a
great evolution, especially since the 17th century. The first beginnings of the
theater - as theater itself - in Venezuela began around the year 1600 with the arrival of
the Spaniards. When the Spaniards arrived and carried out the first
theatrical representations, most of the themes were religious and people liked them
I liked and enjoyed contemplating them. In those years, they began to be made.
theater works also in Caracas and the authors were mostly of origin
Spanish and had a very baroque scenic projection.
People really liked the theater because it was a way of
entertainment that amused them and made time pass pleasantly together
with their loved ones. After that, they had a topic of conversation and could have a
escape for a while from the reality of their lives. After they made
the first theatrical works, is when the expansion of other forms began
cultural expression, as many people began to develop different
actorial interpretations in religious festivals. In addition, there began to be
other themes although the religious theme was the most acclaimed and the one that prevailed
I used to use them even if they were different works, because the religious works were the ones that
the more popularity they had. If they wanted a play to have a large audience
that I should go see her, it should be a play with a religious theme.
In the following century, during the 18th century, the first ones began to be built.
corrals and comedy yards, and the theater of Venezuela began to spread
although the most popular works and those that attracted the most people always
were held in the main squares.
In the year 1767 something very important happens for the theater of Venezuela and it is that
two plays by Venezuelan authors are being premiered, something unheard of since
Usually, it was Spanish authors who represented the plays.
The names of the plays were: 'Auto Sacramental of Our Lady of
Rosario and the other had a short name: 'Loa'. One of the characteristics
The main aspect of these works is that they had cultural influences from both Spanish,
like English and American women. Something that the audience liked a lot, and it was done.
famous quickly.

Great authors of Venezuelan theater

César Rengifo
Venezuelan theater began to develop in the modern era from 1945.
being one of the best-known authors, César Rengifo. César dedicated himself to theater.
on topics related to the economy and the issues with oil, although
he/she also dedicated himself/herself to historical topics.

Isaac Chocrón
Isaac Chocrón was a playwright actor who stood out as a person
businesswoman within the theater and also, he was a professor at the university. In his
theaters aimed to show the public the concerns of people in
Venezuela.
José Ignacio Cabrujas
Within the historical theme of theater, we also find José
Ignacio Cabrujas, who was part of the first generation of modern theater.
in Venezuela. It tries to showcase Venezuelan culture without being so influenced
with the external culture of the country.

Gilberto Pinto
This actor is also concerned about social issues and that's why, being a
author within the sixties, will stand out for producing a theater that reflects
clearly the daily problems of Venezuela, where the public feels very
identified.
Román Chalbaud
Román Chalbaud conveys excitement in his performances and shows the population the
changes in the country, especially those changes and difficulties that must be faced by the
people, the bad manners they receive when they transition from the hard life of the countryside to
the city to earn a better living. It also shows how vandalism is
something habitual and like many criminals only find in theft the way to
to be able to survive in a barely safe country.

How you can check Venezuelan theater from its beginnings and until the
current affairs has always leaned towards responding to and teaching the political reality and
social of their country, using culture for the viewer to reflect and
change reality. Because in the end, we are the only people
responsible for our society and what can happen in it. And it is that the
Theater really is this… offering the audience the opportunity to experience stories.
through real or fictional characters, but also to give them the opportunity
to be able to reflect on the reality of society, on the suffering of the
people or the achievement of others... reflecting on what they can do
they to improve everything.
3 Origin of theater in Zulia: To talk about the cultural history of the state of Zulia,
It is necessary to go back to July 24, 1883, the date on which it was inaugurated.
the Baralt Theater, a significant space that was originally conceived for the
diffusion of the performing arts of the Zulia people.
This theater that has marked the artistic vanguard of the region celebrates today its
131st anniversary. Currently, this historic and functional space of cultural heritage
It is part of the Cultural Axis project of Zulia, developed by the University of
Zulia (LIGHT).
As it is a diffuser space for the performing arts, the Ministry of Power
Popular for Culture is one of its many institutional allies. The Center
National Theater (CNT), the Institute of Performing Arts and Music (IAEM),
among others, are counted as sponsors. Review of the Baralt Theater
Before the Court of Spain in 1811, the first request for a theater was made for
Maracaibo. However, this task proves fruitless. In light of this reality, in
1840, Miguel Antonio Baralt improvises on his own initiative in the yard of his
residence a theater with a roof of bulrushes.

The passion generated by this theater drives the creation of the Unión Society, the
who advocates before the authorities for the construction of a building of their own for
the presentations of theatrical works.
Sharing the same vision, General Rafael Parra decrees on July 28,
1877 the construction of the Baralt Theater. The project was presented by the engineer
Cuban Manuel de Obando was approved in public consultation by the people.
This way, the first stone is placed at the corner where they intertwine.
Venezuela Street and Urdaneta, near Bolívar Square.
The Baralt Theater shone in the middle of the city. Its majestic architecture,
adorned with a portico formed by four impressive Tuscan columns
and a terrace protected with iron railings allowed the town to enjoy
musical and cinematic presentations.
Pioneer in film
On July 11, 1896, businessman Luis Manuel Méndez brought to the city the
called vitascope (movie projector) by the American inventor Thomas
Edison. A young enthusiastic Zulia photographer named Manuel Trujillo Durán is
the operator of that first cinematographic machine.
In the face of a cinematic boom, full of itinerant projections by
Edison and Trujillo, two feature films produced in the land were contemplated.
marabinas, supposedly with a Lumière cinematographer and by Trujillo himself.
Thus, on January 28, 1897, they are projected at the Baralt Theatre and throughout
Venezuela the films titled: Boys bathing in Lake Maracaibo
and famous specialist extracting teeth at the Grand Hotel Europa. By virtue of such
immediate ingenuity of Creole cinematography, all the Venezuelan people commemorate
this date as National Cinema Day.
Restorations of the Baralt Theater
The Baralt Theater underwent different stages of restoration. The first of them
it happened in the year of 1928, when General Vicente Pérez Soto orders and executes
the demolition. The Belgian architect Léon Jerome was responsible for the new
creation and thanks to the use of an ancestral technique, the discovery was possible
archaeological of the Baralt Theatre from 1883.

Since 1955, this cultural space has been managed by the University of
Zulia (LUZ). Its first restoration struggle begins in 1973, when it
submit a report to the Directorate of Culture of that educational institution and
presents the severe deterioration of the building.

Among its greatest achievements is the declaration of the Baralt Theater.

as a National Monument, according to Official Gazette No. 32,347. After work on
historical and iconographic research of the building by LUZ, for the year of
Restoration work began in 1986. Finally, in 1998, for enjoyment and
the recreation of the entire Maracaibo town and the country takes place with the reopening of the
Baralt Theater.
4 Origin of theater in Mara: The Autonomous Service Municipal Theater Castor Emilio
Almarza is a space recovered by the Bolivarian Government of Mara, to
sensitize and educate the population about the need to know and preserve the
cultural heritage of the Guajira Subregion.
Nowadays, the people of the Mara municipality have a space that guarantees the
strengthening of the arts and culture of the area; when three years ago
it was reinaugurated for the entire Marense community.
Lennys Quintero, general director of the Autonomous Municipal Theater Castor
Emilio Almarza expressed: 'We are celebrating an anniversary, thank God we have reached the
third anniversary of the Castor Emilio Almarza Theater, which has been for 21 years
with its doors closed and thanks to the government of Luis Gerardo Caldera,
the Guajira subregion has a dignified space to create culture that
We are developing day by day, both in schools, communities, and
in the different spaces of our municipality" During these three years, the Theater
Municipal Castor Emilio Almarza has received support from different
institutions such as; Government of the state of Zulia, Bolivarian Mayor's Office of Mara,
Azudanza, Danzaluz, University of Zulia, Faculty of Arts, Ministry of Power
Popular for Culture, the Network of Theaters, among others.
At the Cultural Colossus, Solidarity Dance meetings have been held, supported
for Azudanza sharing Marense culture with other countries. Similarly,
Quintero highlighted the work done by other institutions. 'They have supported us.
during these three years, and they have delighted us with national meetings and
international, the Ministry of Culture, which has been one of the pillars for the
theater and for the cultural part of the municipality, the Bolivarian Mayor's Office of Mara,
Government of the state of Zulia, and the Network of Theaters, which have been those pillars
fundamentals, which have allowed us to continue strengthening our
culture, not only in the municipality but in the entire Guajira subregion
Among the programs offered by the Castor Emilio Almarza Municipal Theater, there is
the cultural Sunday, and the community route, serving as a link with the communities.
Similarly, Lennys Quintero emphasized: "we invite all the
communities and the communal councils, and we through the cultural route
we bring those communities, also the different shows, we have those
links
Among the foundations that operate in the Castor Emilio Municipal Theater
Almarza, Nationalist Dances Foundation, Mara Theater, Soteve, School of
Music Jesus Finol; featuring a musical core that is found in the
music school, where 99 students from the entire subregion are currently studying
Guajira.
These institutions provide artistic support, knowledge regarding
dances, theater, music, among others.
The General Director of the Autonomous Service Municipal Theater Castor Emilio
Almarza, Lennys Quintero, stated: "We have the support of the
educational institutions, which is important to highlight, all that support at the level
educational, we go to the schools, the schools come to us, it is a
link that becomes institution- theater- community
5 Develop an original play:
A Doll's House (play)
A Doll's House is a dramatic work by Henrik Ibsen. His play is
premiered on December 21, 1879 at the Royal Danish Theatre in Copenhagen.
Its original title in Norwegian is A Doll's House.

A Doll's House was written two years after The Pillars of Society and
it was Ibsen's first dramatic work that caused a sensation. Today it is
perhaps his most famous work and it is mandatory reading in many schools and
universities. When A Doll's House was published, it generated great controversy, as
that strongly criticizes the marriage norms of the 19th century. Although Ibsen
she denied that her work was feminist, but it is considered by many critics as the
the first true feminist play.
Review
A Doll's House describes the family situation in which Nora finds herself.
Helmer, the protagonist, and from whom he tries to escape: a man is looking for her to
blackmail her for a loan she requested in secret years ago, which is why Nora
she must hide it at all costs from Torvaldo, her husband. When the problem comes to light
light, discovers that her husband, deep down, considers her nothing more than an object of his
property, resulting in an unexpected outcome that implies a
a radical twist in the plot at the end of the play. And which she decides to leave the house and
abandons her three children.
Characters
Nora Helmer – Protagonista.Mujer de Torvaldo y madre de tres niños:
Ivar, Bobby and Emmy. Apparently fragile and manipulable, their lives will change.
definitely as a result of a series of dramatic events during
the course of the work.
Torvald Helmer - Nora's husband. When the play begins, it is known
that has been promoted within the bank where he/she works, starting to
work as a director after Christmas, a time when
develop the work.
Dr. Rank – Doctor, wealthy and friend of Nora and Torvaldo. Both of them
They are considered part of the family. He feels a certain secret attraction to Nora.
As a curious fact, it is said that he suffers from a kind of
tuberculosis of the spine
his father contracted syphilis, which caused these effects on Rank.
Kristine Linde - Nora's friend since school, widowed, anxiously seeks a
job to survive, so he will decide to ask Nora for help and her
husband
Subordinate employee to Torvald at the bank. Father
single, finds himself in despair when Torvaldo discovers that
he has not played fair at the bank and decides to fire him. The actions that
Krogstad will proceed after the threat of dismissal will be and have
determinants for the future of Nora and Torvald.
Ivar, Bobby, and Emmy - Children of Nora and Torvaldo. They are very young and
his role is almost testimonial during the play.
Anne Marie - Nora's former nanny, now dedicated to caring for the
children of the Helmer marriage.
Helene - Young assistant of the Helmers.
The goalkeeper - His role is exclusively reduced to the delivery of the tree.
Christmas at the Helmer home at the beginning of the play.