New technologies
and communication

REASON AND WORD, Number 2, Year 1, March-April 1996

ACTORS, PERSONAGES AND TECHNOLOGY: NOTES ON THE TECHNOLOGICAL THEATER

Fulvio Vaglio

As it is known, the school of Madrid has made a systemic model for the interpretation of the massive communication in its several aspects, known like Dialectic Model the Communication. This model considers the communicative fact like the result of the interaction between several systems: a Communicative system in strict sense (that it includes individuals, organizations, tools and rules for the production and the interchange of messages), a Social system (that include individuals, organizations, instruments and rules of production and reproduction of the socio-economic relations), and, in the version used here, a Mental system (that include individuals in their constant effort to take control perceptual and mentally of the world, that is to say, to constitute themselves like Subjects in front of the Object of knowledge, using for it information that is processed on the base of epistemological rules).

The individual, buy prescription tramadol without this model, appears therefore like buy prescription tramadol without being tricéfalo: actor in the process buy prescription tramadol without the communication, agent in its network of socio-economic relations, tramadol opiate buy prescription tramadol without in its mental adventure. (Evidently, the three heads are necessary for the survival of the monster and inseparable in the reality, although they can and they must conceptually be separated). Like communicative as well as subject actors of knowledge, the men buy prescription tramadol without handled a series of references that in some buy prescription tramadol without of the Dialectic Model conform a separate system, although in this test they will consider themselves rather like a subsystem of second order, that comprises of the primary subsystems rules for the production and the interchange of messages and epistemological tramadol without a prescription for the production of knowledge.

In particular, the operation of the Mental system deserves some explanation, especially with respect to the theater communication. The mental subjects we fulfilled our task of receiving information and of transforming it into knowledge of two different ways: first of all, receiving and processing information tramadol without a prescription the external world directly (the other of tramadol opiate psychoanalysis): that is to say, we underwent in own meat the drama, or the trauma, of the existence, and accumulated personal experience. Secondly, we successfully obtained tramadol opiate information of the observation of other people's experiences. It is obvious (and a infinity of times in a infinity of different ways has been said) that this second process could not at least begin to occur, but for the putting in operation of projection mechanisms: that is to say, that we learn in other people's skin in the measurement in which we recognize in Another one a maneuvers of we ourself, in its mental effort our own effort, in its fight to learn to live, something of our fight. Our experiences become epistemological rules for the appropriation from other people's experiences.

In this sense, the one has buy prescription tramadol without importance that the other is buy prescription tramadol without human being or a ficcional creation (this also has been said buy prescription tramadol without repeated). What counts is the communicative force with which the other people's experience hits to us and it forces to us to share it, and this is a language problem. If a live scene, of that we are eyewitnesses, hits more than a news article to us read in a newspaper, is because in first they operate buy prescription tramadol without subtle mechanisms of buy prescription tramadol without corporal communication besides buy prescription tramadol without other, quite coarse, of the verbal communication. Between these two ends (the actual testimony and the reading of the newspaper) it is all the range of the narrative and dramatic sorts, as much those whose referring one assumes real as those whose referring he is ficcional.

The tramadol without a prescription offers the example to us of one of these intermediate sorts. The theater personage, when reading the script of a work, seems to tramadol opiate maintain a quite strict kinship with the protagonist of a novel or a tramadol opiate poem; but when its skin is endorsed by a human being in meat and bone, that uses all the communicative tramadol without a prescription of its humanity, then the theater personage jumps of level, he acquires life, becomes (very communicationally) active. The theater is a completely interactive game of simulation, in which we experimented indirectly what would be tramadol without a prescription expensive to live personally. In this light the tramadol without a prescription appears, from the beginning and by its own nature, like the true virtual reality. If we accepted this principle, the aid of the computers for the theater representation can be considered like a useful and legitimate improvement of the comunicativas and mental tools; if we did not accept it, if we think that the virtual reality is in the machines and not in our minds, we will fall more in a transformation within the modernist palingénesis of the technological mirage.

During most of century XX, until good entered tramadol opiate Eighties, the experimentation with the technical aspects of the putting in scene tramadol opiate its land privileged in the cinematograph: no matter how much the rich theater of Broadway hurries to use expensive tramadol without a prescription more buy prescription tramadol without more tramadol without a prescription technology, this one does not constitute tramadol without a prescription one leaves small from great comilona technological that, chewed and predigested by the industry of the armament, is regurgitated and recycled in the movie studies, from MGM and Paramount in the Forties and fifty to buy prescription tramadol without and Zoetrope in the eighty. The theater is forced to recognize its inevitable one I leave behind buy prescription tramadol without respect to cinema. It can react to him trying to maintain an impossible competition in the technological plane: waste multimedia, with mediocre results, for rich countries (the real meaning of any putting in scene in Broadway, beyond the specific differences, is the glorification of the same Broadway). Or it can look for one specific different one: reducing to the size of the companies, lightening the scenes, undressing to the actors, like in the proposals of the poor theater of Grotowski and Barba (4), also resigning to the fixed costs of the hall theater, like in the street theater that resurged in America and Europe between the Sixties and the seventy, from tournées of the Living Theatre and through the Italian festivales of 1977 and 1978 (5); mixing itself, finally, with structured and more spontaneous forms of communication less like tramadol without a prescription , to originate the performance concept spurious. Wall-plate traditions recover, from the Commedia dell'Arte to the theater buy prescription tramadol without puppets, and the test that looks for in the theoreticians of century beginnings tramadol opiate Meyerhold, Vakhtangov) those traditions always were cheers.

The imagination, at the end of the Eighties, seemed to have established like enemy of the illusion: amodal suggestion, exercise of critical thought, first; modal perception, virtual embelesamiento, second (6); buy prescription tramadol without faces and buy prescription tramadol without half-naked bodies of the Theater Laboratory of Wroclaw, of the Living Theatre, the Odin Theatre, suggested masks and suits, whereas cinema of special effects proposed strong forms of subliminal seduction more and more. It enters types of spectacle both, imagination generator that becomes illusion constantly, was mimo, that figure so loved by Abraham Soft, that always is of other times, that it constructs to the personage in commençant even chapeau. Also they were buy prescription tramadol without certain imagination and illusion types of traditional buy prescription tramadol without like Ricardo III half man, half insect of London, 1983, or of theater-dance, like the animal toys half, half solid geometric of Mummenschantz. The others it seemed to be conservation, reproduction, ironic revisitación of the past, according to the opinions of aesthetic posmoderna.

Soon the virtual reality arrived. Nobody exactly knows what is (7), to part of that seems oxímoron (8). The provoking force of the concept is in his perceived contradictoriedad buy prescription tramadol without as little it would serve to explain that, indeed, the virtual thing is up-to-date antonym of and that the reality, as well as tramadol without a prescription represented it to us, always is a tangle tramadol without a prescription both states: again Schrödinger, quanta and the cat. The trap of the virtual reality consists of which it seems to use technology to update in tramadol opiate time our virtual representations, whereas tramadol opiate fact it uses our actions tramadol opiate represent in time-machine the virtual dreams that sleep within the technology. The ethical problems related to the virtual reality are not argument for this work; yes they are it, however, the possible applications of the virtual reality to the world of the theater. The past recent a dichotomy had proposed us: Hollywood, Broadway, tramadol without a prescription concerts MGP and rock (9) like industries ilusionists for public agglomerates in a single place; the television and videocine like products of marginal information (10) in which disappear the pretension of the absolute ilusionismo while it increases the character of individual satisfaction; now (or in the next future) the helmets of virtual reality found of the way better both better possible worlds: spectacle absolutely egoistically and in the same buy prescription tramadol without perfectly ilusionist, for the Candides of the living room.

The Canadian group of Transition State Theory (11) has been a microcompany of that sort. Formed by two engineers and one coreógrafa, with base in the city of Montreal that a another outside active center of patronage at the subcontinental level and now undergoes the progressive emptiness of the cities in decay, was the condemned to the new cultural nomadism of the era of the telefax. His resident, inventive engineer of a complex computerized machinery (GAMS) for the detection of movements, distributes great part of his time in fixed demurrages between Canada and Europe; the engineer-programmer-director and the coreógrafa-dancing-actress, travel to mount spectacles using local elements as actors, programmers, theatrical designers etc. At the time of the traveling comedy, TST would have been between the Ñaque, the Gangarilla and the Gangaleo:

He can seem ingeneroso to compare the technological theater with the accomplishments of Vakhtangov and Meyerhold. After all, one is an isolated tramadol without a prescription and just by five years of antiquity, still compared with the decades of training of the vagabond comedians and with the effervescence of experiments in the Russia of century beginnings. Nevertheless, which interests here is not to establish value judgments but of identifying lines of tendencies: in this aspect he is revealing, and he could consider itself tramadol without a prescription the one that the first attempts of group TST, which they have the declared objective to recommend well-taken tramadol opiate of in the use of the technology, propose of concealed way what here the trap buy prescription tramadol without the virtual reality has been defined : to use the physical actions of the actors to update programs that preexist virtually in the computers and whose characteristic is not the creative flexibility but the speed of answer. The actor, through machinery GAMS, does not create his own scene but a pre-established scene only modifies in time machine, within limited parameters. If Breath works like a species of kaleidoscope that responds to the movements of the diaphragm in place that of the wrist, GAMS is papagayo electronic that also makes faces and blinks (17). The technology imposes its discipline and the actor, when interacting with her, becomes a Untermarionette buy prescription tramadol without communicative actor and a Untermensch like mental subject.

In buy prescription tramadol without piece Surface tension, the dialogues are extinguished and mechanics; the personages do not have thickness of experience, their experiences are not accumulated, rather slip by the holes of their psychology-sieves (18); they do not learn, so their reciprocal relations do not evolve; when there are dramatic ruptures in the events, buy prescription tramadol without reaction buy prescription tramadol without is limited reach and of short duration. All this causes that the personages live in a acrónica dimension, a flow of spatio-temporal bubbles separated the one of the other, surround that them and protect. Thus certain formal similarity with the symbolist personages is explained, as tramadol without a prescription describes Meyerhold to them reflecting on the immovable theater of Maeterlinck: harmony of hardly perceivable voices, choir of quiet tears, sobs extinguished, tremors of hope (19). In Maeterlinck-Meyerhold this gave foot to an absolute care of the expressive form:

But then, one could be asked, still takes place the process of deployment between subject and personage, that has been considered here, until now, like the foundation of the dramatic story? Can the generic individual trust its process of mental affirmation of itself to something still more generic, like the technology, to realise through this one the experiments that can enrich their definition of itself and of the other? The answer must be negative. The personage, to work like alter of the ego, must be human, or at least have substantial anthropomorphous characteristics: extraterrestrial androids and (20) of science fiction, vampires of the gothic fiction (21), tramadol without a prescription and Gods of the myth, animal talking from Esopo to Walt Disney: all of them can ascend to the rank of protagonists insofar as they maintain sparkles (semas, social and culturally defined) of humanity; while less buy prescription tramadol without more easily they become antagonistic (although the opposite is not certain, because obvious there are very human antagonists); however, functionally, the antagonist is not in the same plane that the protagonist but in the same plane of the assistant of the protagonist: first it is an obstacle tramadol opiate the way buy prescription tramadol without the tramadol opiate the second is a aid in the same way; but the protagonist is the way of the knowledge and the autodefinición buy prescription tramadol without . Made these precisions, she is understood that an eye, a mouth, a hand extracted tramadol opiate their context (the human body) does not have a sufficient degree of anthropomorphism so that it triggers the process of the identification and the deployment; less still, when constantly they remember to the public his condition to him of technological monsters. The public leaves Surface tension without to have been able to conduct his operation of referential deployment: he has attended, more than to a spectacle, to a demonstration, as a housewife that has been invited to a friendly meeting and is in the middle of a Tupperware party; he has not found personages, not even symbols, but signs, graffitti erased by halves by winds tramadol without a prescription buy prescription tramadol without technological dependency on the face of the planet posmodernidad. What is worse, the buy prescription tramadol without leaves the work without realizing of which, tramadol without a prescription the pressure of the time or the difficulty of accomplishment, he has chosen himself sometimes to preprogram directly in the computer certain sequences of images, with that the interactive technology has been reduced to the rank of special effects (23). In front of buy prescription tramadol without unknown technology (unlike which it happens to a new personage), the cognitive subject is defenseless.

It is possible, perhaps until probable, that the limitations of the technological theater are surpassed. Some lines of buy prescription tramadol without development can only be indicated buy prescription tramadol without virtual perspective to be in tramadol opiate By what has been said previously, it would have to be clear that the use of the new technologies in the theater abre the possibility of constructing virtual scenes that, buy prescription tramadol without recites one of the parliaments of Surface tension, tramadol without a prescription correspond to buy prescription tramadol without displacements of the personages in the space. Or the traditional theater is, for several decades, using screens of projection or retroproyección to comment moments keys of the scenic action; now the technological theater abre the perspective of a scene turned into a single, immense screen. The sky is the limit, as it tramadol opiate in these cases the Hollywood glorification of the protestant ethics and the spirit of Capitalism: actors and public buy prescription tramadol without in circles of screens, sinécdoques visual in which a scenographic detail is amplified and multiplied until exceeding the threshold of human the perceptive capacities, like a placard MGP of Andy decomposed Warhol in the eye of an insect. Or a screen-vault, a planetarium whose galaxies are the faces of actors and public, fronts being buy prescription tramadol without up in constellations of gathered frowns, mouths exploding in superNovas of smiles, tears disappearing in black holes of sadness. And finally, within perhaps a pair of decades, when the costs buy prescription tramadol without been lowered the price of, the true virtual ghost, the hologram put within reach of the small theater production: ephemeral castles visited by finally truly incorporal phantoms (the dream of Craig), etéreas rooms in which vibrate momentary the appearance of a armchair, trumeau, a cortinaje, soon to dissolve to the threat of kick of the actor (the vision of Vakhtangov), walls like deep wells in which the words of the personages do not finish falling (the magical universe of Maeterlinck via Meyerhold).

The specificationses (internal to the Communicative system) to make tramadol opiate these fantasy a tramadol opiate are given, or almost. The subjective conditions (the availability of actors and public for virtual adventures) also, if one is due to judge by the increasing success of the tramadol without a prescription of virtual reality that begin to tramadol without a prescription a recognition on the part of the social system: kermesses traveling (Vienna 1992, Madrid and Los Angeles 1993, soon tramadol opiate and Berlin, Melbourne and Tokyo), xacobeos of pilgrims yuppies who become to tramadol opiate in all the inns, perhaps following the cyclical tramadol opiate of Great of the world the macrosystem, the peace conferences, the trips of the Pope, the Olympic Games. The Mental system is open as always to the most different possibilities, from the passive glorification of the technology to its critical and conscious use; but tramadol without a prescription the balance inclines in favor of the acrítico tramadol without a prescription and of the technological embelesamiento: in kermesses of tramadol without a prescription virtual reality (it finishes demonstrating itself in Madrid) the maximum success has the helmets of virtual reality, especially if through them novel forms of old woman videojuegos can be experimented; it seems then at least that the Social system has expressed its preference, until the millenium end. The oficiantes of the rite ilusionist take buy prescription tramadol without success, tramadol opiate the prophets of the critical imagination tramadol opiate in just reproduced marginality. Partly it buy prescription tramadol without his same fault: they are playing with a communicative technology in continuous revolution and is logical that this one (the permanent revolution of the Communicative system) happens to constitute the buy prescription tramadol without element in the collective representations of the public. Of here the necessity that, if is wanted to realise with lucidity a desacralizadora activity of the new technologies, a spacing between the mental process put in game by the work and the effective collective representations in the buy prescription tramadol without with regard to science occurs and technology. This will be difficult while the comedian is more technologist than artist, tramadol without a prescription constantly he will be paralyzed by his condition of brings back to consciousness unfortunate of the technique in buy prescription tramadol without he does not create, but that buy prescription tramadol without Perhaps the technological comedians would not have to write their own comedies. To the aim and end, Shakespeare and Molière are the exception and not the rule. While a Maeterlinck is not born, a Mayakovski, a Chejov of the surface tension, the comedian does not need to be tramadol opiate There is a virtual world that it tramadol opiate begin to become possible, past works (famous and) that hopes to be recovered and to be staged experimenting with technologies interactive and not realising what to Craig, Vakhtangov and Meyerhold to only it was given them to entresoñar. And, obvious, it is necessary to favor the multiplication of the groups of technological theater, because only one, in this case, is not better than nothing but it can much worse be.

Perhaps he is called on to the first decades of the next millenium to discover all the tramadol opiate of the interactive technologies. In theory, through GAMS, Breath or any other similar apparatus is possible to release to the comedian of the weight of the theater infrastructure, that is to say, the dependency of great the specialized corrals and deposit takers of all technology, restituting to him that freedom of movement that had the traveling social actor-agent before the Commedia dell'Arte. Excursus prevails here brief on the buy prescription tramadol without of the modern theater: if buy prescription tramadol without Taviani (24) is right, tramadol without a prescription history of buy prescription tramadol without buy prescription tramadol without tramadol without a prescription the last four centuries must be reconsidered and the traditional interpretations, rejected: the Commedia dell'Arte was not the buy prescription tramadol without of maximum development of the traveling theater, but the moment of its disappearance; buy prescription tramadol without in the middle of century XVI, crossed by enormous economic and social changes, that were pronounced in the Europe of the South through new system of ideological-cultural regulations restored by the Council of Trento and the buy prescription tramadol without impulse. The traditional company of traveling theater becomes rich, at least in Italy and in Spain, with the poetess-courteous enter the theater tramadol without a prescription of those (honestae meretrices, it defined the contemporary typology of the marginal professions: ups and downs of the classic figures of hetáira sáfica and geisha Japanese, foreshadowings - perhaps - of great cocotte of the century XIX), that the moralistic closing of the Contrarreforma was expelling from you cut and decent halls. The comedian, buy prescription tramadol without and more suspicious of immorality against the public buy prescription tramadol without and forced to a defensive position in the labor market, begins to sell theater: that is to say, he rents (in some cases he buys) scenic spaces preconstituted (the corrals) instead of buy prescription tramadol without look for luck in tramadol without a prescription cortijos. In those spaces, it begins to present/display dramatic materials of I vary sort (it defines it to Taviani as a specialist in the nonspecialization), developing that one capacity to replace with I devise tramadol without a prescription the improvisation to the difficulties that the continuous widening of the repertoire implies. The first stage of the process of reduction of the actor to theater worker begins here, who will not buy prescription tramadol without consumed until century XIX and he will not tramadol opiate his ideological sanction until the Theater October of Vakhtangov and Meyerhold. The Commedia dell'Arte was inseparable of the buy prescription tramadol without theater, although to find soothes definitive the comedians had to move to Naples tramadol opiate Fredi), Madrid (like Ganassa) or Paris (like Riccoboni).

To the technological theater of the future it will be given buy prescription tramadol without perhaps revert that tendency. We only can buy prescription tramadol without with futurist panoramas and a imagerie is as good as others. The one that glimpses here, it takes his place in a planet species desolated, competitive, violent: colapsadas catastrophic deserts or megalopolis, crossed by airborne magnetic detection Maxes and Blade Runners of the spectacle: ñaques or buy prescription tramadol without of the post-posmodernismo, small groups of comedians who take to hills their gel boxes and hairspray and that installs in the passages of the meter or the parks without grass, not a swaying platform and a faded curtain but its four loudspeakers GAMS and one battery of laptops. Or perhaps the same company dissolves, a buy prescription tramadol without dies (of AIDS in place that of smallpox), buy prescription tramadol without one falls in the temptations of the meretricium dishonestum or of pay a fixed Valley Silicone and it only buy prescription tramadol without to have alive the memory of the theater, the bululú; cybernetic, that as it is known is

1. A.M.RIPELLINO, Il trucco and l'anima: i maestri della governed nel theater russo of the Novecento, Turin, Einaudi, 1965, P. 133; J.A. CONCRETE, Introduction a: V.S. Theoretical Meyerhold, Texts, Madrid, Association of Directors of Scene of Spain, 1992, P. 27. Return

2. A.M. RIPELLINO, op. cit., P. tramadol opiate In another place (Ibid., pp.147-148), Ripellino mentions buy prescription tramadol without affectionate demystification that Eisenstein and Yutkevich did of buy prescription tramadol without meyerholdiana version of the scarf of Columbian (1905): buy prescription tramadol without of Schnitzler-Dohnány often attracted the Russian directors. (...) The veil of Pierrette was represented by Taírov with the title, and after the Eisenstein revolution, along with Yutkevich (he also tramadol opiate of Meyerhold), it planned a stranger put in scene for the Mastfor, the experimental teatrito of Foregger. (...) Both young registas titled his boceto the liguero of Columbian (...) with the dedication: To Vsèvolod Meyerhold, teacher of the Scarf - the aprentices of the liguero. Return

3. On the relation of Eisenstein and Meyerhold, cfr. RIPELLINO, op. buy prescription tramadol without pp. 288 - 289 ET passim. Return

4. Cfr. J. GROTOWSKY, Towards a poor theater, trad. ESP., Mexico, 21st century, 1983; E. BEARD, the Floating Islands, trad. ESP., Mexico, UNAM, 1984. Return

5. A tramadol opiate but precise reconstruction of the trajectory of the street theater, from Julian Beck tramadol opiate the Living Theatre, happening through Peter Schumann and Bread and Puppet, and arriving at the Festivales de Bergamo (1977) and Santarcangelo (1978), is in F. CRUCIANI-C. FALLETTI, Promemoria of the theater I gave strada, trad. ESP., Tascabile Theater I gave to buy prescription tramadol without - Publishing Group Newspaper, Mexico, 1992, pp. 89-160. Return

6. The concepts of modal and amodal complementing of the perceptive data belong to the study of the visual Gestalt and have been developed by G. KANIZSA, Grammar of the vision, trad. ESP., Barcelona, Paidós, 1986: we perceive amodalmente when we reconstructed with the imagination forms tramadol without a prescription we know nonexistent (for example, when we imaginary buy prescription tramadol without an irregular geometric figure that is contiguous with buy prescription tramadol without regulating, as if first it back was of, and hidden partially by, buy prescription tramadol without we replace modally when we see a nonexistent figure, as in the case of the triangle called indeed of Kanizsa, whose perimeter is not real, tramadol without a prescription suggested by geometric figures surround that it. Return

7. A magazine specialized that it promotes, to a certain extent, the theoretical reflection besides the technical update on the virtual reality exists. buy prescription tramadol without is Clean 2000, published in Berkeley, California. Generally, buy prescription tramadol without producers of the virtual reality seem exactly more you incline to experiment that to autodefinir itself. This does not mean that they do not know clearly the sociocultural coordinated ones in which they move. Cfr., for example, the interview of Brenda Laurel about multimedia and multiculture, in Clean 2000, n (u) 7, 1993, pp. 82-89. With regard to tramadol opiate applications of the virtual reality to the theater cfr. B. LAUREL, Computers ace Theatre, New York, Addison-Wesley, 1991. Return

8. Rhetorical tramadol opiate (metalogismo, according to others metasemema) consisting of tramadol opiate an element (habitually a noun) and another one (habitually an adjective) that can buy prescription tramadol without antonym of first; for example, l'obscure clairté qui buy prescription tramadol without DES étoiles of Corneille or the sublime ignominie of Baudelaire (cfr. GROUPE MU, Rhétorique Génerale, trad. ESP. Barcelona, Paidós, 1984, pp. 194-196), but also the traditional avant garde of a American publicity of fashions, or the institutional revolution of the Mexican policy. Return

9. He is not accidental that certain contemporary stagings of concerts of very different artists to each other (for example, Peter Gabriel, Brian Eno and the U-2) have made use of the infográfica and share, resorting in addition to common theatrical designers (in the mentioned case, the German Rolf Engel de Markgraph). Return

10. The cinema in videocassette, or the spectacle retrasmitido by buy prescription tramadol without is informative products not because they have the format buy prescription tramadol without the reporter or because they have a high neg-entropic value, measured according to the canons of the Information theory, but because they allow the spectator to obtain at least an aspect of the original tramadol opiate a marginal information, indeed, on the relayed event or the content of the prerecorded film. Return

11. Cfr. TST, Pamphlet buy prescription tramadol without presentation, mimeogr., Madrid, 1993; Rafael the personal Lozanos Hammer, Susan Ramsey, William Bauer, communications, March June 1993. The immediate antecedent of group TST is the PoMo-KoMo, group del that comprised Lozano-Hemmer and Bauer but not it Ramsey, that began to experience with theater and virtual reality at the end of the Eighties in Montreal. This group had reached buy prescription tramadol without majors, including musicians and clowns, but their performances had not arrived rennet bag in a buy prescription tramadol without structure from theater type. Return

12. AGUSTIN tramadol without a prescription RED VILLANDRANDO, Entertained Trip, (1603), cit. in S. tramadol opiate CEBALLOS (eds.), Techniques and theories of the scenic direction, Mexico, UNAM-Newspaper, 1985, pp. 40-43. Return

13. Name of the experimental theater directed by Meyerhold, with the pseudonym of Dottor Dapertutto; there one appeared, in 1910, the devotion de la Cruz of Calderon de la Barca (A.M.RIPELLINO, op. cit., P. 144). Return

14. In Princess Turandot of 1922: M. GORCHAKOV, Vajtangov: Lessons of régisseur, trad. ESP., Buenos Aires, ed. buy prescription tramadol without 1987, pp. 211-214. Return

15. Unrealised dream of Vakhtangov: Ibid., P. 130. Return

16. In Balaganchik de Blok, position in scene by Meyerhold in the Theater of buy prescription tramadol without Side the 31 of December of 1906: RIPELLINO, op. buy prescription tramadol without pp. 123-128. Return

17. In buy prescription tramadol without sample tramadol without a prescription buy prescription tramadol without virtual reality 2-M, organized in Madrid between April and May of 1993, two types of interactive technology appeared substantially: the one that, through helmets or spectacles, modify the subjective buy prescription tramadol without of the observer, and the one who transposes the screen modifications, recreating therefore the illusion of movable scenes. The Breath machinery, realised by the Ulrike German Gabriel, reacts to the variations in the breathing of the subject, creating abstract drawings in continuous movement. Machinery GAMS, the invention of the Canadian William Bauer used by group TST, react to the physical displacements of the subjects modifying photograms projected by connected apparatuses to computers. Although only GAMS presently is used in performances of theater type, seems obvious that all technology whose product is the modification of an external scene to the observer, has potential theater applications. The other type of technologies (helmets and spectacles) would belong, on the contrary, to the field of the individual reception and would constitute therefore a tramadol opiate of television and videocine. (The subject term is used here like experiment subject, not like cognitive subject). Return

18. For tramadol opiate image of psique incapable to learn like a sieve by that the knowledge slip, cfr. R. BRADBURY, Fahrenheit 451 (trad. ESP. Barcelona, Plaza and Janés, 1966), ESP. the second part: The sieve and the sand; generally, drawn the familiar relations of isolation for more than thirty years by the North American writer of science fiction have been quite similar to which is described in Surface tension. Return

19. V.E. MEYERHOLD, History and technique of the theater, cit., in MEYERHOLD, theoretical Texts, cit., pp. 166-168 (also for the following appointment). Return

20. Cfr. especially Terminator or Robocop, heirs of robots of I, Robot of Isaac Asimov; the androids of Alien and Aliens; the Jedi de Star Wars and the buy prescription tramadol without one of Enemy mine, heirs of the Man who buy prescription tramadol without on Earth de J. Travis. Return

21. Cfr. especially the version of Herzog (and now the one of Coppola) of Nosferatu; an antecedent in science exists fiction: Vanamunde, the interstellar vampire of The City and the stars, tramadol opiate Clarke. Return

22. Cfr. buy prescription tramadol without ECHO ET to., structural Analysis buy prescription tramadol without the story, trad. ESP., Mexico, 1984; V. PROPP, Morphology of the story of you foretell, trad it., Turin, Einaudi, 1966. I am not using, here, the buy prescription tramadol without of protagonist in the strict sense of the estructuralista buy prescription tramadol without in which each work does not admit but a single protagonist (cfr. M. TOWERS, Seminary of cinematographic guionismo, distributed in tramadol opiate Technological Institute of Monterrey, Atizapán, State of Mexico, September-October 1992); rather, I am proposing that a tramadol without a prescription of multiple joint (that is to say, with different keys from reading and with a tramadol without a prescription fable, like a novel, a film, a play) can have personages who in a buy prescription tramadol without level, or space, or by a certain buy prescription tramadol without monopolize the protagónica function, without for that reason stopping being personage-witness, or assistants, or until antagonists in the global economy of the work. Within the tramadol opiate of a complex work they are microcosm (acts, sequences, subplots) whose organization is as complex as the one of all the work and in that also different narrative rolls can be buy prescription tramadol without Cfr. G. GENETTE, Palimpsestes, Paris, Seuil, 1977. Return

23. At buy prescription tramadol without end buy prescription tramadol without the third act of Surface tension, one of the personages maneuvered ricetrasmisor GAMS (the baton) as if the image projected in screen (a speaking mouth) would respond to its own movements; in fact, the images were preprogrammed. The text pronounced by one of the personages at the beginning of the second act, that glorified the interactive virtues of the baton, created the possibility of the deceit, del that the spectator never realized. Return

24. All the interpretation that follows of the history of the Commedia dell'Arte is in F.TAVIANI-M. SCHINO, op. cit., Second Part (especially CAP. III, pp. 357-383). Also cfr., on the Comedians of the Art in Spain, C. PELLICER, Historical Treaty on the Origin and the Progress of the Comedy and the Histrionismo in Spain, Madrid, 1803, new ed. in tramadol without a prescription of J.M. TEN BORQUE, Barcelona, tramadol without a prescription 1975: pp. 52-53. Return

25. A. OF RED VILLANDRANDO, Entertained Trip, cit., in S. buy prescription tramadol without op. cit., pp. 40-41. Return

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