CRITICISM OF Percy Encinas
Peruvian Association of Theatre Critics Research and
Founding Director of the School of Performing Arts and
Literaturade Scientific University of the South.
Director of the International Theatre Festival UCSUR
Huancavelica, I love you so much.
Group: Chaupimayo
Theatre, throughout history and around the world, has multiple functions, various teleologies. Western origins are traced around religious rituals and spirits, gods and heroes. Speeches scenic, too, have been known to associate in different cultures celebrations agricultural rituals of war, transmission of traditions, celebrations and festive expressions cyclical.
And in these territories called Peru for 4 centuries, the discourse for the representation have also been used with great effectiveness, for teaching, evangelizing from colonial times, teaching school, from the Republic, or class teaching, theater-like class of Victor Zavala, or as the servant for indoctrination in the rise of Sendero and well glossed Hugo Salazar in his book Theatre and Violence -. This brief reflection, as a quick count, is the case after have seen the work of Chaupimayo of Huancavelica. 
The work of this young group, led by Alder Yauricasa I've known for some years and in the work now comment reiterates the virtues he recalled: spatial appropriation in the scene, choreographed theatrical language based on well-coded, where the physical rigor of the director-actor sets the standard dramatic and meaningful to the gestures of collective local traditional materials: the history, the costumes, the dramatic plot. 
This work is decided by a central objective that no secret or hidden, on the contrary, it reveals from the title: "Huancavelica, I love you so" and that goal is to celebrate the folklore in your area. 
For this purpose, has used a number of typical characters, myths and dances of Huancavelica. Returning to my introduction, I'm clear now that the stage speeches can also be used for other genres, related to tourism promotion and teaching folk. 
The intention is as valid as any other, such as evangelism or conversion to the Christian message, through modest comedies and dramas, or lavish mystery plays, or attempts, through theater, to transmit other information. 
In the grounds of artistic creation, I do not think in these times of creative autonomy, nobody can prevent goals. What I can not avoid is the estimated quality of artistic performance. Posted to the trial level, the work of Chaupimayo get their best moments in the choreography stage, when developing dance group, or movement as the precise coordinates (and beautiful) scene of the miners. 
stage movements are restrained and connotative and aesthetic controlled. And dances, borrowed from the rich, syncretic and mestizo heritage Huancavelica, are suggestive and performed with grace and, above all, with rigor. 
I found them very readable and compelling images of the scissors dancer barely sketching the scene with a few thrifty but effective gestures physical. I do observe points relate to the drama of narratio, the story and through the work excuse. I sense that is not frozen and remains at the level of a fable unfinished. I think there is, in the intention to form this huge mural, that multiple altarpiece, an impossible aspiration: the representation of everything. And that whole multifarious huancavelicano includes dances, folklore, costumes, ancient myths (the taki onkoy), historical problems (mercury and its ambivalent effects on the people), races, classes and crafts and even nostalgic agendas as "my traditions , my habits. " In the latter lies to me one of the fissure important textualization use explicit messages that the theater is intended to convey, express appeal to the statement, is not relying on the possibilities of theatrical language. When at last, all the characters lament-more-demanding "do not kill the culture," are demonstrating that they have not relied on theatrical modes of speaking, of communicating, of being moved. Then, if the proposed formula is a work that showcases the cultural richness of its people, deployed as a catalog as a living tableau: the altarpiece must convince me, without having to resort to crude message, you must move around to testing and the ban of their loss. The talented group led by Yauricasa, is how. Even has the Apu huamani on their side.
The work of this young group, led by Alder Yauricasa I've known for some years and in the work now comment reiterates the virtues he recalled: spatial appropriation in the scene, choreographed theatrical language based on well-coded, where the physical rigor of the director-actor sets the standard dramatic and meaningful to the gestures of collective local traditional materials: the history, the costumes, the dramatic plot. This work is decided by a central objective that no secret or hidden, on the contrary, it reveals from the title: "Huancavelica, I love you so" and that goal is to celebrate the folklore in your area. For this purpose, has used a number of typical characters, myths and dances of Huancavelica. Returning to my introduction, I'm clear now that the stage speeches can also be used for other genres, related to tourism promotion and teaching folk. The intention is as valid as any other, such as evangelism or conversion to the Christian message, through modest comedies and dramas, or lavish mystery plays, or attempts, through theater, to transmit other information. In the grounds of artistic creation, I do not think in these times of creative autonomy, nobody can prevent goals. What I can not avoid is the estimated quality of artistic performance. Posted to the trial level, the work of Chaupimayo get their best moments in the choreography stage, when developing dance group, or movement as the precise coordinates (and beautiful) scene of the miners. stage movements are restrained and connotative and aesthetic controlled. And dances, borrowed from the rich, syncretic and mestizo heritage Huancavelica, are suggestive and performed with grace and, above all, with rigor. I found them very readable and compelling images of the scissors dancer barely sketching the scene with a few thrifty but effective gestures physical. I do observe points relate to the drama of narratio, the story and through the work excuse. I sense that is not frozen and remains at the level of a fable unfinished. I think there is, in the intention to form this huge mural, that multiple altarpiece, an impossible aspiration: the representation of everything. And that whole multifarious huancavelicano includes dances, folklore, costumes, ancient myths (the taki onkoy), historical problems (mercury and its ambivalent effects on the people), races, classes and crafts and even nostalgic agendas as "my traditions , my habits. " In the latter lies to me one of the fissure important textualization use explicit messages that the theater is intended to convey, express appeal to the statement, is not relying on the possibilities of theatrical language. When at last, all the characters lament-more-demanding "do not kill the culture," are demonstrating that they have not relied on theatrical modes of speaking, of communicating, of being moved. Then, if the proposed formula is a work that showcases the cultural richness of its people, deployed as a catalog as a living tableau: the altarpiece must convince me, without having to resort to crude message, you must move around to testing and the ban of their loss. The talented group led by Yauricasa, is how. Even has the Apu huamani on their side. 
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