In 2007, Dixon was chosen as Artistic Director of the Bogotá theatre Anhelo del Salmón, with where he staged Waiting for Godot by Samuel Beckett. This production has had successful runs in Cali, Medellin and Bogotá, and has been invited to the XII Festival Iberoamericano de Teatro in Bogotá in 2010.
Productions
Waiting for Godot by Samuel Beckett. Premiere: Guarne, Antioquia, August 2008.
The Misanthrope by Moliere. Premiere: Casa del Teatro, Bogotá, May 2010
Workshops
Analysis of Five Canonical Plays, October 2009
Rhythm and the Theatre of the Absurd, July 2009
Workshops for the XII FITB, 2010
"Theatre Games Workshop", Theatre Training Workshops for Teenagers, in conjunction with the District Secretariat for Culture, Recreation and Sports, January to March 2010
"Theatre Games Workshop", Theatre Training Workshops for School Teachers, in conjunction with the Ministry of Education, March 2010
Sunday, April 1, 2007
Monday, February 27, 2006
Beef, no Chicken by Derek Walcott
The Pacific Workshop for Young Artists in Buenaventura
and Four Worlds Research Group presents:
CON CARNE, Y SIN PESCADO.
Colombian adaptation of the play by Derek Walcott.
(Santa Lucía, Caribbean. Nobel for Literature, 1994)
Oscar Javier Martínez and Luis Fernando Borja in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Sponsored by:
Arts Direction, Ministry of Culture
University del Valle - Pacific Branch
Theatre Department, University del Valle
XIV Pacific Book Fair and University Week
Directed by: Manuel Viveros, Everett Dixon
Colombian Adaptation: Manuel Viveros, Everett Dixon and the Young Artists' Workshop
Assistant: Diego Burgos
Project Director, Four Worlds Research Group: Everett Dixon
Production Manager: Carol Maritza Hurtado
Marling Rentería, Jhon Erick Caicedo and Jency Rentería in Beef, no Chicken. (Photos: Carol Maritza Hurtado)
What is progress? For many people, progress is the materialization of their dreams, but few think in the consequences of progress. In these times of globalization, open markets, and free trade treaties, the aspiration to belong to the so-called first world can make us forget our priorities as human beings who belong to a community: to forget our principles and our respect for others. Palo Mojado, our Pacific Coast version of Walcott's Couva, is a metaphor for any place where the constant aspiration of the distant provinces to acquire a better life is confronted with the necessity to conserve the old traditions which the new life wants to destroy.
Oscar Javier Martínez, Luís Fernando Borja and Marling Rentería in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Derek Walcott (Santa Lucía/Caribe, 1926)
Caribbean poet and playwright born on the little sovereign island of Santa Lucía (140.000 inhabitants), who works in the United States and Trinidad, Walcott is considered one of the greatest poets in English of the twentieth century. His works develop a remarkable dynamic between a highly refined traditional English and Caribbean patois, with its fusion of African, Asian and European elements. The conflict in his plays and poems often revolves around the necessity for progress but the urgency to preserve lost traditions, and has much in common with another great Trinidad writer, V. S. Naipaul. His masterpiece, Homeros, for which he won the Nobel prize in 1992 (twelve years before Naipaul), is a modern version of motifs from the Odyssey, where the Aegean is replaced by the Caribbean. In 1959, he founded the Trinidad Theatre Workshop, and with them wrote and premiered a series of excellent theatre plays which are still unknown in the English-speaking world.
Marling Rentería in Beef, no Chicken by Derel Walcott. (Photos: Carol Maritza Hurtado)
CAST
Faustina Silva, a woman from the Atlantic Coast: Jency Rentería
Otoniel Posso, restaurant and auto shop owner: Jhon Erick Caicedo
Epifania Posso, his sister: Marlin Rentería
Haragan (Radio), an idler: Luís Fernando Borja
His CD Player: Oscar Javier Martínez
Luís Pérez, schoolmaster: Ricardo Buenaventura
Carmenza Douglas, Otoniel's niece: Angie Yulieth Arroyo
Danilo Maldonado, a television newscaster: Oscar Javier Martínez
First Bandit: Ferley Salazar
Second Bandit: Yey Freddy González
The Mayor, also called Pablo Dos Santos: Edison Herrera
Lucy Balanta, widow: Angie Yulieth Arroyo
Don Toribio Viafara, member of the Municipal Council: Adolfo Hernández
Don Lai-Fuk: member of the Municipal Council:Ferley Salazar
Fernando Taylor, ex-merchant seaman: Oscar Javier Martínez
El Diácono, a vagabond preacher: Jhonny Castillo
Setting: Palo Mojado, a village in any part of Latin America, in the present.
and Four Worlds Research Group presents:
CON CARNE, Y SIN PESCADO.
Colombian adaptation of the play by Derek Walcott.
(Santa Lucía, Caribbean. Nobel for Literature, 1994)
Oscar Javier Martínez and Luis Fernando Borja in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Sponsored by:
Arts Direction, Ministry of Culture
University del Valle - Pacific Branch
Theatre Department, University del Valle
XIV Pacific Book Fair and University Week
Directed by: Manuel Viveros, Everett Dixon
Colombian Adaptation: Manuel Viveros, Everett Dixon and the Young Artists' Workshop
Assistant: Diego Burgos
Project Director, Four Worlds Research Group: Everett Dixon
Production Manager: Carol Maritza Hurtado
Marling Rentería, Jhon Erick Caicedo and Jency Rentería in Beef, no Chicken. (Photos: Carol Maritza Hurtado)
What is progress? For many people, progress is the materialization of their dreams, but few think in the consequences of progress. In these times of globalization, open markets, and free trade treaties, the aspiration to belong to the so-called first world can make us forget our priorities as human beings who belong to a community: to forget our principles and our respect for others. Palo Mojado, our Pacific Coast version of Walcott's Couva, is a metaphor for any place where the constant aspiration of the distant provinces to acquire a better life is confronted with the necessity to conserve the old traditions which the new life wants to destroy.
Oscar Javier Martínez, Luís Fernando Borja and Marling Rentería in Beef, no Chicken by Derek Walcott. (Photo: Carol Maritza Hurtado)
Derek Walcott (Santa Lucía/Caribe, 1926)
Caribbean poet and playwright born on the little sovereign island of Santa Lucía (140.000 inhabitants), who works in the United States and Trinidad, Walcott is considered one of the greatest poets in English of the twentieth century. His works develop a remarkable dynamic between a highly refined traditional English and Caribbean patois, with its fusion of African, Asian and European elements. The conflict in his plays and poems often revolves around the necessity for progress but the urgency to preserve lost traditions, and has much in common with another great Trinidad writer, V. S. Naipaul. His masterpiece, Homeros, for which he won the Nobel prize in 1992 (twelve years before Naipaul), is a modern version of motifs from the Odyssey, where the Aegean is replaced by the Caribbean. In 1959, he founded the Trinidad Theatre Workshop, and with them wrote and premiered a series of excellent theatre plays which are still unknown in the English-speaking world.
Marling Rentería in Beef, no Chicken by Derel Walcott. (Photos: Carol Maritza Hurtado)
CAST
Faustina Silva, a woman from the Atlantic Coast: Jency Rentería
Otoniel Posso, restaurant and auto shop owner: Jhon Erick Caicedo
Epifania Posso, his sister: Marlin Rentería
Haragan (Radio), an idler: Luís Fernando Borja
His CD Player: Oscar Javier Martínez
Luís Pérez, schoolmaster: Ricardo Buenaventura
Carmenza Douglas, Otoniel's niece: Angie Yulieth Arroyo
Danilo Maldonado, a television newscaster: Oscar Javier Martínez
First Bandit: Ferley Salazar
Second Bandit: Yey Freddy González
The Mayor, also called Pablo Dos Santos: Edison Herrera
Lucy Balanta, widow: Angie Yulieth Arroyo
Don Toribio Viafara, member of the Municipal Council: Adolfo Hernández
Don Lai-Fuk: member of the Municipal Council:Ferley Salazar
Fernando Taylor, ex-merchant seaman: Oscar Javier Martínez
El Diácono, a vagabond preacher: Jhonny Castillo
Setting: Palo Mojado, a village in any part of Latin America, in the present.
Saturday, September 18, 2004
A Midsummer Night's Dream by William Shakespeare
Stage Direction: Everett Dixon
Production Design: Jorge Reyes
Choreography: Charles Vodoz
Theatre Department, Del Valle University, Cali, Colombia
Premiere: September 17, 2004
Helena, Hermia and Lisandro (Ana María Gómez, Elizabeth Patiño and Juan Cely) in Midsummer Night's Dream by William Shakespeare. (Fotos: Juan Carlos Cuadros)
Es bien conocido que William Shakespeare es el plagio más ilustre de la historia del teatro, y que el gran dramaturgo inglés la pasaba saqueando obras de otros autores. Hay una notable excepción a esta regla, sin embargo, y esta excepción se llama Sueño de una Noche de Verano. Fruto único de la imaginación de Shakespeare, también resulta, en términos técnicos, su obra más perfecta, y si borras todos los plagios del repertorio del maestro y te quedas sólo con esta obra única, Shakespeare no dejará de ser el más grande dramaturgo inglés. Concisa y veloz, compuesta en verso tan impecable como las obras neoclasicistas francesas, repleta de giros sorprendentes llenos de sentido metafórico, sin dejar (anticipando a Molière) de plantear situaciones cómicas primitivas, esta obra también encierra una filosofía humanista más amplia que cualquier adaptación escénica pudiera comunicar, especialmente en nuestra época sin convicciones. En efecto, son convicciones muy fuertes que impulsan a los personajes: añade al dicho inglés All's fair in love and war las palabras “and play”, y tendrás las apuestas de esta obra. Los personajes persiguen sus metas cueste lo que cueste, pero no terminan castigados como en Romeo y Julieta, sino Shakespeare, con una risa homérica, los asusta, los hechiza, los violenta de tal manera que se dan cuenta de su fragilidad como seres humanos... y los deja en libertad.
Production Design: Jorge Reyes
Choreography: Charles Vodoz
Theatre Department, Del Valle University, Cali, Colombia
Premiere: September 17, 2004
Helena, Hermia and Lisandro (Ana María Gómez, Elizabeth Patiño and Juan Cely) in Midsummer Night's Dream by William Shakespeare. (Fotos: Juan Carlos Cuadros)
Es bien conocido que William Shakespeare es el plagio más ilustre de la historia del teatro, y que el gran dramaturgo inglés la pasaba saqueando obras de otros autores. Hay una notable excepción a esta regla, sin embargo, y esta excepción se llama Sueño de una Noche de Verano. Fruto único de la imaginación de Shakespeare, también resulta, en términos técnicos, su obra más perfecta, y si borras todos los plagios del repertorio del maestro y te quedas sólo con esta obra única, Shakespeare no dejará de ser el más grande dramaturgo inglés. Concisa y veloz, compuesta en verso tan impecable como las obras neoclasicistas francesas, repleta de giros sorprendentes llenos de sentido metafórico, sin dejar (anticipando a Molière) de plantear situaciones cómicas primitivas, esta obra también encierra una filosofía humanista más amplia que cualquier adaptación escénica pudiera comunicar, especialmente en nuestra época sin convicciones. En efecto, son convicciones muy fuertes que impulsan a los personajes: añade al dicho inglés All's fair in love and war las palabras “and play”, y tendrás las apuestas de esta obra. Los personajes persiguen sus metas cueste lo que cueste, pero no terminan castigados como en Romeo y Julieta, sino Shakespeare, con una risa homérica, los asusta, los hechiza, los violenta de tal manera que se dan cuenta de su fragilidad como seres humanos... y los deja en libertad.
Friday, September 17, 2004
Mariinsky Theatre, Petersburg, 2004-2007
(The first opera was performed in Russian, and the second in Italian. The capital letters indicate the languages spoken in rehearsal, where I is Italian, R is Russian, E English and F is French.)
Directing Assistant and Interpretor for Alain Maratrat, actor of Peter Brook's Centre International des Recherches Théâtrales, and opera director. The conductor in both cases was Valery Gergiev.
Love for the Three Oranges. Opera by Sergei Prokofiev. (F-R) March 2007
Website at the Mariinsky Theatre
The Voyage to Rheims. Opera by Giacomo Rossini. (I-R-E-F) April 2005 (French premiere, Théâtre du Châtelet, Paris, December 2005)
Website at the Mariinsky Theatre
Larissa Yudina performs Folleville’s aria from Viaggio a Reims on Youtube
Gran Pezzo from Viaggio a Reims on Youtube
Directing Assistant and Interpretor for Alain Maratrat, actor of Peter Brook's Centre International des Recherches Théâtrales, and opera director. The conductor in both cases was Valery Gergiev.
Love for the Three Oranges. Opera by Sergei Prokofiev. (F-R) March 2007
Website at the Mariinsky Theatre
The Voyage to Rheims. Opera by Giacomo Rossini. (I-R-E-F) April 2005 (French premiere, Théâtre du Châtelet, Paris, December 2005)
Website at the Mariinsky Theatre
Larissa Yudina performs Folleville’s aria from Viaggio a Reims on Youtube
Gran Pezzo from Viaggio a Reims on Youtube
Tuesday, January 8, 2002
Theatre Department, Universidad del Valle, Cali, Colombia, 2002 - present
In 2002, he was granted tenure at the Universidad del Valle, in Cali, Colombia, where he has staged over twenty productions, many his own translations of classic and contemporary Irish, Russian and post-colonial playwrights who are unknown in Colombia, often with an emphasis on playwrights for women. He has also published several articles for the Faculty of Arts review, Entreartes, has contributed to the curricular development of the Department, has participated in several outreach programs for the Department in the Colombian southwest, and he created and maintained the Department’s website from 2002 to 2009.
(Donde hay dos mayúsculas, se trata de una adaptación de un idioma a otro, donde F es francés, R es ruso y E es español.)
Montajes como Director
La Pobreza no es Pecado de Alexander Ostrovsky. (R-E) Septiembre 2008
El Avaro de Molière. Septiembre 2007
Zoológico de Cristal de Tennessee Williams. Marzo 2007
Tranvía llamado deseo de Tennessee Williams. Marzo 2007
Las Falsas Confidencias de Marivaux. (F-E) Septiembre, 2006
La Importancia de Llamarse Ernesto de Oscar Wilde. Noviembre 2005
La Casa de los Corazones Rotos de George Bernard Shaw. Septiembre 2005
El Abanico de Lady Windermere de Oscar Wilde. Marzo 2005
Sueño de una Noche de Verano de William Shakespeare. Septiembre 2004
Las Fenicias de Eurípides. Septiembre 2003
La Tinaja de Luigi Pirandello. Diciembre 2002
Santa Juana de George Bernard Shaw. Junio 2002
Galería de Personajes. Creación Interactiva. Varias versiones 2002-presente
Artículos y Ponencias
"El Clown como herramienta fundamental en la formación del joven actor." Ponencia para el I Congreso de Estudios Teatrales, Universidad de Antioquia, Medellín. Noviembre 2009
"La Emoción y el Actor." Entreartes, No 8, Junio 2009
"La Evaluación Artística y la Paradoja del Actor." Entreartes, No 7, Junio 2008
"La Evaluación Artística: una Crítica Perpleja." Entreartes, No 6, Mayo 2007
"¿Quién Diablos es Piotr Fomenko?" Entreartes, No 5, Junio 2006
"Reflexiones sobre la Formación del Actor en el Departamento de Artes Escénicas de Univalle" Ponencia para el IV Encuentro Nacional de Escuelas Superiores de Teatro, Cali, 2003
(Donde hay dos mayúsculas, se trata de una adaptación de un idioma a otro, donde F es francés, R es ruso y E es español.)
Montajes como Director
La Pobreza no es Pecado de Alexander Ostrovsky. (R-E) Septiembre 2008
El Avaro de Molière. Septiembre 2007
Zoológico de Cristal de Tennessee Williams. Marzo 2007
Tranvía llamado deseo de Tennessee Williams. Marzo 2007
Las Falsas Confidencias de Marivaux. (F-E) Septiembre, 2006
La Importancia de Llamarse Ernesto de Oscar Wilde. Noviembre 2005
La Casa de los Corazones Rotos de George Bernard Shaw. Septiembre 2005
El Abanico de Lady Windermere de Oscar Wilde. Marzo 2005
Sueño de una Noche de Verano de William Shakespeare. Septiembre 2004
Las Fenicias de Eurípides. Septiembre 2003
La Tinaja de Luigi Pirandello. Diciembre 2002
Santa Juana de George Bernard Shaw. Junio 2002
Galería de Personajes. Creación Interactiva. Varias versiones 2002-presente
Artículos y Ponencias
"El Clown como herramienta fundamental en la formación del joven actor." Ponencia para el I Congreso de Estudios Teatrales, Universidad de Antioquia, Medellín. Noviembre 2009
"La Emoción y el Actor." Entreartes, No 8, Junio 2009
"La Evaluación Artística y la Paradoja del Actor." Entreartes, No 7, Junio 2008
"La Evaluación Artística: una Crítica Perpleja." Entreartes, No 6, Mayo 2007
"¿Quién Diablos es Piotr Fomenko?" Entreartes, No 5, Junio 2006
"Reflexiones sobre la Formación del Actor en el Departamento de Artes Escénicas de Univalle" Ponencia para el IV Encuentro Nacional de Escuelas Superiores de Teatro, Cali, 2003
Saturday, January 23, 1999
Bogota Arts Academy (ASAB), 1999-2001
In 1999, Dixon was granted an associate professorship at the Bogota Arts Academy. He gave acting, directing and theatre theory classes at all levels, and conducted outreach workshops; he also gave acting classes to the Dance Program, and participated in curricular development for both programs. Participated as acting coach for the Contemporary Dance Company Psoas.
(All of the plays were performed in Spanish, but English titles are given here.)
Productions as Director
The Misanthrope by Molière. ASAB, December 2001
The Little Prince by Antoine de Saint-Exupéry. (Adaptation by Federico Rey) Awarded a grant by the District Institute for Culture and Tourism. Corporación Arte Escénico, July 2000
The Hobbit by J.R.R. Tolkien. (My adaptation.) ASAB, May 2000
You Never Can Tell by George Bernard Shaw. ASAB/ Casa del Teatro, dic. 1999
Acting Coach, Psoas Dance Company
¿Cómo Vivir Así? Choreography by Charles Vodoz. April 2000.
Calle Real. Choreography by Charles Vodoz. Finalist the XIV International Choreography Competition in Hanover, Germany. April, 2000.
Acting Workshops, Casa del Teatro Nacional, Bogota
Workshop on the interactive theatre of Auguste Boal. October 1999
Workshop on Character Construction. In Evil Hour by Gabriel García Márquez. February to June 1999
(All of the plays were performed in Spanish, but English titles are given here.)
Productions as Director
The Misanthrope by Molière. ASAB, December 2001
The Little Prince by Antoine de Saint-Exupéry. (Adaptation by Federico Rey) Awarded a grant by the District Institute for Culture and Tourism. Corporación Arte Escénico, July 2000
The Hobbit by J.R.R. Tolkien. (My adaptation.) ASAB, May 2000
You Never Can Tell by George Bernard Shaw. ASAB/ Casa del Teatro, dic. 1999
Acting Coach, Psoas Dance Company
¿Cómo Vivir Así? Choreography by Charles Vodoz. April 2000.
Calle Real. Choreography by Charles Vodoz. Finalist the XIV International Choreography Competition in Hanover, Germany. April, 2000.
Acting Workshops, Casa del Teatro Nacional, Bogota
Workshop on the interactive theatre of Auguste Boal. October 1999
Workshop on Character Construction. In Evil Hour by Gabriel García Márquez. February to June 1999
Tuesday, April 16, 1996
Education
Master in Theatre Direction, Russian Academy of Theatre Arts (GITIS) — With Honours. (1996) (Teachers: P. N. Fomenko, E. B. Kamenkovich, S. V. Zhenovach)
B. A. in Dramatic Theatre and Movie Acting — With Honours. (1994)
Baccalauréat ès Arts, Spécialisation en Traduction, Concentration en Études Slaves, Université d'Ottawa (1989).
Diplôme d'études secondaires supérieures (Bilingüe, 1985)
B. A. in Dramatic Theatre and Movie Acting — With Honours. (1994)
Baccalauréat ès Arts, Spécialisation en Traduction, Concentration en Études Slaves, Université d'Ottawa (1989).
Diplôme d'études secondaires supérieures (Bilingüe, 1985)
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