ELOGIO DE MI LOCURA


JOSAN CABALLERO es el alias o seudónimo literario de JOSÉ ANTONIO GUTIÉRREZ CABALLERO (Ciudad de La Habana, 1959), quien a menudo se debate entre diversos roles como poeta, periodista, editor, dramaturgo e investigador literario; y aunque conserva en su lejanía el título de Licenciado en Filología de la Facultad de Artes y Letras, de la Universidad de La Habana (1985-1986), no puede dejar de reconocer sus balbuceos, cuando comienzaEl cielo infinito de Jose Antonio Gutierrez Caballero a improvisar, y luego declamar, sus poemas a los seis años de edad, “metiendo las narices donde nadie lo llama”, como de costumbre. Textos infantiles que escribe en “guaguas” y parques públicos, hasta que unos amigos lo convencen y logra ordenarlos, bajo el nombre “sorteado” de POR ENTRE LOS SUEÑOS: CANTOS, para enviarlos al Concurso 13 de marzo 1978, convocado por el Departamento de Actividades Culturales de la Universidad de La Habana, razón por la que apenas, con diecisiete años, obtiene el Premio en Literatura para niños y jóvenes del certamen; y el Segundo Premio de Poesía  1978, del MIR de Resistencia Chilena, gracias al poemario infantil LA LLAMA DE LOS ANDES.

Jose Antonio Gutierrez, cuando tenia 4 anos de edad

Otros textos más adultos, pero igualmente de intenso lirismo, son creados por Josan Caballero en su adolescencia, y enseguida se decide “armarlos” cual piezas infernales para integrar su original ROMPECABEZAS (1973-1993): una apologética antología familiar, con la que encara después su MANÍA DE ÁNGEL (1986), en su particular manera de ver este CIRCO DE ÁNGELES (1980-1989), como una CASA DE PANDORA (1991), convertida posteriormente en un verdadero MANICOMIO PARA TURISTAS (1995). José Antonio Gutiérrez se hace redactor, productor, locutor y guionista de Programas Infantiles y Juveniles en Radio y Televisión, así como Dibujos Animados de los Estudios Fílmicos del ICRT, desde 1976 a 1988, sobre todo a partir del acercamiento que logra con el conocido pintor y realizador Félix Rodríguez Toca (el ilustrador y animador de La Calabacita, la mascota que durante mucho tiempo “duerme a los niños” en la televisión cubana), a quien le muestra su versión en historieta de la noveleta infantil EL COCHERO AZUL, y de una vez se involucra al proyecto de este creador, con el dibujo animado sobre la conocida obra de Dora Alonso, cuando compone textos de canciones y parlamentos de sus personajes principales. Además, le propone a Félix la ilustración de su libro infantil EL DIARIO DE ABEL, a finales de 1978, y el proyecto logra ser finalista del Premio Casa de las Américas en 1979, para luego obtener la Primera Mención de Cuento en el Concurso “La Edad de Oro” 1982, del Ministerio de Cultura en Cuba, ejemplar que es incluido ese año en el anuario de publicaciones de la Editorial Oriente, y que por motivos extraliterarios no ha aparecido aún. Algo similar ocurre con su poemario ROMPECABEZAS, que a pesar de haber sido aceptado por la Editorial Letras Cubanas, para su cronograma de 1979, sale definitivamente impreso en los finales de 1993, situado y citado este libro, junto a uno escrito por entonces sobre la bailarina Alicia Alonso, como uno de los casos más relevantes de lo que pudo suceder por décadas en la rudimentaria imprenta cubana, debido a su “tamaño y complicado diseño estructural” (?). Jose Antonio Gutierrez Caballero en la Galeria de Arte Nacional, Caracas, 2004En 1982, José Antonio obtiene el Premio Mejor Canción Adaptada de un Texto Literario, en el marco del Festival de Música Infantil, organizado por el Grupo Teatral de Marianao, que dirige Bebo Ruíz, con el serial de temas Platero y yo a un mismo tiempo, interpretado con muy buen gusto por el cantante Jorge Hernández, invitado especial, quien recibe con beneplácito estas letras, pues forman parte del poemario POR LOS CAMINOS DE PLATERO, escrito por Gutiérrez, y que gana la Primera Mención del Primer Premio de Poesía “Juan Ramón Jiménez” 1981, convocado por la Diputación de Huelva, España, ahora musicalizadas por el trovador José Raúl García Marrero, conocido por su destacada participación, como el compositor de Madre por qué, en el Concurso Nacional de Música “Adolfo Guzmán”, del Instituto Cubano de Radio y Televisión (ICRT), una de las canciones finalistas, junto a las de Donato Poveda y Santiago Feliú. Entre 1978 y 1982, fue asesor teatral y dramaturgo del Grupo Taller Creador, de la Brigada Hermanos Saíz de Jóvenes Artistas, que dirigía Rosendo Geada, en el Taller de Cerámica del Parque Lenin, para quienes realiza la dramaturgia de su obra Por los caminos de Platero, teniendo como espacio los jardines majestuosos de la Casa del Té, en el Parque Nacional Lenin. Escribe también guiones de dibujo animados y canciones para los programas y seriales de la Televisión Cubana y los Estudios Fílmicos del ICRT, por lo que entra inmediatamente como creador en la Asociación de Compositores Musicales de Cuba, desde 1978, y en la Unión de Escritores y Artistas de Cuba, a partir de 1982.

 

El pintor cubano Tomas Sanchez, amigo del poeta Jose Antonio Gutierrez, en su adolescencia, 1977-1978La labor fecunda e incansable de José Antonio Gutiérrez, aunque comienza aún muy joven, le permite realizar otras obras y adaptaciones para el Club UNESCO de Marionetas, que dirigen Alberto Palmero y el famoso artista Tomás Sánchez (con su posterior Premio de Pintura Joan Miró). Con ellos hace amistad cuando trabajan en el Taller de Muñecos de Galiano, y hasta el mismo Tomás le muestra casi terminados los diseños que realiza de dos títeres, para su puesta infantil La fiesta del Zunzún, que José Antonio iba a presentar como una prueba del Instituto Superior de Arte y luego en la Peña Literaria Los Juglares, del Parque Lenin, que conducían cada domingo la trovadora Teresita Fernández y el poeta Francisco Garzón Céspedes, pero, en definitiva el texto que el joven escritor les entrega a estos artistas, para ser montado en esa oportunidad, es La Canción de Romerillo, una peripecia de marionetas y actores, concebida para la Colina de los La trovadora Teresita Fernandez, amiga y mentora del poeta Jose Antonio Gutierrez, 1978-1982Muñecos, también del Parque Lenin, y que luego obtiene el Premio de Guión para Espectáculos Infantiles, del Ministerio de Cultura en 1985. En ese tiempo, fue periodista cultural free lance de revistas como Verde Olivo, Bohemia y Revolución y Cultura, además de asesor especialista del Instituto de la Infancia, para la Revista Simientes, destinada a las educadoras de preescolar,  participando con ellos en el Programa Nacional de Creación de los Libros de Lectura Escolares, del MINED, en donde se incluyen innumerables poemas y textos suyos, entre 1978 a 1986, como es el caso de “Papaviento” perteneciente a su conocido libro CON UN GARABATO. Trabaja además, de 1979 y 1981, como Jefe de Departamento de Literatura, en la Dirección de Cultura del Poder Popular en el Municipio Plaza, de Ciudad de La Habana, así como diseña el programa de publicaciones y talleres de esta institución, junto con la Cátedra de Seminarios Martianos, la cual condujo por espacio de un año.El poeta y narrador oral Francisco Garzon Cespedes, amigo del poeta Jose Antonio Gutierrez Caballero, en 1978, cuando estaba en su mejor momento la Pena Literaria Los Juglares, del Parque Lenin Es designado Asesor de Integración de las Artes, por el Centro Docente Metodológico de Aficionados y Casas de Cultura en el  Palacio Nacional de Pioneros, del Parque Lenin, donde crea el programa que fusiona la Literatura Infantil, la Expresión Literaria y Plástica,  la Cerámica y el de Apreciación Cinematográfica, durante 1981 y 1984, logrando coordinar, organizar y dirigir publicaciones, concursos y espectáculos infantiles en el marco de Festivales de la magnitud de Por la puerta de enero y Los niños escriben por La Edad de Oro, Antonio Orlando Rodriguez, autor de Chiquita, Premio Alfaguara de Novela 2008, quien constituyera una binomio autoral con Jose Antonio Gutierrez, sobre todo en el texto "Amiga Primavera" y en el programa televisivo para jovenes "Buena Suerte Viviendo" (1984-1985)proyecto del que surgen los boletines literarios del mismo nombre, y el libro AMIGA PRIMAVERA (1985), preparado para el Festival Bandera de la Paz, en Bulgaria, como una recopilación de textos, ilustraciones y entrevistas infantiles, llegando a conformar un binomio autoral con Antonio Orlando Rodríguez, el escritor de CHIQUITA, Premio Alfaguara de Novela en el 2008, con quien realiza otros proyectos a lo largo de su carrera literaria y televisiva en Cuba. Durante 1987, José Antonio continúa investigando sobre la literatura infantil universal. Es invitado también por el trovador Augusto Blanca para que escriba la presentación de la contraportada de su maravilloso disco Puñado de Portada del disco de Augusto Blanca, cuyas palabras de presentacion son escritas amablemente por Jose Antonio Gutierrez, como un regalo para su amigo entranable, en 1987semillas, dedicado a todos los niños que el músico ha ido conociendo en su viaje peregrinatorio y artístico por América Latina. Sobre esto hay una anécdota muy bella, contada por el propio Augusto a José Antonio, quien previamente le había solicitado esas palabras al trovador Silvio Rodríguez, gran amigo del autor banense, pero al no contar con mucho tiempo para hacerlo y haber leído antes el texto escrito por el poeta habanero para dicho disco, es el mismo creador de La canción del elegido quien le aconseja que incluya las prosas poéticas de Gutiérrez, pues él estima que “nadie escribiría algo mejor y tan apropiado para tu sensibilidad”, que este obsequio literario hecho por Josan Caballero a Augusto. Sin dudas, un gesto de gran humildad y halago de Silvio para un autor joven, digno de ser comentado. Unos meses después, José Antonio Gutiérrez gana el Premio Razón de Ser 1988, del Centro de Promoción Cultural “Alejo Carpentier”, del Ministerio de Cultura de Cuba, consistente en una beca económica, para realizar el proyecto de investigación La serie literaria infantil cubana de 1858 a 1899. Obtiene también el Premio de Poesía y Música La Edad de Oro 1989, en Canción para ser escuchada por el niño, junto al trovador Augusto Blanca, dentro del universo de la palabra hablada-cantada, con su libro El pescador de la luna, publicado en 1997, y Premio La Rosa Blanca 1998, como poemario integral e ilustración. Premio Especial de Ensayo Centenario de La Edad de Oro 1989, del Ministerio de Cultura de Cuba, con el texto Ese niño de La Edad de Oro, que obtiene luego el Premio La Rosa Blanca 1998, del Comité Cubano de la IBBY y la Sección de Literatura Infantil UNEAC, como ensayo integral. Para el Canal Seis, de la Televisión Cubana, José Antonio perfila el programa juvenil BUENA SUERTE VIVIENDO (1984), con el escritor Antonio Orlando Rodríguez, y escribe para Affiche realizado por el propio Jose Antonio Gutierrez Caballero, sobre su espectaculo CON UN GARABATO, obra que estrena en 1990, con letra suya y musica de Augusto Blanca, en el marco del Festival de Teatro InfantilTÍA TATA CUENTA CUENTOS y DON MÍNIMO (1984-1986), además de hacer guiones originales de espacios infantiles, juveniles, seriales y teleplays, entre 1989 y 1992, respectivamente, y hasta montajes teatrales breves, como en el caso de Un, dos, tres… Trovando (1992-1993), en donde da a conocer obras suyas como Resurrección de Ícaro, Los Duendestrellas y “La cuerda floja, a la par que otras adaptaciones poético-dramatúrgicas, llevadas al universo hablado-cantado de TEATROVA:  Los riesgos del equilibrista, de Eliseo Diego; Las trampas del espejo, de Magaly Sánchez; y Los ojos en el agua, de Antonio Orlando Rodríguez; siempre con la maestría actoral de María Eugenia García Gonce, y musical, de la tríada de trovadores que ha exhibido el grupo, en su tercera y cuarta etapas, ya en la capital de Cuba: Augusto Blanca, en lugar cimero, hasta 1990; y luego Ireno García, en 1991; y Oscar Huerta, desde finales de 1991 a los comienzos de 1995, cuando concluyeron la primera parte de su gira por el oriente venezolano. Tomando como punto de partida el panorama socio-político de Cuba, vemos cómo el discurso literario del poeta se va desdoblando y cambiando de perspectiva, a manera de un diálogo agonal consigo mismo y sus coterráneos, por lo que su cuaderno CIRCO DE ÁNGELES (1989), se transforma en la parábola dramático-musical de humor, llamada LA CASA DE PANDORA, que se estrena el 26 de julio de 1991, con música de Oscar Huerta, en el Café Teatro Bertold Brecht, de El Vedado, en el ámbito de los ENCUENTROS CON TEATROVA, un verdadero suceso en el repertorio teatral habanero, con vestuarios al estilo griego, pero con telas de “Telarte”, producidas por los propios pintores y artesanos del Fondo de Bienes Culturales, que apuntan a la razón hipercrítica del tema abordado, sobre el mito de Pandora y sus consecuencias.

Affiche de la Teatrova de Cuba, hecho por Josan Caballero, para su Gira Artistica por Venezuela, durante 1993: La actriz Maria Eugenia Garcia (centro), el trovador Oscar Huerta (izquierda), la bailarina Maily Diaz (izquierda), el guitarrista Alejandro Padron (derecha) y el dramaturgo, director artistico y manager Jose Antonio Gutierrez (izquierda-abajo)Por otra parte, desde 1989, cuando José Antonio se convierte en dramaturgo, director artístico y mánager del Grupo Teatrova de Cuba, realiza una exitosa gira artística por Venezuela, desde 1993 hasta 1997, invitado por Héctor Granados, director de Cultura de la Universidad de Oriente, en Cerro Colorado, Cumaná, Ciudad Primogénita del continente americano, para hacer tres recitales con todo el repertorio del grupo, en especial Los riesgos del equilibrista, La Casa de Pandora, Los Duendestrellas y La Flor de Cuba, entre otros que gozan de gran acogida por parte de los estudiantes universitarios y vecinos del lugar. Los miembros de Teatrova se trasladan rápidamente a la ciudad de Río Caribe, para actuar en el Festival Internacional de Música Experimental Afrocaribeña, donde José Antonio escribe el texto Espumar de Río Caribe, soneto que musicaliza con el trovador Oscar Huerta, y que estrenan esa noche, ganándose al exigente público, que los solicita en el escenario ya pasadas las cinco de la madrugada, en medio de un recital espectacular. Luego, el grupo viaja a la Isla de Margarita, al ser invitado por el Fondo para el Desarrollo del Estado Nueva Esparta El trovador Oscar Huerta, actualmente residenciado en Cali, Colombia, pero con anterioridad fue un gran musicalizador de los textos de Jose Antonio Gutierrez, en version de Teatrova(FONDENE), con el objetivo de presentarse en el Castillo Borromeo, en la apertura de las Festividades Anuales por el Cristo del Buen Viaje, donde continúa la tradición del Festival anterior y crea Brujular de Margarita y MAMPATARE del Mar, dedicado a la ciudad de Pampatar: dos textos que musicalizan José Antonio y Oscar Huerta, para el deleite de los asistentes al evento, quienes vuelven a ovacionarlos y considerarlos como el grupo cultural de mayor proyección entre todos los que se presentaron en dicho acto, poemas que luego se editan en Portafolio Cultural, el suplemento literario que escriben y dirigen los periodistas Pedro Salima y Clorinda Fuentes, desde las páginas del Diario Sol de Margarita, que además hicieron gran amistad con los miembros del grupo Teatrova de Cuba. En ese corte, realizan otros eventos de cultura tradicional popular, al estilo de TRO-BATÁ, en 1993, un performance de abrir los caminos en el nombre de Elegguá, para el homenaje del Casino OMNI, en el Hotel del mismo nombre, situado en Costa Azul, el lugar más residencial de la Isla. En línea ascendente, son invitados a la Parada Musical de la Segunda Edición del Margarita Latin Festival, en el principal estadio de Juan Griego, presentándose en el escenario junto a figuras tan importantes como Celia Cruz y Oscar de León, entre otros. Cabe destacar igualmente, ORA DE ORISHAS (1994), la nueva pieza dramático-musical y danzaria, que dirige José Antonio para el Museo de Historia de La Asunción, en el marco de la Exposición homónima, que realiza en el sitio su directora y curadora Iris Tocuyo, al invitar a los pintores y etnólogos cubanos Edith Milá y David García Gonce, escritor y autor de La flor de Cuba, anterior director del Grupo Teatrova. Ojo de Mar, Olokun, pintura del poeta Jose Antonio Gutierrez, en su pared de Caracas (2005)Lo mismo ocurre con el CANTO A SAN LÁZARO, concebido en diciembre de ese mismo año, previo a Navidad, con un invitado especial, el cantante argentino Martín Oliva, que se une con ellos para armar un espectáculo sin precedentes, cuyo destinatario principal es un público mayoritariamente juvenil: muchachos amantes de la nueva trova y el teatro de nuestro tiempo, que se dan cita en el Estadio del Parque Nacional de Diversiones Diverland, en Pampatar, para garantizarles su apoyo y bien ganada admiración. Los integrantes de Teatrova, junto a su director, desarrollan una gran labor artístico-cultural en la zona, que los llevan a estrenar otras obras del grupo, como La Flor de Cuba, para la Cámara de Comerciantes y FONDENE; a instancias de la empresaria Moravia Hernández; junto a otros espectáculos de café-concierto, con la inauguración del Bar Danzante Le Botiquín; o talleres de danza y poesía, tal y como ocurre con el Campamento Vocacional “El Caracolito”, del Centro Psicoeducativo de Playa El Ángel, con quienes desarrollan las habilidades y destrezas infantiles en torno a CON UN GARABATO, de José Antonio Gutiérrez, director, productor y conductor del evento.

Portada de la tercera edicion de CON UN GARABATO, realizada por el propio escritor Jose Antonio Gutierrez, en 1995, en el marco de la II Feria del Libro de MargaritaTanto es su apogeo en programas de radio y televisivos de la Isla, que participan cinco veces en Agny y los locos de siempre, dos en A la cama con Conchita, y unas cuantas en El programa de Claudio Nazoa,  familiar del célebre poeta venezolano Aquiles Nazoa. Tanto son aclamados y llamados a todas partes que, enseguida José Antonio es convocado por empresarios hoteleros, para participar con Teatrova en algunos espectáculos turísticos, creando entonces, y hasta conduciendo, por más de cinco años, las famosas Noches Cubanas del Hotel Margarita HILTON, que ganan el respeto y admiración de los nativos y visitantes extranjeros, que asisten a este tipo de “noches temáticas gastronómicas”, de tal modo que, en 1994, son invitados para actuar en Miami, por el doctor Llanes, un cubano-americano, gestor en esos momentos de las actividades mensuales Viernes de la Calle 8, en La Pequeña Habana: contrato que no se logra concretar de inmediato, pero que se sitúa como primer contacto del grupo con un nuevo público, en este panorama global de la cultura latina. Como se ha podido apreciar, gran parte de su obra teatral y literaria la ha desarrollado entre Cuba y Venezuela, como redactor y crítico en periódicos y revistas culturales;  o como organizador y facilitador de talleres de poesía y teatro, además de guionista de programas, en la radio y la televisión de ambos países. Por doce años fue dramaturgo y director artístico del Grupo TEATROVA, miembro del Consejo Nacional de las Artes Escénicas, y de la UNION DE ESCRITORES Y ARTISTAS DE CUBA (UNEAC), junto a la actriz María Eugenia García, y los trovadores Augusto Blanca, Ireno García o, más recientemente, Oscar Huerta, con quienes estrena varias obras de café-concert (CON UN GARABATO, EL PESCADOR DE LA LUNA, LA CASA DE PANDORA, LA CUERDA FLOJA, LAS TRAMPAS DEL ESPEJO o LOS DUENDESTRELLAS ), El trovador Ireno Garcia, quien integra en 1990-1991 la Teatrova, y musicaliza textos de Jose Antonio Gutierrez, como la Romanza de los Duendestrellas, inspirada en un dibujo que el mismo le regala a Josan Caballero por esos diasjunto a algunos monólogos, entre los que se encuentran SEÑORA DEL TIEMPO (1989) y EPITAFIO PARA LA COMPANERA (1994), Premio Ochún de las Artes Escénicas 1995, otorgado por la Dirección de Cultura de la Gobernación del Estado Nueva Esparta, por este Monólogo en cinco tiempos-dados y performance, obra estrenada exitosamente en el Centro Internacional del Teatro “Simón Bolívar”, de Juan Griego, en la Isla de Margarita. Ya, en esta isla de Venezuela, muy pronto crea, redacta y edita el Suplemento Cultural Brujular, y la Página Infantil Trotamar, publicados en el Diario La Hora Cero, de la ciudad de Porlamar, en Margarita, reconocido espacio editorial entre 1993 y 1994, respectivamente, que recibe elogios de los mejores periodistas de la región, hasta el punto de convocarlo a realizar recitales de sus obras y sus espectáculos con el Grupo Teatrova de Cuba, e incluso, en calidad de artista invitado, integrar la Asociación de Escritores de la Isla de Margarita. Trabaja igualmente como mánager de grupos musicales y teatrales en el oriente venezolano. Amén de presidente de la Fundación Cultural Teatrova, creada desde 1994, conforma la Fundación Promotora Editorial Abracalibro (1995-1997), además de ser representante de Ediciones Cubanas, en el Área del Caribe y Venezuela, oportunidad para que realice talleres literarios y de dramaturgia en el Ateneo de Margarita, organizados por la Dirección de Cultura de la Gobernación del Estado Nueva Esparta. En el marco de la II Feria del Libro en Margarita, organiza las actividades con FUNDALIBRO y junto a la poetisa, pintora y periodista venezolana Iris Tocuyo, Presidenta del Ateneo de Margarita y de FUNDAFAINE, coordinan la muestra de los diferentes estantes editoriales desde la sede del Museo de Arte Contemporáneo “Francisco Narváez”. Momento idóneo para que José Antonio realice, bajo la anuencia de esta destacada figura de las artes insulares y de su Fundación Promotora Editorial ABRACALIBRO, la tercera impresión de su poemario CON UN GARABATO, esta vez con la banda sonora del espectáculo homónimo, El trovador Augusto Blanca, quien realiza la musicalizacion de los textos de CON UN GARABATO, escritor por Jose Antonio Gutierrez, y actuando aqui con Maria Eugenia Garcia Gonce, en La Flor de Cuba, de su hermano David Garcia Gonce, y a partir de las memorias y munecos artesanales de su madre Selene Gonce, en 1984convertida en cassette promocional de los textos y canciones del libro. Tiene una gran acogida dicha edición entre los visitantes a la Feria de Margarita, que instan, igualmente, a José Antonio, para que desarrolle un taller de creación literaria y plástica infantiles, cuyo destinatario son los pequeños asistentes al lanzamiento de su obra, de tal manera que logran que se agoten los ejemplares. Ello condiciona una segunda reimpresión, gracias a la subvención de la Alcaldía del Municipio Sucre, en Cumaná, que aprovecha la ocasión para incluir este poemario en los programas de apreciación de las escuelas preescolares. Donde más se revela la intención nacionalista y comprometida de José Antonio con la realidad que padecen sus hermanos los cubanos, que aunque se mantiene todavía a mitad de camino entre su isla y la Margarita venezolana, ya despierta cierta intransigencia y espíritu autocríticos, que enseguida plasma con enorme lirismo iconoclasta, a lo Virgilio Piñera, en su poemario MANICOMIO PARA TURISTAS, escrito en 1995, atento a la ambivalencia de ambas “islas en peso”, en alusión directa a la similitud de las intolerancias patronales y los rezagos de una sociedad que consume al ser humano humilde por los cuatro costados de su apocalipsis neocultural.

Jose Antonio Gutierrez Caballero en su mar bravio, 2004Esto mismo lo refleja durante 1996, en su acercamiento literario a la isla de Coche, cuando realiza una Expo de Fotografía Mural LA SOLA-EDAD, con el artista del lente Guberlín Rojas, y cuyos curadores son la promotora cultural Iris Tocuyo y el propio José Antonio , quien propone un performance literario y plástico, en torno al “cuarto oscuro” donde se revelan las imágenes, como huellas que van saliendo difusas y contrastantes, dentro del propio “ácido natural” que las define, hasta ganar un lugar privilegiado en el espacio de la improvisada galería, preparada al efecto dentro de los sótanos del Museo de Arte Contemporáneo “Francisco Narváez” de Margarita. Enseguida José Antonio es llamado para ser Gerente Asesor de la Editorial Libros de Sucre, de la Alcaldía de Cumaná, en 1997, con quienes también realiza un original proyecto dramatúrgico y escenográfico, que consiste en diseñar estructuras inalámbricas, para ser colocadas encima de guaguas: en realidad, cuatro carrozas con los elementos naturales, creadas para la Fundación Municipal Recorridos Turísticos Infantiles, bajo el tema sugerente de Los Anima-Elementos en la Ciudad de las Brújulas.  Logra también montar la obra del mismo nombre, auxiliado por su amigo oceanólogo Gregorio Sánchez, así como concebir la letra para el Villancico La Navidad que somos, que promueve publicitariamente el Alcalde de Sucre, en las radios del oriente venezolano. José Antonio regresa a Margarita, entre 1997 y 1998, para desempeñarse como Gerente de Mercadeo y Ventas de Radio Porlamar, La Voz del Caribe, donde es creador, productor asociado, guionista y locutor del programa interactivo Aché pa’ ti, llegando a lograr 19 anunciantes para el mismo, junto con una considerable audiencia. Con ellos también realiza las grabaciones para su programa infantil Los Periolistos, de corte informativo, pero también funge como un serial de concurso, que tiene gran resonancia en el público infantil insular, por ser un espacio creativo de participación. En estos momentos se vincula al Grupo Teatral Rayuela, que dirige su amigo Orlando Rodríguez en Cumaná, con quien escribe la parábola poética de Romeo y Julieta, entre “los Montescos y los Capuletos”, concebida con anterioridad por el famoso venezolano Miguel Otero Silva, pero tomando dicho “enfrentamiento familiar” entre ”adecos y copeyanos”, aspecto que en la versión de José Antonio se convierte en el marco de CHAVEO Y ADIETA (1997), en una alusión directa (y desembozadamente premonitoria), de lo que sería la pugna entre el presidente de Venezuela Hugo Chávez Frías, y los diferentes sectores de la oposición: una obra de crítica abierta y llanamente simpática, pero de indudable actualidad, donde los actores, bailarines y cantantes entran en contacto con la misma vida política nacional, que les permite reaccionar brechtianamente, con un distanciamiento apreciable en esta puesta en escena sui generis, cuyos ensayos avanzados se detuvieron por el asedio y la censura local, además de la falta de recursos y presupuesto, como era de suponer, para emprender semejante iniciativa teatral. Jose Antonio Gutierrez Caballero en la Galeria de Arte Nacional, Caracas, 2004Pero José Antonio no se queda de brazos cruzados, y enseguida redacta y codirige su guión LOS GITANOS VAN AL SUELO, espectáculo interdisciplinario y monumental, que incluye actores, bailarines, músicos, cartománticas y público en general, dentro de innumerables sets temáticos, realizados en exteriores, concebido para ser estrenado en las arenas de la playa del Hotel Cumanagoto Hesperia, en el marco de la Convención Internacional de la Firma Comercial AVON Cosmetics. Al volver a Margarita, el escritor cubano tiene un breve contacto con el pintor Juan Loyola, a quien ya había conocido en anteriores oportunidades, pero ahora es cuando se traslada con éste a su residencia de Catia la Mar, para comenzar a trabajar juntos, en algunos proyectos interdisciplinarios, al ser designado el famoso artista venezolano como Director de Cultura del Municipio Especial Vargas. Luego José Antonio Gutiérrez se convierte en su manager assistant, organizando su obra y presentaciones posteriores, preparando artículos para periódicos y revistas nacionales, en especial, su muestra pictórica en el Club de Campo de Los Teques, la última que realiza el conocido “pintor de las banderas venezolanas”, pues al poco tiempo muere, a mediados de 1999, de una enfermedad que lo mantuvo postrado por mucho tiempo. Debido a esto, José Antonio regresa a Margarita y desarrolla una labor magisterial, cuando funda, con algunos artistas profesiones y otros aficionados, el Grupo Theatrés, o El Triángulo de las Artes Dramáticas, para quienes escribe, dirige y estrena su SILENCIO EN TRES COARTADAS Y UNA ESTRELLA (1999), homenaje al pintor Juan Loyola, dentro de una producción artística compartida con el escultor chileno Augusto Ramos. En esa oportunidad logra reunir un nutrido elenco, conformado por la famosa bailarina Ana Gato, la actriz y esgrimista Silvia Ramos, el actor y bailarín Jaime Urciolli, el esgrimista y yudoka Iván Castro Ramos, junto con el niño esgrimista José Ramos Castro y otros pequeños artistas, nucleados alrededor de la Escuela Budokan de Artes Marciales, que dirige el sensei y poeta chileno Iván Ramos Castro, en la ciudad de Porlamar. El acto tiene lugar en medio El pintor Juan Loyola, hablando sobre su obra del Festival de las Artes de Margarita, en la plaza que sirve de entrada al Centro Comercial Jumbo, uno de los principales espacios transitables de la populosa avenida 4 de mayo, por donde los integrantes del grupo comienzan su desfile peregrinatorio, hasta llegar al set teatral, creado delante de un enorme caballo astral, estructura escultórica que concibiera Augusto Ramos para centralizar la puesta, en una verdadera apoteosis de creatividad y buen arte teatral de participación. Logran tan emotiva receptividad, que se animan a repetirlo otro día, en un local improvisado de la propia escuela de artes marciales, con el aporte y colaboración activa de muchos amigos y toda la comunidad, que le valen un galardón de la Dirección de Cultura de la Gobernación del Estado Nueva Esparta. Cuando termina este trabajo, José Antonio se radica entonces en la capital y colabora con el Proyecto Escuela del Ateneo de Caracas, junto al hecho de comenzar como Especialista de Programas Educativos en Editores Internacionales EINSAVE, representante de Hachette Latinoamericana (Licenciataria Disney en Venezuela), World Book International Publishers y Marshall Direct Learning Ltd, tríada que le permite entrar en contacto con los proyectos prescolares de la Jose Antonio Gutierrez Caballero como Director Comercial de Barsa Planeta de Venezuela, en el 2004Universidad de Harvard y los libros-juguetes de estimulación temprana, junto al estudio sobre el desarrollo de las 93 habilidades y destrezas de los niños, razón por la cual organiza obras suyas en este rango de ideas, al estilo de EL ZAPATO CIUDAD DE LOS DESEOS, EL ABANICO DE LAS TANTAS HISTORIAS, BLANCANUBE Y LOS SIETE ZUNZUNES, EL RETABLO DE LOS NUMEROS y LA PECERA MAGICA, textos que por su complejidad estructural y temática aún permanecen inéditos. Seguidamente, en el 2002, es seleccionado como Field Master (Gerente comercial) de “Sistemas Culturales Multimedia”, para la transnacional Barsa Planeta de Venezuela, antigua Enciclopedia Británica, trabajando con ellos hasta finales del 2004. Luego se dedica a realizar postales y acrósticos poéticos, que publica en innumerables sitios web venezolanos, además de elaborar un proyecto de apreciación e investigación para el Programa Nacional de Formación de Maestros del Ministerio de Educación Superior de Venezuela, que toma como base su estudio sobre El Robinsón Rousseau venezolano, o Simón Rodríguez, el maestro de Bolívar. La misma situación ocurrida con sus cuadernos ROMPECABEZAS o CON UN GARABATO, puede argumentarse en  EL TESORO ENCONTRADO, o La serie literaria infantil de Cuba a Hispanoamérica, cuando es recomendado para su publicación inmediata por el jurado internacional del Premio Casa de las Américas 1987, y ese mismo año entra en el programa de Ediciones Unión, por lo que es enviado, con dedicada premura editorial, como un convenio especial, a las imprentas de la Unión Soviética, para que se hiciera en idioma castellano, pero con Jose Antonio Gutierrez Caballero, con Vicentina Antuna y Eliseo Diego, miembros del tribunal de su tesis academica El tesoro encontrado, o La serie literaria infantil de Cuba a Hispanoamerica. Libro Primero (1783-1857), presentado en el Teatro de la Biblioteca Nacional Jose Marti, el 30 de diciembre de 1986.“anotaciones” editoriales en idioma ruso, según pueden contarlo perfectamente las especialistas Reina Segrera y Elisa Vera, quienes trabajaron para entonces con el original, sin embargo, el delicado “mamotretro” de miles de páginas, ininteligibles para muchos de sus técnicos, luego de varios intentos fallidos, y al desmoronarse finalmente el campo socialista, es devuelto a nuestra casa editora en 1990, comenzando un nuevo período de soñolencia o amodorramiento, dado quizás por otros sucesos extraliterarios, en los que intervienen el propio José Antonio y otros colegas funcionarios del Ministerio de Cultura y de la Unión de Escritores y Artistas de Cuba (UNEAC), que ahora mismo no vienen al caso, pero que salpican una historia (o histeria) enjundiosa, digna de la mejor novela de espionaje que se haya escrito jamás. Después de otras gestiones para ser rescatado de esta abulia antinatural, aunque sin el compromiso de nadie cercano que te auxilie, es entregado, otra vez en “harapos”, a su autor, un triste día del 2000, por la entonces editora Olga Marta Pérez; y devuelto a la vida en el 2001, gracias a la anuencia de dos almas caritativas y justas de la Editorial Gente Nueva: Mirta Andreu y Yanet Raynieri, son las verdaderas “jinetes de este apocalipsis”, quienen aconsejan a José Antonio Gutiérrez, para que le proponga a su nueva directora incluir el manuscrito, en el programa anual de impresiones, por lo que éste logra una autorización oficial de coedición, en la voz de Mirta González Gutiérrez, entonces funcionaria de esa institución y también condiscípula suya, en el mismo centro de estudios donde cursó la Secundaria Básica con Xiomara Laugart, la mismita que ahora se destaca en los escenarios y titulares de prensa neoyorquinos, como “la nueva Celia Cruz”, del azúcar y el sabor cubano inigualables. Se abre el camino después de once años, para continuar este inusual proceso de publicación, desde su Fundación Abracalibro, pero como dicho convenio tiene como base la realización de las artes finales de EL TESORO ENCONTRADO, a Portada de EL TESORO ENCONTRADO, de Jose Antonio Gutierrez Caballero, desplegado Editorial Melvin-Gente Nueva, 2004cargo de Gente Nueva, y la impresión por parte de la Editorial Melvin, de Venezuela, aliada a la organización de José Antonio, este binomio comienza con buen pie, al concluir su fase estructural, con el acabado de un “tríptico o desplegado” a todo color, para hacer ventas corporativas y directas, además de ir dando a conocer el contenido del ejemplar por entregas, que se compone de 740 páginas y 400 ilustraciones de los siglos XVIII y XIX hispanoamericanos. A pesar de ser un gran libro y de las múltiples iniciativas de su autor, otros problemas económicos y extraliterarios empañan este magnífico proyecto editorial, que aunque todavía no ha visto la luz, logra experimentar cambios favorables al entrar el 2009, con la creación de ABRACALIBRO International Publishers, para los Estados Unidos y el resto de los países hispanoamericanos, mostrando el signo de nuestra fortaleza como gestores de ideas y recursos traducibles en obras de gran alcance editorial y cognitivo. Cabe destacar, igualmente, la promoción que hace, de EL TESORO ENCONTRADO,  la propia Gente Nueva, a través de su Revista de Literatura Infantil En julio como en enero, concebida el 18 de diciembre del 2005, en sus preparativos para celebrar, en febrero del 2006, la XIV Feria Internacional del Libro de La Habana, cuyo número fue diseñado íntegramente con la mayoría de las ilustraciones que incluye José Antonio en su ensayo EL TESORO ENCONTRADO, aspecto que sirve de marco referencial, para presentar las conclusiones de su importante trabajo, en los inicios de la revista, como parte de la sección A Fondo. Todo el 2005 y el comienzo del 2006, trabaja como empresario y creativo, al entrar en sociedad con un andaluz, y constituir la Companía CoollCall C.A, dedicada a la venta y el telemercadeo internacional con tecnología network, lo que le permite convertirse luego en el principal distribuidor de equipos VOIP de la empresa española PeopleCall en Venezuela. También colabora como periodista, fotógrafo e interventor de imágenes, a la par que desarrolla y coordina los sitios web de su propia empresa, hasta fundar otra llamada UniverCall C.A., y La cantante Laura Pausini junto al amigo musico italiano Gian Pietro Cazzago, firmando el autografo del acrostico que le escribiera Josan Caballero, en el marco de su concierto en Miami, el 17 de abril del 2005: "Benditos por tu voz de aureola", de Jose Antonio Gutierrez Caballerogenerar letras de canciones para el músico italiano Gian Pietro Cazzago y la Pier Music Publishing, tales como “Luz Blanca, Corazón”, “Eres Magia”, “Causa Perdida”, “Por ti soy”, “Piel de ayer” y “Alma Gemela”, entre otras. En esa misma época compone muchos de los acrósticos que también caracterizan una etapa de la singular obra poética de José Antonio Gutiérrez Caballero, como Benditos por tu voz de aureola, escrito especialmente para la cantante italiana Laura Pausini, amiga del conocido compositor radicado en Miami, quien recibe un manuscrito del texto, durante el recital internacional que realiza en la Capital del Sol, el 17 de abril del 2005, y que enseguida es autografiado amablemente por la famosa artista, para que le fuera entregado al propio escritor como cortesía de tan agradable y memorable gesto. José Antonio Gutiérrez ha obtenido numerosos premios nacionales en los Concursos 13 de Marzo (Universidad de La Habana), UNEAC, LA EDAD DE ORO (Ministerio de Cultura y Gente Nueva), PREMIO RAZÓN DE SER (Beca económica Centro Alejo Carpentier), LA ROSA BLANCA (UNEAC y la IBBY), amén de algunas distinciones internacionales, como la Primera Mención del Primer Premio de Poesía “Juan Ramón Jiménez” 1981, convocado por la Diputación de Huelva, España, con el libro POR LOS CAMINOS DE PLATERO: UNA ISLA FLOTABA ENTRE LOS DOS (1982).; o la Primera Mención Ensayo 1984, de la Revista Plural, en México, con la monografía José Martí un renovador de la literatura infantil en el continente (1984/1986). Tiene alrededor de veinticinco libros publicados en diversos géneros, entre los que se encuentran POR ENTRE LOS SUEÑOS: CANTOS (1978), ACUARELA (1980/ 1985), MANIA DE ANGEL (1987), CON UN GARABATO (1989/ 1993/ 1995), ROMPECABEZAS (1993), EL PESCADOR DE LA LUNA (1997), ESE NIÑO DE LA EDAD DE ORO (1998), y EL TESORO ENCONTRADO, O LA SERIE LITERARIA INFANTIL DE CUBA A Postales Exposicion de Poesia Mural, entre los textos de Jose Antonio Gutierrez Caballero, pinturas de Ignacio Perez Vazquez, y esculturas de Noelio Gonzalez. Galeria de Arte Infinity, Miami, La Pequena Habana, mayo-junio del 2006.HISPANOAMÉRICA. Libro Primero (1783-1857), actualmente en proceso editorial. En abril del 2006, llega a los Estados Unidos, y se residencia en la ciudad de Miami, en donde su obra cobra mayor significación y alcance, sobre todo, al mostrar (y leer) sus creaciones en la Galería de Arte Infinity, de la Calle 8, en La Pequeña Habana, dentro del marco de la Exposición de Poesía Mural ISLA SOLA, que organiza a partir del 26 de mayo del 2006, junto al pintor Ignacio Pérez Vázquez y el escultor Noelio González, con quienes también prepara poemarios “incunables”, que se venden “como pan caliente” en dicha sitio, para coleccionistas, vendedores de arte y lectores en general, bajo el título de ISLA DE ÁNGELES (2006), que incluye obras autografiadas por Ignacio; y EL ÁNGEL DESERTOR (2006/2007), este último con imágenes escultóricas del artista cubano Noelio González. Los tres juanes de la Expo de Poesia Mural "Isla Sola", preparada por el pintor Ignacio Perez Vazquez (izquierda), el escultor Noelio Gonzalez (derecha), y el poeta y dramaturgo Jose Antonio Gutierrez, quien concibe un performance para "Diosa trashumante", pintura que aparece detras de ellos, obra pictorica de Ignacio

El 17 de marzo del 2008 aparecen Las escandalosas artes del plagio de una escritora oficial cubana, en El Nuevo Herald, la entrevista que le hace el periodista Wilfredo Cancio, sobre su participación como detractor en el mayor escándalo literario que se haya protagonizado en Cuba, durante 1988-1989, en torno a los plagios de Alga Marina Elizagaray, la promotora de literatura infantil “más divulgada de todos los tiempos”, y que José Antonio Gutiérrez descubre que ella copia dolosamente la obra de 36 autores y 44 libros, por lo que es reconocido su acto de “latrocinio literario”, y se la expulsa de la Unión de Escritores y Artistas de Cuba (UNEAC), pero no se publica el ensayo de este “guerrero cubano”, para esa fecha, sino que logra editarlo el 20 de noviembre de 1993, dentro de tres números, semanales y respectivos, del Suplemento Cultural Brujular, que escribe y dirige Jose Antonio Gutierrez, entre noviembre y diciembre de 1993, en el Diario La Hora Cero, de Isla Margarita, Venezuela, en donde publica su escandoloso descubrimiento "Tanto va el cantaro a la fuente: En torno a los plagios de Alga Marina Elizagaray"Suplemento Literario Brujular, del Diario La Hora Cero, que José Antonio coordina y redacta en la Isla de Margarita, Venezuela, bajo el nombre de Tanto va el cántaro a la fuente. El trabajo del periodista Cancio, sobre este asunto, ocupa los titulares de la Sección “Séptimo Día”, en la prensa dominical de Miami, cuyo signo distintivo se hace en el marco de la  XVII Feria del Libro de La Habana, en la que participa Alga Marina, después de veinte años de Las escandalosas artes del plagio de una escritora oficial cubana, que aún no reconoce esta censura y determinación, argumentando, a estas alturas, que ella ha sido víctima de “vampirismo literario”. El trinomio cuadrado perfecto de la cancion "Angeles del St. Jude" (2009): El poeta y letrista Jose Antonio Gutierrez (izquierda), de quien partio la idea; el musico italiano Gian Pietro Cazzago (derecha), y la cantante mexicana Adrianna Foster (centro)En enero 2009, se une otra vez al compositor Gian Pietro Cazzago y crea el tema Niños-Ángeles del St. Jude (cantado magistralmente por la mexicana Adrianna Foster), para donarlo al Hospital Children Research St. Jude y su campaña mundial para recaudar fondos que puedan ayudar en el tratamiento y la cura del cáncer infantil. José Antonio ha escrito en la actualidad otras canciones para nuevos proyectos musicales de este autor, tales como “Extraña vampira” y “Quédate conmigo”, respectivamente. Partiendo de su proyecto creativo de 1997, al organizar la FUNDACION PROMOTORA EDITORIAL ABRACALIBRO, en la actualidad, José Antonio Gutiérrez ha generado nuevamente su energía artística y publicitaria, en torno a la corporación ABRACALIBRO International Publishers, para desarrollar proyectos comunales de creación, apreciación, impresión y comercialización de las obras infantiles de autores nacionales y universales dentro de las Bibliotecas Familiar o Escolar de LA LIBRERÍA DE LOS NIÑOS HISPANOS.

El poeta Jose Antonio Gutierrez Caballero viajando en su imaginacion

OBRA PUBLICADA DE JOSÉ ANTONIO GUTIÉRREZ CABALLERO

  • Por entre los sueños: cantos (poesía infantil, 1978)
  • Poemas a Nicaragua (Antología de Poetas, 1979)
  • Pájaro herido de muerte por el cazador (Poema cinematográfico en tres coartadas, Plaquette, 1979/1993)
  • Versiones de Acuarela (Decimario, Poesía Mural, 1980)
  • Imágenes de la Mujer (Antología de Poesía, 1980)
  • Por los caminos de Platero (poesía, 1981/1982)
  • Amiga primavera (Expresión Literaria y Plástica Infantil, Festival Bandera La Paz, Bulgaria, en coautoría con el escritor y promotor cubano Antonio Orlando Rodríguez, 1985)
  • Acuarela (Décimas, 1985)
  • José Martí, un renovador de la literatura infantil en el continente (Ensayo, México, 1984/Cuba, 1986)
  • Luis Felipe Rodríguez, o La alegórica conjura de la farsa (Ensayo, en coautoría con el conocido crítico y docente universitario Rogelio Rodríguez Coronel, 1987)
  • Manía de ángel (Poesía, 1987)
  • Un grupo avanza silencioso (Antología de poetas cubanos, realizado con el poeta mexicano Gaspar Aguilera, Morelia, México, 1987-1988)
  • Con un garabato (Poesía preescolar, 1989)
  • La Librería de los Niños Cubanos (Crítica, 1990)
  • Ser o no ser Inokenti Smovtunosvski: Más-caras de un actor (Entrevista, 1990)
  • Rompecabezas (Poesía, 1993)
  • Con un garabato (Poesía preescolar, Edición ARTEX para gira artística de Teatrova por Venezuela, 1993)
  • Tanto va el cántaro a la fuente: En torno a los plagios de Alga Marina Elizagaray (Crítica, Terminado en Cuba durante 1988-1989/Venezuela, 1993)
  • Con un garabato (Poesía preescolar, Venezuela, 1995/1997)
  • El pescador de la luna (Poesía infantil, 1997)
  • Ese niño de La Edad de Oro (Ensayo, 1998)
  • El tesoro encontrado, o La serie literaria infantil de Cuba a Hispanoamérica (Ensayo, Desplegado, 2004 / Conclusiones, 2005)
  • Isla de Ángeles (Poesía Mural, Incunables autografiados de colección, con pinturas de Ignacio Pérez Vázquez, Miami, 2006)
  • El ángel desertor (Poesía  Mural, Incunables autografiados de colección, con imágenes escultóricas del artista Noelio González, Miami, 2006-2007)
  • Además de numerosos artículos, críticas, entrevistas, poesías y ensayos publicados en diversos periódicos y revistas nacionales y extranjeros.

Jose Antonio Gutierrez Caballero en la fuente de la juventud, del Parque Los Caobos, de Caracas, 2004

OBRA POR PUBLICAR

  • Ríos Interiores (Décimas, 1976)
  • Blancanube y los siete zunzunes (Cuento novelado infantil, 1977)
  • Cúcara Mácara títere fue (Noveleta infantil, 1977)
  • La llama de los Andes (Poesía infantil, 1978)
  • El Arte y el Oficio (Entrevista, 1979)
  • Poemas de cabecera (Poesía, 1979)
  • Circo de ángeles (Poesía social,1980)
  • La Prensa en Playa Girón (Entrevistas, 1981)
  • Los teatristas de hoy (Entrevista, 1981)
  • El Diario de Abel, o Una cajita de sorpresas (Cuento y Testimonio Infantil, 1982)
  • Vuela mi canción (Poesía Infantil, 1982)
  • Garabatos (Poesía Infantil, 1982)
  • Poeta de Evocación (Décima, 1983)
  • Colorín Coloreado (Poesía Infantil, 1983)
  • Acercamiento tropológico a Nocturno de la Bestia (Ensayo, 1983)
  • Los inseparables Max y Mox (Noveleta Juvenil, 1983)
  • La astucia literaria de Ezequiel Vieta (Ensayo investigativo, 1983)
  • El Museo de los Niños (Serial de Televisión, 1980-1983)
  • El Abanico de las tantas historias (Serial Televisivo, en coautoría con Eddy Díaz Sousa, 1983; Noveleta, 1984)
  • Pintar lo hermoso (Poesía infantil, 1984)
  • La Cuerda del Cazador (Poesía, 1984)
  • La fundación de una nueva literatura infantil en el continente (Investigación, 1984)
  • Angeles del demonio (Guión de Telenovela, adaptado luego al lenguaje literario, 1984-1989)
  • La Canción de Romerillo (Teatro Infantil de Marionetas, 1985)
  • Emilio Bacardí y sus Cuentos de todas las noches (Ensayo, 1985)
  • Canciones y tonadas (Poesías y décimas infantiles, 1985)
  • El mago del pañuelo (Poesía Infantil, 1988)
  • En torno a la noveleta infantil cubana después de 1959 (Coautoría con Jacqueline Teillagorry, Ensayo, 1989)
  • El pescador de la luna (Espectáculo de cafe-concert, que retoma los 47 textos del libro-disco de Josan Caballero, con música de Augusto Blanca, primera versión; igualmente recreados luego por Ireno García, en una segunda versión, para ser utilizados en muchos recitales de Teatrova, 1989-1990)
  • Señora del tiempo (Monólogo teatral, 1989)
  • Las trampas del espejo (Monologo poético, con textos adaptados de la escritora Magaly Sánchez, y luego musicalizados por Augusto Blanca, en lenguaje de Teatrova, 1990)
  • Los ojos en el agua (Diálogo musical-poético, en versión de Teatrova, adaptados por Josan Caballero, a partir de textos escritos por Antonio Orlando Rodríguez, con música de Augusto Blanca, 1990)
  • De casi todo el mundo (Adaptaciones y monólogos para juegos actorales interdisciplinarios, 1990-1991)  
  • El ahogado del mundo (Fantasía actoral, que retoma un texto de Gabriel García Márquez, como juego de roles, solicitado por el Teatro Hydra, de Canadá, 1991)
  • Quién desordena estas rosas (Magia dramático-musical y danzaria, partiendo de otro texto de Gabriel García Márquez, en el lenguaje de Teatrova, 1991)
  • Epitafio para la compañera (Unipersonal en cinco tiempos dados y performance, en respuesta al monólogo La compañera, del argentino Adolfo Gutkin, primer director de Teatrova, 1990/1995)
  • Romanza de los Duendestrellas (Teatro musical en verso, a partir de un dibujo, obsequio del trovador Ireno García a Josan Caballero, 1991)
  • La cuerda floja, o Los riesgos del equilibrista (Monólogo teatral-musical-danzario, entre cuatro puntos cardinales para el debate de una actriz, una bailarina y un trovador, en el riesgo infinito de caer y tener que levantarse perpetuamente, con textos de Josan Caballero y de Eliseo Diego, musicalizados por Oscar Huerta, 1991)
  • La Casa de Pandora (Teatro de la parábola, en el universo de la palabra hablada-cantada de su grupo Teatrova, musicalizado por Oscar Huerta, estrenado el 26 de julio de 1991)
  • Las mil y una aventuras de la Expresión literaria y la Cerámica Infantiles (Ensayo y Testimonio, Coautoría con María Caridad Arteaga, 1991)
  • El Zapato Ciudad de los Deseos (Teatro Infantil de Participación, a partir de sus poemarios CON UN GARABATO y ACUARELA, Cuba, 1990-1991/ Juguetes educativos de estimulación temprana, Venezuela, 2000-2001)
  • Más-caras de familia (Unipersonal como telaraña en vilo, para dos actrices con sus vidas peludas, teatro pánico, 1992)
  • Resurrección de Icaro (Monólogo poético-musical con textos suyos, en lenguaje de Teatrova, musicalizados por Oscar Huerta, 1992)
  • La sola-edad (Poesía y Fotografía Mural, con el artista del lente Guberlín Rojas, 1994-1995)
  • Manicomio para turistas (Poesía social, 1995)
  • Enfermedad de Vivir (Poesía, 1995)
  • Los Periolistos (Guiones y Esquema Central de un Programa de Concursos para Radio y Televisión, ejecutado por la Familia Pilas, 1998)
  • Permiso de residencia (Poesía, 1998)
  • La vuelta a la infancia en ochenta mundos (Ensayo-Taller de Apreciación Infantil para los niños de la calle, 1983-1998)
  • Fábulas del Hogar (Poesías y cuentos etnológicos, 1998-2008)
  • Chaveo y Adieta (Parábola teatral de la realidad sociopolítica venezolana, versión aumentada en verso, 1998)
  • Don Juan de todas las banderas (Monografía sobre la obra del pintor Juan Loyola, 1999)
  • Silencio en tres coartadas y una estrella (Teatro del Movimiento sin una Palabra, por la Integración de las Artes, Isla de Margarita, 1999)
  • País de Aumento (Poesía, 1999)
  • El retrato de Dorian Gay (Enfrentamiento de Monólogos teatrales entre un actor y una bailarina, que siguen su destino al revés y a través de los tiempos, 2000)
  • El ángel no escarmienta (Poesía, 2000)
  • La mitad del mal (Novela social y guión cinematográfico de dos gemelos sin la patria potestad, 2000-2009)
  • El retablo de los números (Prosa poética, Libro-Juguete, 2001)
  • La pecera mágica (Cuentos y Poesías Infantiles; juguetes educativos de estimulación temprana y rompecabezas ecológicos, 2002-2003)
  • La serie literaria infantil de Cuba a Venezuela (Ensayo, 2003)
  • El Robinsón Rousseau venezolano, o Simón Rodríguez, el maestro de Bolívar (Ensayo historiográfico, 2004)
  • Profile, o Los espejos prohibidos (Novela, 2004-2009)
  • Bienvenido a bordo (Poesía, 2005-2009)
  • La Librería de los Niños Hispanos (Biblioteca Escolar y Familiar, 2009)

Flor Caleidoscopio de Jose Antonio Gutierrez Caballero, 2004

Editado en Miami, el 17 de abril del 2009, a tres años exactos de haber llegado justo a la otra orilla del mar, que nos separa o ampara, sabe Dios, “que no es lo mismo, pero es igual”: Sencillamente, la otra mitad… 

Bandera del Cobre

 

 

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  8. José Antonio Gutiérrez Says:

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