Last week I went to see state of anger, of Cyrus Zorzoli, the Teatro Sarmiento (last week of the season). Friday, December 17, 2010
Saidapet To Stella Maris
Last week I went to see state of anger, of Cyrus Zorzoli, the Teatro Sarmiento (last week of the season). States
Since multiple Rough talented , a typical job of Gobernori (take this opportunity to salute the brave defenders Bravard the adoption of the law that recognizes), and small and does not function Last reviewed Iturbe, Milone and Torres, as Dream A Midsummer Night , as the works of Pirandello, as a bout of improvisation, as the whole baroque theater, Ira State is a play about the ways of presentation and representation of the theater.
Since multiple Rough talented , a typical job of Gobernori (take this opportunity to salute the brave defenders Bravard the adoption of the law that recognizes), and small and does not function Last reviewed Iturbe, Milone and Torres, as Dream A Midsummer Night , as the works of Pirandello, as a bout of improvisation, as the whole baroque theater, Ira State is a play about the ways of presentation and representation of the theater.
is, at the opposite end of the first, its consummation.
plot summary
In the mythical room adjacent to the official Zoo de Buenos Aires, a hearty group of actors represents a group of actors whose official task is to hold municipal rehearsal for Hedda Gabler for a famous actress called the replacement of the protagonist to release tomorrow.
In the mythical room adjacent to the official Zoo de Buenos Aires, a hearty group of actors represents a group of actors whose official task is to hold municipal rehearsal for Hedda Gabler for a famous actress called the replacement of the protagonist to release tomorrow.
Life is trial
Reincarnations, valley of tears, promises of better lives, future, eternal, many belief systems and thought agree on the precariousness of the short unit chains of events between birth and death call life. Fragility to expand the category of preparation, learning, path whose meaning lies elsewhere. And meanwhile ... is life.
Reincarnations, valley of tears, promises of better lives, future, eternal, many belief systems and thought agree on the precariousness of the short unit chains of events between birth and death call life. Fragility to expand the category of preparation, learning, path whose meaning lies elsewhere. And meanwhile ... is life.
Ira State is a test. With a skill rarely seen address and thanks to a remarkably large set-acting that supports the inalienable capacity theater governance, we can finally offer is also vital and full thickness aesthetic that simultaneously occurs while he lives.
Comment Most notably, what makes my opinion in a contemporary bead is the lack of comments. The work runs in its own way, an adjusted version, and for those who remember the gist of his argument, enjoyable to Hedda Gabler, in a world yes, that produces their mode of existence outside theatrical representation: is there as a state, as a possibility.
Representation is the commentary. Hedda Gabler , assumed the only way that the theory of action that holds this show conceived a theatrical text (or what we call "a play") is the text of the background that "says" action, not occurs.
The "work" as an ideal entity is marginal. The great Ricardo Bartis, mentor and with reference to the hyper-productive performance by "states", whose greatest exponent, Carlos Defeo, of unforgettable performances, spits his juxtapositions of real states in a pure state of Ira , says it better than me, of course. Let's read it live. Frequent
Bartolo
"My resistance to the publication of the texts in which work, including adaptations, as the case of a I did Hamlet from Shakespeare, or Doll on a text Armando namesake Discepolo is because they believe in the value of the texts come out of those events and developments taking place on stage [...] The most important thing that happens there is the strength and energy to serving the text, but the action is not nor will ever be in the text, can never be that energy, that decision, that will I seek there when I run a show. I feel the text so alien to me as if separately, for example, the element of light, as if I propose to transmit the lighting design of a show, because someone might be interested in the treatment of light. [...] I think the text has always been an ideological supremacy in relation to the form and body, and has been crystallized the belief that the textual narrative is the story of theatrical events, and theatrical events have nothing to do with the story text, is at stake because a situation of another order. First, a situation that is organic. There are bodies, body organs, blood, muscle, chemical, contact energies are going to get moving. The other, the text is an excuse for that. "
Ricardo Bartis. Court fog. Buenos Aires: Atuel, 2003
depth
Ciro Zorzoli achieved, in his poetics of space (the geometric depth is perfect), and in this very lack of feedback, in which the flag is hoisted thickness an event, to bring into the main event that is Bartis further comment. The work in Zorzoli arises where Bartolo says. And it raises. More than that legendary Hamlet, the war theaters of Bartís here Hedda Gabler structure, supports and said creatures that do not belong, without saying a word about them. The theater is imposed, in a plane of simultaneity.
Ciro Zorzoli achieved, in his poetics of space (the geometric depth is perfect), and in this very lack of feedback, in which the flag is hoisted thickness an event, to bring into the main event that is Bartis further comment. The work in Zorzoli arises where Bartolo says. And it raises. More than that legendary Hamlet, the war theaters of Bartís here Hedda Gabler structure, supports and said creatures that do not belong, without saying a word about them. The theater is imposed, in a plane of simultaneity.
The old life of Hedda Gabler
We said Ira state is the consummation of the intelligent Rough . This, with a simple procedure, in a bold corner of Centennial Park, the main procedures theatrical shows "typical" of a decade. Ira State takes a solo, exposes and multiplies to produce something nameless and speechless, which is very little, but not so little: in a mythical official room next to the Zoo of Buenos Aires, a group of ...
What is not true , of that Hedda empty and meaningless (whose legacy if not murder is suicide), in the sad and lonely actress, stripped of role, in hose and the side of a ordinance that will stay there as long as you need it, to lose, lose, lose?
Saturday, December 4, 2010
Phat Azz Brazilian Orgy 2 Cd2
About All My Sons
On Sunday I went to see the last performance of All My Sons, Arthur Miller, dir. Claudio Tolcachir-the Apollo Theater (Corrientes 1372 -Tel. 4371 9454)-revival in January.
Scale
The function began at 20.30. At 20.15 we were still the Andrea our (the Postpartum ), the Andrea of \u200b\u200b"them" (the DG Media and Entertainment), technicians and I stood on the grass artificial covering that side of "backyard" of the great scenery for the play, trying descular how it could be embedded in a corner of three meters between the first wooden platform and onstage, the three chairs and three panels expressive of our work.
The proposal (even virtual): replace Postpartum in January at the Apollo Theatre, from a room of 140 to 490 seats and a stage-mouth-foot deep by four one five times larger.
The paradox of such a proscenium, of such depth, we just might be used a minimum, center, in front (to share the stage with the play "big"), ie even less stage space in the knot.
This book is an embedding.
monumental structure
Miller's works and are "monuments" historic. It is not the full house in August (read my review of this work, click here ), three-level bare, where they weave the stories of the diversity of a decadent family: August is not a monument. It is, in All My Sons, a piece of home: the back door steps of the patio, fence, park chairs, the tree broken by the wind. The metonymic shift value of the huge American prosperity (re) built on the machinery of war, no matter who are the children who fall in battle. The piece is huge and full, a display of power. In contrast to the attitude and thinking August also directed tolca, this work stands serious cultural. Nothing will weaken. His sound is muffled. Try to see why.
plot summary
(unsuspecting readers who do not know the plot of this classic: skip this paragraph.) The eldest of the Keller remains missing in action for over three years, during which time, the factory's father, benefited from the huge sales of military equipment, has boosted its profits. The youngest son, a war veteran, plans to marry his dead brother's girlfriend. The mother, a refugee, still waiting. If that shelter yield, the real responsibility of the great father of the deaths at the front saw the light.
The construction of the innocent
This first success of the young Miller has, like all first great exponents of a renewal of genres, all the elements of what would later be produced in series. " In the social realism of Miller, shines the thesis: the real reason / responsibility capitalist over death of youth in the front, seamless presentation of the "incarnation" of capital in the inner cell of the great American society, the family . The enormous sin, the blood with which it is built and the future prosperity: the death of children. It is to the facts that a parent accepts and commits suicide, is at the unveiling. Say, expose, make it public, would be to put in the hands of a gun charge, and encourage them (as in the beautiful idea of \u200b\u200bmy dear Pablo Ottonello, playwriting workshops in 2010) to commit suicide.
To do this, check Miller hands to various (and virtuous) procedures that the master sustains and endure (and this is extremely difficult, since the whole style realism and proposal and thesis, you know, it easily remains his contemporaries .) However, the construction of the innocent ...
need Chris Miller, the youngest son, is naive. And Larry, the eldest, is a voluntary sacrificial lamb (the suicide letter he wrote Larry because his father had sent parts failed, killing in the name of the father, is the letter from Lamb of God, make no mistake). Miller also needs to kill the father, needs a third act that resists our contemporary ...
Kate knows. Kate leak and leak it to the whole family to that point actually vacuo and fascinating narrative. At the end of the second act we all know, Kate, children, parents, spectators, that the family is that fiction needed that allows a horror (the death of youth / children in the hands of the capitalist machinery / paternal to extend these concepts in Argentine history and theater in this blog, click here and report here ) is buried and untouched as the foundation work of a (the) institution.
At the end of the first decade of the century, this high speech inviting the silence that invites betrayal, which makes accomplices and wrinkles all the viscera, would be the end of work. Equivalent, of course, the legendary light that falls on the Marito Failure Coleman family, which now covers Europe from the hands of their creators, the director is the same in all the works referred. But 2010 is not 1947, the story of that war brings echoes of honor in the mouth of Chris (the community of youth who gave his life for his mates) is not the same as the stories of the Gulf, Afghanistan, Iraq. Sixty years ago ...
God's punishment
God punishes. God puts in the hands of father a gun and is fired. God, who allowed the factory owner failed to send aircraft parts, which allowed American prosperity built on war machinery, which allowed the suicide of his absent son and stupidity of the survivor, God is corrected, prompted by the author outside on the Great Miller, to finish his work justice: the personification of sin must die.
In modern stories, such as group The Coleman, like the old Beckett or peripheral dramas Gobernori, Chaud, the foreign author is none, the authors are, at most, characters, God is a desert. Kate is the great author submitted by his father Arthur. Dubatti told me: "In Mystic Rose is the eternal character spokeswoman for the author's ideology." Halak Ricardo told us: "did not arise in the new drama of Argentina, a great author." Adhere to it.
Bonus track: Ana Maria and Lito
Two complementary sides, I think. While the great Lito does not transmit, no moves, no hits, is rescued from second to second best that can be seen in female performance wide format. 
On Sunday I went to see the last performance of All My Sons, Arthur Miller, dir. Claudio Tolcachir-the Apollo Theater (Corrientes 1372 -Tel. 4371 9454)-revival in January. Scale
The function began at 20.30. At 20.15 we were still the Andrea our (the Postpartum ), the Andrea of \u200b\u200b"them" (the DG Media and Entertainment), technicians and I stood on the grass artificial covering that side of "backyard" of the great scenery for the play, trying descular how it could be embedded in a corner of three meters between the first wooden platform and onstage, the three chairs and three panels expressive of our work.
The proposal (even virtual): replace Postpartum in January at the Apollo Theatre, from a room of 140 to 490 seats and a stage-mouth-foot deep by four one five times larger.
The paradox of such a proscenium, of such depth, we just might be used a minimum, center, in front (to share the stage with the play "big"), ie even less stage space in the knot.
This book is an embedding.
monumental structure
Miller's works and are "monuments" historic. It is not the full house in August (read my review of this work, click here ), three-level bare, where they weave the stories of the diversity of a decadent family: August is not a monument. It is, in All My Sons, a piece of home: the back door steps of the patio, fence, park chairs, the tree broken by the wind. The metonymic shift value of the huge American prosperity (re) built on the machinery of war, no matter who are the children who fall in battle. The piece is huge and full, a display of power. In contrast to the attitude and thinking August also directed tolca, this work stands serious cultural. Nothing will weaken. His sound is muffled. Try to see why.
plot summary
(unsuspecting readers who do not know the plot of this classic: skip this paragraph.) The eldest of the Keller remains missing in action for over three years, during which time, the factory's father, benefited from the huge sales of military equipment, has boosted its profits. The youngest son, a war veteran, plans to marry his dead brother's girlfriend. The mother, a refugee, still waiting. If that shelter yield, the real responsibility of the great father of the deaths at the front saw the light.
The construction of the innocent
This first success of the young Miller has, like all first great exponents of a renewal of genres, all the elements of what would later be produced in series. " In the social realism of Miller, shines the thesis: the real reason / responsibility capitalist over death of youth in the front, seamless presentation of the "incarnation" of capital in the inner cell of the great American society, the family . The enormous sin, the blood with which it is built and the future prosperity: the death of children. It is to the facts that a parent accepts and commits suicide, is at the unveiling. Say, expose, make it public, would be to put in the hands of a gun charge, and encourage them (as in the beautiful idea of \u200b\u200bmy dear Pablo Ottonello, playwriting workshops in 2010) to commit suicide.
To do this, check Miller hands to various (and virtuous) procedures that the master sustains and endure (and this is extremely difficult, since the whole style realism and proposal and thesis, you know, it easily remains his contemporaries .) However, the construction of the innocent ...
need Chris Miller, the youngest son, is naive. And Larry, the eldest, is a voluntary sacrificial lamb (the suicide letter he wrote Larry because his father had sent parts failed, killing in the name of the father, is the letter from Lamb of God, make no mistake). Miller also needs to kill the father, needs a third act that resists our contemporary ...
Glow resistance
voice, high image where Tolcachir the location wise, perfect intonation (a fantastic work) to Kate Ana Maria Picchio at the end of act two, where the thesis that still remains (and probably last forever) is enacted, it is necessary Larry is not dead, because if he were, he would have killed his own father, and God does not allow these things happen.
voice, high image where Tolcachir the location wise, perfect intonation (a fantastic work) to Kate Ana Maria Picchio at the end of act two, where the thesis that still remains (and probably last forever) is enacted, it is necessary Larry is not dead, because if he were, he would have killed his own father, and God does not allow these things happen.
Kate knows. Kate leak and leak it to the whole family to that point actually vacuo and fascinating narrative. At the end of the second act we all know, Kate, children, parents, spectators, that the family is that fiction needed that allows a horror (the death of youth / children in the hands of the capitalist machinery / paternal to extend these concepts in Argentine history and theater in this blog, click here and report here ) is buried and untouched as the foundation work of a (the) institution.
At the end of the first decade of the century, this high speech inviting the silence that invites betrayal, which makes accomplices and wrinkles all the viscera, would be the end of work. Equivalent, of course, the legendary light that falls on the Marito Failure Coleman family, which now covers Europe from the hands of their creators, the director is the same in all the works referred. But 2010 is not 1947, the story of that war brings echoes of honor in the mouth of Chris (the community of youth who gave his life for his mates) is not the same as the stories of the Gulf, Afghanistan, Iraq. Sixty years ago ...
God's punishment
God punishes. God puts in the hands of father a gun and is fired. God, who allowed the factory owner failed to send aircraft parts, which allowed American prosperity built on war machinery, which allowed the suicide of his absent son and stupidity of the survivor, God is corrected, prompted by the author outside on the Great Miller, to finish his work justice: the personification of sin must die.
In modern stories, such as group The Coleman, like the old Beckett or peripheral dramas Gobernori, Chaud, the foreign author is none, the authors are, at most, characters, God is a desert. Kate is the great author submitted by his father Arthur. Dubatti told me: "In Mystic Rose is the eternal character spokeswoman for the author's ideology." Halak Ricardo told us: "did not arise in the new drama of Argentina, a great author." Adhere to it.
Bonus track: Ana Maria and Lito
Two complementary sides, I think. While the great Lito does not transmit, no moves, no hits, is rescued from second to second best that can be seen in female performance wide format.
Friday, November 19, 2010
Driver Cy7c63743 Packard Bell
on premiums or the VOICE OF YUNA
On Thursday I went to see premiums or the Voice of Yuna, Marcela adaptation Román Podolsky Ferradás and the novel "premiums" from Aurora Venturini, the Teatro Nacional Cervantes (Av Córdoba 1155, tel: 4815-8883)
I see a voice
The distinguished writer and psychiatrist Oliver Sacks and his book entitled on the unknown, beautiful and worthy of defense sign language of the deaf. The phrase is perhaps inspired by a poem about the impossible and the human. The voice, the word, that it is a novel, turned into a three-dimensional language. Impossible to pre-linguistic-deaf children born without hearing or lost long before acquiring spoken language-is to live without a tongue. Sign language becomes, if you put them in touch with her culture, human evolution. Quoting a precursor of the advocacy of these languages, "those who do not understand can not understand the possibilities it provides to the deaf, the powerful influence it has on social and moral happiness of the people at private hearing, or his amazing ability to convey the intelligence thought that without him would be in perpetual darkness. Nor can appreciate the importance to the deaf. As long as two deaf people in the planet's surface and are, signs will be used ( J. Schuyler Long, The Sign Language, 1910).
Novel (all novels, but perhaps this others) of Aurora Venturini is deeply, creating "the meeting" of a voice. Here is the voice of Yuna, the "re-educated disabled", the artist who remembers and states, pure word, pure voice, strangely pronounced, is human. Marcela Román Podolsky and Ferradás offer, with precise art, perhaps the same metaphor in that poem about the impossible and the human: see that voice. Plot Summary
A prominent artist on the occasion of receiving an award, thanks and remember, thoughtful and confident, the milestones of his cruel family history. Deformity, in all respects is a poetic form. Ferrari
Very, very Podolsky
One enters the Orestes Caviglia and see the scenery and pure line, chiaroscuro harmonic on the floor, full color, and says "very Ferrari" (master designer). One sees the opening-frame of a house / box, duplicate, and says "very Podolsky" (teacher openings and square boxes, Chinese, containing the heart and the reason for the creatures "Podolsky", the window of Flour , the box within a box Aureliano ). And the geometric guts out a woman who sings ...
The Deformities handicap deformity and visual art are the subject, although they were fit. The humanity of the particular voice of Yuna (masterfully crafted by Ferradás) comes from a difficulty of articulation, a difficulty pathological, clinical, that little progress is found mythical: a family (more specifically, a womb) does not produce else disabled and deformed. The simple cruelty, almost cold ("almost" because the eyes of Ferrara offers almost always the limit that touches his stomach), is overwhelming. Ferrari straight line (that of King Lear ), the plane of color, monochrome stain the floor and Yuna's dress, accent pain. Yuna speaks of pain and turned into plastic sheeting experiences do not see. What we see is the terrible yet humorous commentary on.
The other, the terrible
All others are Yuna. She, multiple voice novel, calls the two men expanded Cesar Bordon and the four women in Laura Ortigoza that, very expressive, are individual and genealogy, and crowd (notable acting work detail, changing the expression .) Everything but Yuna's voice is terrible, cruel, criminal, violent, distorted, forbidden, repressed, fatal. In brief, sincere list (those who have not seen it can skip this sentence), the work is not deprived of abuse, deceit, corruption, torture, rape, murder. And yet, the voice of Yuna. Is the voice of Yuna. It is the poetic voice of Yuna. Is how one voice can "transmit intelligence thinking that without it would be in perpetual darkness." It is the thesis of the human that comes from the terrible. The way to have a song that was way, a form that becomes subject.
The voice, as fabrics, such as art, as a sign between two deaf and communicates redemption, is.
I see a voice
The distinguished writer and psychiatrist Oliver Sacks and his book entitled on the unknown, beautiful and worthy of defense sign language of the deaf. The phrase is perhaps inspired by a poem about the impossible and the human. The voice, the word, that it is a novel, turned into a three-dimensional language. Impossible to pre-linguistic-deaf children born without hearing or lost long before acquiring spoken language-is to live without a tongue. Sign language becomes, if you put them in touch with her culture, human evolution. Quoting a precursor of the advocacy of these languages, "those who do not understand can not understand the possibilities it provides to the deaf, the powerful influence it has on social and moral happiness of the people at private hearing, or his amazing ability to convey the intelligence thought that without him would be in perpetual darkness. Nor can appreciate the importance to the deaf. As long as two deaf people in the planet's surface and are, signs will be used ( J. Schuyler Long, The Sign Language, 1910).
Novel (all novels, but perhaps this others) of Aurora Venturini is deeply, creating "the meeting" of a voice. Here is the voice of Yuna, the "re-educated disabled", the artist who remembers and states, pure word, pure voice, strangely pronounced, is human. Marcela Román Podolsky and Ferradás offer, with precise art, perhaps the same metaphor in that poem about the impossible and the human: see that voice. Plot Summary
A prominent artist on the occasion of receiving an award, thanks and remember, thoughtful and confident, the milestones of his cruel family history. Deformity, in all respects is a poetic form. Ferrari
Very, very Podolsky
One enters the Orestes Caviglia and see the scenery and pure line, chiaroscuro harmonic on the floor, full color, and says "very Ferrari" (master designer). One sees the opening-frame of a house / box, duplicate, and says "very Podolsky" (teacher openings and square boxes, Chinese, containing the heart and the reason for the creatures "Podolsky", the window of Flour , the box within a box Aureliano ). And the geometric guts out a woman who sings ...
The Deformities handicap deformity and visual art are the subject, although they were fit. The humanity of the particular voice of Yuna (masterfully crafted by Ferradás) comes from a difficulty of articulation, a difficulty pathological, clinical, that little progress is found mythical: a family (more specifically, a womb) does not produce else disabled and deformed. The simple cruelty, almost cold ("almost" because the eyes of Ferrara offers almost always the limit that touches his stomach), is overwhelming. Ferrari straight line (that of King Lear ), the plane of color, monochrome stain the floor and Yuna's dress, accent pain. Yuna speaks of pain and turned into plastic sheeting experiences do not see. What we see is the terrible yet humorous commentary on.
The other, the terrible
All others are Yuna. She, multiple voice novel, calls the two men expanded Cesar Bordon and the four women in Laura Ortigoza that, very expressive, are individual and genealogy, and crowd (notable acting work detail, changing the expression .) Everything but Yuna's voice is terrible, cruel, criminal, violent, distorted, forbidden, repressed, fatal. In brief, sincere list (those who have not seen it can skip this sentence), the work is not deprived of abuse, deceit, corruption, torture, rape, murder. And yet, the voice of Yuna. Is the voice of Yuna. It is the poetic voice of Yuna. Is how one voice can "transmit intelligence thinking that without it would be in perpetual darkness." It is the thesis of the human that comes from the terrible. The way to have a song that was way, a form that becomes subject.
The voice, as fabrics, such as art, as a sign between two deaf and communicates redemption, is.
Thursday, November 4, 2010
Can Dogs Get Frost Bite
About ABSENTHA, Alexander Acobino
On Sunday I went to see ABSENTHA, Alexander Acobino by the Group at Theatre Of The Fronde Abasto, Humahuaca 3549 (4865-0014) Investment
I will operate differently, because it is my third "Acobino" in this blog and it is known that whatever I do I like (at least a little). The Rolling notable was weighted by me many times that the apology once again demonstrates his paradoxical effect: the text becomes unreadable, which does not contradict at all my admiration. The other "Acobino" wrote less, and more criticized. Now Absentha. We go directly to what I do not like I think, and liquidate the subject. Then, I surrender to your feet.
invective
The workshop is stable and decadent. Suddenly, the workshop is reheated and shows its claws inward. At the point of self-pity, Acobino / Coordinator doubles the bet and decides to go against the world. This energy generates an action against all. I think there the narrative mode of large ellipse (a scene-conscuencia story short period, then a great long-term consecuecia) does not seem to belong to the same work that delighted in the first half hour with detail, and luxurious terrible (with the feat) of poeticizing awful little poems. More than half of the work flowing gentle on the intricacies of word and gesture, and the same work detail made bold to end. Missing half hour, I think, guys. Why do we rush to finish? At the risk of boring. Why do we always have to take an hour and twenty? [1]
Acobino Apology, only you can make poetry the embarrassment.
Acobino feat, only you can make poetry the embarrassment.
Poems are horribly funny. Clam siphons ajó Sea, evocative. The cucurtianas invective, miss. The poem damn about the champion of workers, unforgettable. Constant Leader beodez the terrible mystical poets that transcends the Beretta, the stroke, pseudonymity, actors ...
[Monday after my visit to the theater, Aacobino-alejandro-me "fishing" in the messenger]
On Sunday I went to see ABSENTHA, Alexander Acobino by the Group at Theatre Of The Fronde Abasto, Humahuaca 3549 (4865-0014) Investment I will operate differently, because it is my third "Acobino" in this blog and it is known that whatever I do I like (at least a little). The Rolling notable was weighted by me many times that the apology once again demonstrates his paradoxical effect: the text becomes unreadable, which does not contradict at all my admiration. The other "Acobino" wrote less, and more criticized. Now Absentha. We go directly to what I do not like I think, and liquidate the subject. Then, I surrender to your feet.
curve
Acobino Friend, the "curve" is not right. The entire account using standard procedures: the cyclical, intermittent workshop meeting, establishing a rhythm and a growth on the one side. And on the other, unrestrained activation of self-destructive element, which is like a wave. Both structures are often combined. The first two or three scenes establishing backward and forward continuities, stress factors and the slight growth that will result in turning the scene into a "double bet" on the point of no return. All factors that burst are present in this anteroom, which serves for enjoyment, discovery and enjoyment of the edge of comedy. From the inflection point on, the events do not stop until the explosion / implosion decisive. Then, return to the miserable irreducible balance, in some works, or silence others. My first book "The tank (click here ) - has the same structure and deals with more or less satisfied, with the same problem. And the problem is in the precarious stability after the outbreak. Let the plot summary to focus.
Acobino Friend, the "curve" is not right. The entire account using standard procedures: the cyclical, intermittent workshop meeting, establishing a rhythm and a growth on the one side. And on the other, unrestrained activation of self-destructive element, which is like a wave. Both structures are often combined. The first two or three scenes establishing backward and forward continuities, stress factors and the slight growth that will result in turning the scene into a "double bet" on the point of no return. All factors that burst are present in this anteroom, which serves for enjoyment, discovery and enjoyment of the edge of comedy. From the inflection point on, the events do not stop until the explosion / implosion decisive. Then, return to the miserable irreducible balance, in some works, or silence others. My first book "The tank (click here ) - has the same structure and deals with more or less satisfied, with the same problem. And the problem is in the precarious stability after the outbreak. Let the plot summary to focus.
plot summary
The mediocre participants of a workshop on "masculine" of poetry are the beloved and hated both coordinator and drunk into a destructive campaign that attempts, leading radical and blind, against the very foundations of poetry workshop.
The mediocre participants of a workshop on "masculine" of poetry are the beloved and hated both coordinator and drunk into a destructive campaign that attempts, leading radical and blind, against the very foundations of poetry workshop.
invective
The workshop is stable and decadent. Suddenly, the workshop is reheated and shows its claws inward. At the point of self-pity, Acobino / Coordinator doubles the bet and decides to go against the world. This energy generates an action against all. I think there the narrative mode of large ellipse (a scene-conscuencia story short period, then a great long-term consecuecia) does not seem to belong to the same work that delighted in the first half hour with detail, and luxurious terrible (with the feat) of poeticizing awful little poems. More than half of the work flowing gentle on the intricacies of word and gesture, and the same work detail made bold to end. Missing half hour, I think, guys. Why do we rush to finish? At the risk of boring. Why do we always have to take an hour and twenty? [1]
Acobino Apology, only you can make poetry the embarrassment.
Acobino feat, only you can make poetry the embarrassment.
Shame should be given
Acobino, only you can make poetry the embarrassment. And I say, I coordinate drama workshops.
good thing, if abundant, very good idea metapoetic
, metatheatrical (Rodolfo Demarco's idea, nor should it inaacobinizable aacobinizar) of a decadent literary workshop under a highway "cacciatore" ferocious parody that runs in all places common, including the damn place is a good idea. Perfectly with the text and performance management and the offer is unobjectionable. Every detail in the "good part" of the work (which is when you stop and look, even in the final rush) is full of discoveries.
, metatheatrical (Rodolfo Demarco's idea, nor should it inaacobinizable aacobinizar) of a decadent literary workshop under a highway "cacciatore" ferocious parody that runs in all places common, including the damn place is a good idea. Perfectly with the text and performance management and the offer is unobjectionable. Every detail in the "good part" of the work (which is when you stop and look, even in the final rush) is full of discoveries.
Poems are horribly funny. Clam siphons ajó Sea, evocative. The cucurtianas invective, miss. The poem damn about the champion of workers, unforgettable. Constant Leader beodez the terrible mystical poets that transcends the Beretta, the stroke, pseudonymity, actors ...
tribute
Dialogue is one that I do not recommend this. My tribute to Acobino, who keep a few secrets that I promise, if I like another piece of him, revealing, is here in this real chat.
Dialogue is one that I do not recommend this. My tribute to Acobino, who keep a few secrets that I promise, if I like another piece of him, revealing, is here in this real chat.
[Monday after my visit to the theater, Aacobino-alejandro-me "fishing" in the messenger]
AACO: Greeting only ... "So you liked?
Ignacio: Yes, Nah, you is the coordinator of the workshop. AACO
: I swear I did not. Ignacio
: no one can deny. I'm sorry. AACO
: Now no one will want to shop conmigooooo ... The poems were cute, right?
Ignacio: Why not? guerrilla shop sucking and eating ajenjolí chori. AACO
: Specifies the text? Or the puemas? Ignacio
: no, only the explanation of the chimneys of sea clams ajó. c'est tout
AACO: clams when bury take a siphon tube called. When buried in the sand ..
Ignacio: what it does. AACO
: At sea. Breathe out there ... The technique of "hunting" is to find the holes in the traps ... Comes out as a little bubble ... They are well to shore ... Or in the wet sand. Typically getting a tetanus saw the buckets ... You put them in buckets of sea water ... The live clams. And brought home ...
Ignacio: What clams breathe? Water? AACO
Air. They are not fish.
Ignacio: for me to breathe water. AACO
Air undissolved.
Ignacio: What can I say if not, why / how you take them alive in a bucket of seawater? AACO
: Very poetic but no, because when you took them to his house one saw the siphons of clams, which, like periscopes respiratory asomábanse common for air, the same as the human breath. One then put in boiling water. The siphon is contracted
Ignacio: Theresa clams did not behave well, will have been to deceive the Tuyú tetanus
AACO: In Santa had cockles. Another story. But richer ... Today nothing remains. They plundered by bulldozers
Ignacio: No tetanus. They have been plundered, it is true. Ignacio
: goodbye mediomundo
AACO: clams were weighed down and tetanus.
Ignacio and
cornalitos
cornalitos
AACO: They are like Dronte of Mauritius or the Tasmanian Tylacino
Ignacio: nostalgia abundant
AACO: But it was not tetanus ... They were the descendants. European citizens do not deserve
Ignacio: not deserve it, yes. that will be (All) with one hand behind and one ahead. I leave, Acobino. AACO
: Embrace. And you know, clams with noodles ... Or canned. But the trap, once boiled, it disappears.
[1] The production conditions of our alternative theater with these charms. Many times the work can not last more than an hour and twenty because: a) is the other cast, b) the plastic chairs are folded, c) the actors are going to act the other work at 23.30 ... Let's put an end!
Friday, October 29, 2010
Falcon Indoor Cb Antenna
About
On Friday I went to the farewell of Nestor Kirchner to Plaza de Mayo, during the mourning and funeral of former president. Since I returned home, but not quite. Both share moments from this blog I can not quit. This is not a review of a play, but an art of body and senses. My tribute to be brief.
On Friday I went to the farewell of Nestor Kirchner to Plaza de Mayo, during the mourning and funeral of former president. Since I returned home, but not quite. Both share moments from this blog I can not quit. This is not a review of a play, but an art of body and senses. My tribute to be brief. The body and the call
facebook input in a young woman wrote "If Nestor was alive and called for the square today, I would not. Why? With him dead, left. " And then follows a beautiful reflection on the go, on that conviction (can read it by clicking on chemical ). His first two lines, for me, summed up in a haiku dialogic all I can say about the players in this time. A young woman did not have 20 when Nestor took understands and feels the time and date, and is convened.
was time for the silence of our leaders and rulers and time. The time in which the bodies in the street they say we are here.
was time for the silence of our leaders and rulers and time. The time in which the bodies in the street they say we are here.
plot summary (e-mail to a friend English)
(Wednesday / Thursday) "I'm sad today, as not long ago. Death life new meaning. And life new meaning death. And this sad country that would cost you both understand and yet is so simple, is summarized in what is happening today and what happened this year and what happened this decade. A bicentennial is not nothing until thousands and thousands take to the streets in the rain and cold and put together a party to celebrate as a people in the streets of the demonstration, the stones, smoke and death of only 9 years ago, a heart breaks and it means much more than what was simply the bearer. There is a lot of attitude and thinking. For now, to feel. While our belly blanket life, and continue. "
(Wednesday / Thursday) "I'm sad today, as not long ago. Death life new meaning. And life new meaning death. And this sad country that would cost you both understand and yet is so simple, is summarized in what is happening today and what happened this year and what happened this decade. A bicentennial is not nothing until thousands and thousands take to the streets in the rain and cold and put together a party to celebrate as a people in the streets of the demonstration, the stones, smoke and death of only 9 years ago, a heart breaks and it means much more than what was simply the bearer. There is a lot of attitude and thinking. For now, to feel. While our belly blanket life, and continue. "
funeral and birth Bicentennial
Apollo Moon Alvarez was born in April 2008 and within days a cloud of smoke from burning fields spread over Buenos Aires. Luna grew up and became a girl, to excitement and happiness of all. And this rainy afternoon nap and sleeps his quiet farewells.
For 2011 we expect (hope) another life.
Apollo Moon Alvarez was born in April 2008 and within days a cloud of smoke from burning fields spread over Buenos Aires. Luna grew up and became a girl, to excitement and happiness of all. And this rainy afternoon nap and sleeps his quiet farewells.
For 2011 we expect (hope) another life.
Friday, October 22, 2010
Exterior Window Shutters
On Ostende, Sol Rodríguez Seoane
On Thursday I went to Ostende, Sol Rodríguez Seoane, to Elkafka (Lambaré 866, tel 4862 5439). Thursday, 21 hs. Geography
mutant
is said that the dunes in the area Gesell, Pinamar, Ostende, Cariló-anti-mythical resorts and marketing, were once wild and mobile. As in the parable of Christ preacher, Gesell old home stood on the sand, not rock, and the dream fell apart. That dune that was west at dusk, at dawn they had moved. In order to "fix" the very ground to stop moving ground underfoot, for reason to prevail over the wild robinsoneana to conquer, the old Gesell planted a forest, the quintessence of the ominous, dark, evil ...
The forest is as artificial as a hostel for Reebok. But his metaphor prevails. Synthesis
Ostende works by accumulation of metaphors, symbols and paradoxes. The forest, hyper-present, is a metaphor for loss-physical, vital, temporary. The dune, a metaphor for the loss of references. The rain, which is condensed in a real bowl of water, becomes symbol, which accumulates to other symbols: the door, archetypal symbol of the passage (highlighted by the ominous sound of its hinges), the wig, which is the mother, and the bride, who is the fragility, guilt and Evil This is compounded by the endless and phallic gun, which is the pre-announced (from the first scene) death and will be displayed and will narrate. Paradoxes
Best Performance
Ostend is in that death. Going against everything expected, a Death Foretold is surprising, because the attitude belies and dematerialized. Eat well, in four minutes, suggesting abundant words during other times of the show: the paradox is the design principle (paradoxically destructive) of this piece. The spatial paradoxes-that excellent vision to get home is lost, or lost is to find the source itself, are the poetic heart an interesting author. So its temporal paradoxes that promise progress stopping, starting end. So ends: Oostende presents the best at first, and eat at the end. In the future ...
The personification of a place in the future
insists announcement stating his intentions. As if that explosive, functional, political manifestation of the work of Lope Fuenteovejuna did "was a motif leiv initial and underline every corner of the room: Ostende did. Ominous sites that have power over those who come, those places that become, perhaps revealing an underlying truth, the isolated mountain hotel The Shining is, here, the forest of Ostend - work in silence and in secret. Ostende the states, the states, the highlights. Maybe, but how to pose a serious hypothesis of a building with a single poetic vision ... Thursday night - maybe the address and the text is discussed. Maybe I can not, in this case, speaking of the work but the theater issued in this city and this time.
abundance
I can not help thinking Ostende as notable downside of the Rough , Santiago Gobernori (click here ), in which the director and playwright is proposed to develop a compendium of procedures theater of Buenos Aires at the end of the decade and got a result reflexive and parodic. On the matrix of the exercise in style, "a poetic Gobernori executed. Ostende has, perhaps, the same unspoken will, but of course, leaves the exercise. Sol Rodríguez Seoane, author and director of Body Art works this Ostende thoroughly and from an awareness and willingness to work. I think that affects the outcome. Abundance is a loft where you can leave everything and dump everything. In this sense, Ostende is a Rough unintended, a sort of compendium of the reality of the current theater of Buenos Aires, where the abundance appears, from official discourse insistently wanting to impose a virtue that is not so, since the number does not match the value, and not all is something.
And here I stop talking about the work of Sol, of course, that can be read from the critical eye as many ways as have eyes, but whose will is poetic, Buenos Aires to discuss the marketing is just that: a political shell rickety that is not even PRO, PRO for just a vector of damage to the culture, but a legacy of the decade. The splash of mini-plays-works subsiadadas in years gone by used to fit into the sample end of a workshop and now in the political dreams of a lost tourist minister become counted as capital of the theater-not always contain theater. They have a bit of everything and to my surprise in decline, quite a thing.
Ostende, in short, making the death poetic form that is appropriate and beautiful. And he points out, in his way (and me) that the crowd (of procedures, for works, sign on the road), the rest is silence. 
On Thursday I went to Ostende, Sol Rodríguez Seoane, to Elkafka (Lambaré 866, tel 4862 5439). Thursday, 21 hs. Geography mutant
is said that the dunes in the area Gesell, Pinamar, Ostende, Cariló-anti-mythical resorts and marketing, were once wild and mobile. As in the parable of Christ preacher, Gesell old home stood on the sand, not rock, and the dream fell apart. That dune that was west at dusk, at dawn they had moved. In order to "fix" the very ground to stop moving ground underfoot, for reason to prevail over the wild robinsoneana to conquer, the old Gesell planted a forest, the quintessence of the ominous, dark, evil ...
The forest is as artificial as a hostel for Reebok. But his metaphor prevails. Synthesis
argument appears
A couple flee but surely able to hold an ominous forest with a house in his heart, which is the paradoxical source of mystery. Interior, there is outside. Metaphors
A couple flee but surely able to hold an ominous forest with a house in his heart, which is the paradoxical source of mystery. Interior, there is outside. Metaphors
Ostende works by accumulation of metaphors, symbols and paradoxes. The forest, hyper-present, is a metaphor for loss-physical, vital, temporary. The dune, a metaphor for the loss of references. The rain, which is condensed in a real bowl of water, becomes symbol, which accumulates to other symbols: the door, archetypal symbol of the passage (highlighted by the ominous sound of its hinges), the wig, which is the mother, and the bride, who is the fragility, guilt and Evil This is compounded by the endless and phallic gun, which is the pre-announced (from the first scene) death and will be displayed and will narrate. Paradoxes
Best Performance
Ostend is in that death. Going against everything expected, a Death Foretold is surprising, because the attitude belies and dematerialized. Eat well, in four minutes, suggesting abundant words during other times of the show: the paradox is the design principle (paradoxically destructive) of this piece. The spatial paradoxes-that excellent vision to get home is lost, or lost is to find the source itself, are the poetic heart an interesting author. So its temporal paradoxes that promise progress stopping, starting end. So ends: Oostende presents the best at first, and eat at the end. In the future ...
The personification of a place in the future
insists announcement stating his intentions. As if that explosive, functional, political manifestation of the work of Lope Fuenteovejuna did "was a motif leiv initial and underline every corner of the room: Ostende did. Ominous sites that have power over those who come, those places that become, perhaps revealing an underlying truth, the isolated mountain hotel The Shining is, here, the forest of Ostend - work in silence and in secret. Ostende the states, the states, the highlights. Maybe, but how to pose a serious hypothesis of a building with a single poetic vision ... Thursday night - maybe the address and the text is discussed. Maybe I can not, in this case, speaking of the work but the theater issued in this city and this time.
abundance
I can not help thinking Ostende as notable downside of the Rough , Santiago Gobernori (click here ), in which the director and playwright is proposed to develop a compendium of procedures theater of Buenos Aires at the end of the decade and got a result reflexive and parodic. On the matrix of the exercise in style, "a poetic Gobernori executed. Ostende has, perhaps, the same unspoken will, but of course, leaves the exercise. Sol Rodríguez Seoane, author and director of Body Art works this Ostende thoroughly and from an awareness and willingness to work. I think that affects the outcome. Abundance is a loft where you can leave everything and dump everything. In this sense, Ostende is a Rough unintended, a sort of compendium of the reality of the current theater of Buenos Aires, where the abundance appears, from official discourse insistently wanting to impose a virtue that is not so, since the number does not match the value, and not all is something.
And here I stop talking about the work of Sol, of course, that can be read from the critical eye as many ways as have eyes, but whose will is poetic, Buenos Aires to discuss the marketing is just that: a political shell rickety that is not even PRO, PRO for just a vector of damage to the culture, but a legacy of the decade. The splash of mini-plays-works subsiadadas in years gone by used to fit into the sample end of a workshop and now in the political dreams of a lost tourist minister become counted as capital of the theater-not always contain theater. They have a bit of everything and to my surprise in decline, quite a thing.
Ostende, in short, making the death poetic form that is appropriate and beautiful. And he points out, in his way (and me) that the crowd (of procedures, for works, sign on the road), the rest is silence.
Thursday, October 7, 2010
Puttin A New Floor In My Boat
over goalkeeper STATION WINDSOR, Julie Vincent
On Saturday I went to see THE DOOR STATION WINDSOR, Julie Vincent, The Gate Sanchez (Sanchez de Bustamante 1034, tel 4863 2848). Saturday 20.30 pm
The other, the same
Dr. Virgilio Apollo Angel Ramirez, my father, is full of recurring jokes drawn from everyday life and, above all, familiar. They are shaped like little anecdotes that rescue a phrase, a name, an attitude. The repeated throughout, say, a decade. Back in the eighties I used to count the Avelino and Aunt Norma (husband and wife, my mother's cousin). It was very simple. Someone, anyone, more food offered Avelino:
-Che, Avelino, do you want more gizzards? Look what they are ...
And Norma replied:
An old story Uruguayan exile wandering the sidewalks of the Windsor Station. Four decades ago, a young architecture student plays in the old Montevideo. If the old and the young are the same, is because there is a train leaving the station and reaches Artigas Montreal. The tracks and sleepers are words are images, are meaningless.
The way the story
Goalkeeper Windsor Station is, as its author and director, Canadian Julie Vincent, a "fairy play." The procedure is corroborated stage: between the body and the voice of Manuel Vicente, permanent (and powerful) stage presence, and other storytellers (Silvina Bosco, Matthew Chiarino, Cecilia sewing), presents a fragmented history of recurrent images subtly modified spanning four decades or more, if we include the exiled immigrant ancestors. This story to the public is, at times, pure action scenes between the characters. So far, the classical form of monologues (style "apart," commented directly to the audience, breaking the fourth wall) combined with action.
And suddenly, "Avelino not want."
Suddenly, a narrator who plays a character sets out to another, it becomes word from another, is being like another. Suddenly, Silvina is Claire, the mistress at Windsor Station, is the rapporteur of the consciousness of Francisco, who said, and since he says. Y then, how the work is on track. Who am I, who is the other, which is one time and the tips of the bow that tense? Then, the poetic order can once again accept that there are no topics exhausted - what would we think to the detriment of a Canadian author and director, on behalf of two international institutions, decides to write and stage a play (more) Argentina ( again) on an exile (more) Uruguay in Canada ...? -
But the procedure transforms the déjà-vu in vision, in discovery. In sign.
Mikhail Mikhailovich Bakhtin and narration
the old Russian master says: "all the positive definitions of values \u200b\u200bof the enactment of the world, all are valued characteristic of the existence of the world, have the other as its protagonist reasonably conclusive: all arguments are made about the other , have been written about it all works, have spilled all the tears, he has devoted all the monuments, all the graveyards are full of others, only the other knows, remembers and reconstructs the production memory, so that also my memory about the object, the world and life becomes art. Only in a world of others is possible an aesthetic movement, plot, eigenvalue: movement in the past, that has value beyond the future and they are forgiven all debts and obligations and are abandoned all hope. "
In my review of the wind may (click here ) is a kind of homage to the dance, which had hitherto never been able to speak. In the review of Winter Journey ( here ) is a celebration of singing, an exaltation of the more physical, bodily, of the poetic self. Valga then this review as a tribute to the narrative, the Great Territory of the Other, since this hybrid and loved theater arts from which we reconstruct.
Pearls:
The caged bird
parent's account, based on Virgil Apollo Angel Ramirez, arriving from his native Ecuador to retreat first thing he did was eat a kilo of grapes, "he says Who knows-to the old immigrant who brought on board an ugly bird, ugly and grumpy, this work does not stop talking about parents and children, large and mutual "others" who we are.
Persecution and surveillance
The book has many different story lines, in all, even in the most intimate, psychological, there is persecution and surveillance.
Silvina Bosco
And yes. She is one of the best actresses I know: what you can do with the simplest bodily attitude, with an inflection in his voice, I take the 868 words of this review, and more. You can see this remarkable actress Goalkeeper ... and in Postpartum (click here ). 
On Saturday I went to see THE DOOR STATION WINDSOR, Julie Vincent, The Gate Sanchez (Sanchez de Bustamante 1034, tel 4863 2848). Saturday 20.30 pm The other, the same
Dr. Virgilio Apollo Angel Ramirez, my father, is full of recurring jokes drawn from everyday life and, above all, familiar. They are shaped like little anecdotes that rescue a phrase, a name, an attitude. The repeated throughout, say, a decade. Back in the eighties I used to count the Avelino and Aunt Norma (husband and wife, my mother's cousin). It was very simple. Someone, anyone, more food offered Avelino:
-Che, Avelino, do you want more gizzards? Look what they are ...
And Norma replied:
"No, Avelino not want.
...
The shape of this "story theater" called goalkeeper Windsor Station is condensed, I think, in that old and lovable Aunt Norma statement. Who is the other, who I am, who you are? Who tells my story? Who's on stage? Synthesis
An old story Uruguayan exile wandering the sidewalks of the Windsor Station. Four decades ago, a young architecture student plays in the old Montevideo. If the old and the young are the same, is because there is a train leaving the station and reaches Artigas Montreal. The tracks and sleepers are words are images, are meaningless.
The way the story
Goalkeeper Windsor Station is, as its author and director, Canadian Julie Vincent, a "fairy play." The procedure is corroborated stage: between the body and the voice of Manuel Vicente, permanent (and powerful) stage presence, and other storytellers (Silvina Bosco, Matthew Chiarino, Cecilia sewing), presents a fragmented history of recurrent images subtly modified spanning four decades or more, if we include the exiled immigrant ancestors. This story to the public is, at times, pure action scenes between the characters. So far, the classical form of monologues (style "apart," commented directly to the audience, breaking the fourth wall) combined with action.
And suddenly, "Avelino not want."
Suddenly, a narrator who plays a character sets out to another, it becomes word from another, is being like another. Suddenly, Silvina is Claire, the mistress at Windsor Station, is the rapporteur of the consciousness of Francisco, who said, and since he says. Y then, how the work is on track. Who am I, who is the other, which is one time and the tips of the bow that tense? Then, the poetic order can once again accept that there are no topics exhausted - what would we think to the detriment of a Canadian author and director, on behalf of two international institutions, decides to write and stage a play (more) Argentina ( again) on an exile (more) Uruguay in Canada ...? -
But the procedure transforms the déjà-vu in vision, in discovery. In sign.
Mikhail Mikhailovich Bakhtin and narration
the old Russian master says: "all the positive definitions of values \u200b\u200bof the enactment of the world, all are valued characteristic of the existence of the world, have the other as its protagonist reasonably conclusive: all arguments are made about the other , have been written about it all works, have spilled all the tears, he has devoted all the monuments, all the graveyards are full of others, only the other knows, remembers and reconstructs the production memory, so that also my memory about the object, the world and life becomes art. Only in a world of others is possible an aesthetic movement, plot, eigenvalue: movement in the past, that has value beyond the future and they are forgiven all debts and obligations and are abandoned all hope. "
In my review of the wind may (click here ) is a kind of homage to the dance, which had hitherto never been able to speak. In the review of Winter Journey ( here ) is a celebration of singing, an exaltation of the more physical, bodily, of the poetic self. Valga then this review as a tribute to the narrative, the Great Territory of the Other, since this hybrid and loved theater arts from which we reconstruct.
Pearls:
The caged bird
parent's account, based on Virgil Apollo Angel Ramirez, arriving from his native Ecuador to retreat first thing he did was eat a kilo of grapes, "he says Who knows-to the old immigrant who brought on board an ugly bird, ugly and grumpy, this work does not stop talking about parents and children, large and mutual "others" who we are.
Persecution and surveillance
The book has many different story lines, in all, even in the most intimate, psychological, there is persecution and surveillance.
Silvina Bosco
And yes. She is one of the best actresses I know: what you can do with the simplest bodily attitude, with an inflection in his voice, I take the 868 words of this review, and more. You can see this remarkable actress Goalkeeper ... and in Postpartum (click here ).
Thursday, September 30, 2010
Is Strep Throat With Mucus Normal
About TAL WHEN THE WIND, Cecilia Elías, Mariano Moro, Miguel Angel Elías
On Wednesday I went to see MAYBE THE WIND, Cecilia Elías, Mariano Miguel Angel Moro and Elijah, the Teatro del Abasto (Humahuaca 3549, tel 4865-0014). Wednesdays at 21 pm.
A beautiful thing
The anecdote is recorded, possibly in a footnote in one of the books of the mythologist Joseph Campbell, or in a section of a book about Buddhism, or neither, "but it probably true. During an International Congress, a renowned Zen Master was asked by a reporter in a corridor.
"In short, what is your philosophy?
- "Philosophy"? "Replied the Master.
He thought awhile and said:
- No, I do not have any. We dance.
footnote this page footnote Page Perhaps the wind is a beautiful thing.
plot summary
Bathed the beautiful light of Eli Sirling, Cecilia and Sergio dance and recite. Paul's music and magician's tricks. Everything is profit today. Even the written words to the wind.
Theatre: sound and motion, governed by their own time
published in 2001 in the books of an article called Rojas (Muere.)-space and time- dramatic text which examined the vulnerabilities, the dramatic text ephemeral, destined to disappear in its completion stage. In that article could not explicitly talk about dance. It's been nine years and a lot of theater under the bridge. Today I face the remarkable spectacle of Cecilia with another maturity. As a tribute to those who thought and tried to know the remarkable choreographer Postpartum will quote a few paragraphs that dealt unwittingly Maybe this wind.
Buenos Aires, 2001. "It is written also for something to be done. [...] The dramatic text is written well, and is structured from the inside, for an act to somehow ritual is performed. The strange analogy, like all disguises analogical thinking analysis that is pure magical thinking similarity allows us to equate the meaning of this ritual with the performative conditions of text: the body, speech, public meeting. Dramatic writing for the embodiment is structured. If, as others did, I wrote a piece in which no one and nothing is done, the absence would necessarily present. In his absence, the empty states the article. [...] He writes plays, then, for something to be done. [...] The writing disappears under the appearance of action in space over a certain time. Not just sound, well space. [...] We see, finally, something it is not written, and writing vanishes. [...] As well as consideration of the sound in theatrical language leads us to the music, the consideration of space and movement performance leads us to another universe, extra-literary, non-linguistic. A visual world, inscribed in space: the world of arts. More precisely: a universe of motion, the temporal development of the image in space. The world of dance. Sound and motion, governed by its own time. "
Buenos Aires, 2010. The theater is this happening before my eyes and ears last night at the Teatro del Abasto.
Note: for those who require it, I can send by email the full article. Is published in "How to write a play", Authors: Ignacio Apolo, Marcelo Bertuccio, Tulio Stella, Patricia Zangaro. Publisher: Libros del Rojas. TOOLS Collection Year: 2001. And eventually get to: Centro Cultural Ricardo Rojas. Local EUDEBA.
Children in the audience last night was
children in the audience (many less than ten years). Fifty children were also adults. Simple emotions, physical, dance accompanying the precise language game reverb of the Moro Mariano texts: two issues interspersed that, speaking subtly different things, secretly speak same. The joy and wonder of the game ends up where the dance begins: to replace the representation of the presentation. I think, in this sense, the theater when he entered the frontiers of dance, drama merges with the poetic voice like a yo a-personal. Cecilia Elias
dance face mask acting
The former was the "per-son", the amplifier of the voice, expressive machine. The expressiveness of the face of the performer is as accurate and as intense as the fierce footwork of Villalba cut through the shadows of the percussionists.
Today
And finally, a today. This reinforces the idea of \u200b\u200bthe performance. The theater (dance, non-philosophy of the Master) is happening here and now, only here, only now. Today.
The rest is silence.
A beautiful thing
The anecdote is recorded, possibly in a footnote in one of the books of the mythologist Joseph Campbell, or in a section of a book about Buddhism, or neither, "but it probably true. During an International Congress, a renowned Zen Master was asked by a reporter in a corridor.
"In short, what is your philosophy?
- "Philosophy"? "Replied the Master.
He thought awhile and said:
- No, I do not have any. We dance.
footnote this page footnote Page Perhaps the wind is a beautiful thing.
plot summary
Bathed the beautiful light of Eli Sirling, Cecilia and Sergio dance and recite. Paul's music and magician's tricks. Everything is profit today. Even the written words to the wind.
Theatre: sound and motion, governed by their own time
published in 2001 in the books of an article called Rojas (Muere.)-space and time- dramatic text which examined the vulnerabilities, the dramatic text ephemeral, destined to disappear in its completion stage. In that article could not explicitly talk about dance. It's been nine years and a lot of theater under the bridge. Today I face the remarkable spectacle of Cecilia with another maturity. As a tribute to those who thought and tried to know the remarkable choreographer Postpartum will quote a few paragraphs that dealt unwittingly Maybe this wind.
Buenos Aires, 2001. "It is written also for something to be done. [...] The dramatic text is written well, and is structured from the inside, for an act to somehow ritual is performed. The strange analogy, like all disguises analogical thinking analysis that is pure magical thinking similarity allows us to equate the meaning of this ritual with the performative conditions of text: the body, speech, public meeting. Dramatic writing for the embodiment is structured. If, as others did, I wrote a piece in which no one and nothing is done, the absence would necessarily present. In his absence, the empty states the article. [...] He writes plays, then, for something to be done. [...] The writing disappears under the appearance of action in space over a certain time. Not just sound, well space. [...] We see, finally, something it is not written, and writing vanishes. [...] As well as consideration of the sound in theatrical language leads us to the music, the consideration of space and movement performance leads us to another universe, extra-literary, non-linguistic. A visual world, inscribed in space: the world of arts. More precisely: a universe of motion, the temporal development of the image in space. The world of dance. Sound and motion, governed by its own time. "
Buenos Aires, 2010. The theater is this happening before my eyes and ears last night at the Teatro del Abasto.
Note: for those who require it, I can send by email the full article. Is published in "How to write a play", Authors: Ignacio Apolo, Marcelo Bertuccio, Tulio Stella, Patricia Zangaro. Publisher: Libros del Rojas. TOOLS Collection Year: 2001. And eventually get to: Centro Cultural Ricardo Rojas. Local EUDEBA.
Children in the audience last night was
children in the audience (many less than ten years). Fifty children were also adults. Simple emotions, physical, dance accompanying the precise language game reverb of the Moro Mariano texts: two issues interspersed that, speaking subtly different things, secretly speak same. The joy and wonder of the game ends up where the dance begins: to replace the representation of the presentation. I think, in this sense, the theater when he entered the frontiers of dance, drama merges with the poetic voice like a yo a-personal. Cecilia Elias
dance face mask acting
The former was the "per-son", the amplifier of the voice, expressive machine. The expressiveness of the face of the performer is as accurate and as intense as the fierce footwork of Villalba cut through the shadows of the percussionists.
Today
And finally, a today. This reinforces the idea of \u200b\u200bthe performance. The theater (dance, non-philosophy of the Master) is happening here and now, only here, only now. Today.
The rest is silence.
Thursday, August 26, 2010
Trace Lost Mobile Online
About POSTPARTUM, Laura Gutman, Ignacio Apolo and Florence La Rosa
On Sunday September 5 POSTPARTUM be released, by Laura Gutman, Ignacio Apolo and Florence La Rosa-dir. Ignacio Apollo, Teatro Del Nudo (Corrientes 1551 / reservations to 4373-9899). Sundays at 18 pm.
Now, in the distance, I guess it was written, as the irrevocable future mutations. Two days after that e-mail, May 30, 2008, I gave my last kind of publicity and gave up university teaching that I had held for fifteen years. Quit with a newborn baby in her arms, with a woman on maternity leave that would extend five months without pay. And I sold the car. And I prayed to the protection of the White Goddess (who by then was born, as well as a blog). And I plunged into the vertigo of dedication to the theater.
My women were there. Both. That
any work I never took much effort, pain, madness. Those who know me know it. Maybe that was also written.
...
The story that no one has (on Postpartum)
is said that the "best stories ever told" is summarized in the motto boy meets girl Hollywood (a boy meets a girl) and always end with the final kiss of the protagonists, never with the vicissitudes of living.
also the stories of hope and the pursuit of motherhood at the end birth, never in the first months of parenting. The post is not interested in traditional discourse: the birth scene is light, what follows is silence ...
Postpartum is a play about the silence. It is our commitment to love, art and politics: put the body on stage to show that experience. The mother and her baby, the baby and adults.
The voice of the male and the male world
Postpartum is a work for adults who can be good parents (or not), mothers (or not). We were all babies. What we do with them is the big question with which humanity is played incessantly destination. Ours is not a book for mothers or for women who remove the men from the scene. It's simply the way we have to find out what sailing waters deeply human female, but with the crucial presence of the voice of our men and their world, which is, like women, ours. 
On Sunday September 5 POSTPARTUM be released, by Laura Gutman, Ignacio Apolo and Florence La Rosa-dir. Ignacio Apollo, Teatro Del Nudo (Corrientes 1551 / reservations to 4373-9899). Sundays at 18 pm. previous hours
I know there is someone there, on the other side. The reader of this blog, which sometimes is expressed briefly and with respectful affection. The reader who runs the right column looking for an image associated with the work he saw or will see. The reader who looks at the photos, he who asks, speculating whether or not I liked the work for which I write. The reader colleague, I returned his gaze and his word. The reader is moved to ask me, after reading the review dark About King Lear, how is the little moon. And that reader in an office on the first floor of the School of Drama said, looking into my eyes, "I am moved by how you write about your women. " Anyone out there, on the other side.
I know there is someone there, on the other side. The reader of this blog, which sometimes is expressed briefly and with respectful affection. The reader who runs the right column looking for an image associated with the work he saw or will see. The reader who looks at the photos, he who asks, speculating whether or not I liked the work for which I write. The reader colleague, I returned his gaze and his word. The reader is moved to ask me, after reading the review dark About King Lear, how is the little moon. And that reader in an office on the first floor of the School of Drama said, looking into my eyes, "I am moved by how you write about your women. " Anyone out there, on the other side.
On this side, that's me ... and my women, both the small and large, they are both the big and small. From them, with me, to you who are there, I want to bridge. And that bridge is Postpartum .
women
My Moon had just over a month and a half. It was a midday and late autumn sun streamed obliquely on the bed in the family room of a newborn baby, blankets. Caro was asleep, as I was sleeping at that time, during periods of postpartum altered. Moon, beside her breathing and feeling, and I ... With this laptop in bed, I received an email from Florence La Rosa inviting me to work with Laura Gutman on writing a book on motherhood.
My Moon had just over a month and a half. It was a midday and late autumn sun streamed obliquely on the bed in the family room of a newborn baby, blankets. Caro was asleep, as I was sleeping at that time, during periods of postpartum altered. Moon, beside her breathing and feeling, and I ... With this laptop in bed, I received an email from Florence La Rosa inviting me to work with Laura Gutman on writing a book on motherhood.
Flor said: "Gutman is the most important therapist specializing in this subject, and has 3 very successful books published in Argentina, Spain and Uruguay." He added: "I do not want to put in an undertaking, so good if you think you do not get or do not you feel like now, really."
...
never asked me why I wrote this mail to me. Why a man . why this man . Why just this afternoon nap and postpartum ...
Now, in the distance, I guess it was written, as the irrevocable future mutations. Two days after that e-mail, May 30, 2008, I gave my last kind of publicity and gave up university teaching that I had held for fifteen years. Quit with a newborn baby in her arms, with a woman on maternity leave that would extend five months without pay. And I sold the car. And I prayed to the protection of the White Goddess (who by then was born, as well as a blog). And I plunged into the vertigo of dedication to the theater.
My women were there. Both. That
Luna sleeping in the picture with my girl now learned to speak, and at night he says "Dad's' n the tiatro; daddy 'tá' nsayando."
The story of this love is about to give birth. Postpartum
any work I never took much effort, pain, madness. Those who know me know it. Maybe that was also written.
The following is a preview of the text that will print, as co-author and director, in the playbill. From here until my postpartum mid-September, may not be able to write many more reviews on this blog. About
I often read me understand. I'm with my girls, bridging.
Until then.
...
The story that no one has (on Postpartum)
is said that the "best stories ever told" is summarized in the motto boy meets girl Hollywood (a boy meets a girl) and always end with the final kiss of the protagonists, never with the vicissitudes of living.
also the stories of hope and the pursuit of motherhood at the end birth, never in the first months of parenting. The post is not interested in traditional discourse: the birth scene is light, what follows is silence ...
Postpartum is a play about the silence. It is our commitment to love, art and politics: put the body on stage to show that experience. The mother and her baby, the baby and adults.
The voice of the male and the male world
Postpartum is a work for adults who can be good parents (or not), mothers (or not). We were all babies. What we do with them is the big question with which humanity is played incessantly destination. Ours is not a book for mothers or for women who remove the men from the scene. It's simply the way we have to find out what sailing waters deeply human female, but with the crucial presence of the voice of our men and their world, which is, like women, ours.
Thursday, August 19, 2010
Gas With Hydrocodone Withdrawal
About AURELIANO, Román Podolsky
On Saturday I went to see AURELIANO, Román Podolsky, the Abasto Social Club (Humahuaca 3649 / 4862 7205) Saturday at 21.
box
In 1997, at the legendary Alley of Wishes, Luis Machin and Alejandro Catalán, under the leadership of Omar Fantini, premiered a bizarre piece of theater would become a classic tested by a curious section in my view, unprecedented: his age, over the years, the renamed under another name. The work in question was on two lovable characters body language and broken, which dealt in a box that once housed a refrigerator, to reconnect an appliance-probably a TV aerial. Due to a short, one of them went to another dimension to the beyond, "and from there on stage remained attached. The play was called Near East and, personally, ever since I saw two actors conceived and executed with such precision alternative language for such effectiveness. Only sparkle in my memory, for various reasons, always celebratory-a fragment of Several pairs of feet above the marble floor (that version of Pinter's works adapted Rafael Spregelburd a year earlier, at the Centro Cultural Borges, with the ineffable Machin's protagonist), in which Luis was playing, dressed in a tuxedo, a sort of ping pong with tennis ball. Also a fragment of fishing , Ricardo Bartis, where Machin himself out to the balcony to mimic a hand amputated Perón waving, smiling, to "partners" in the square. And, of course, Carolina Tejeda, alone in the plains and in time, reeling Flour, Podolsky.
time is not the emphasis on casual meal , either in this article on Aureliano or reviews from critics and the press. Aureliano Flour says. The first establishes a language, a way of saying, a way of living, a way to dramatize. Aureliano , to comment, as indicated, is established. Let's put the formula: as the Kafka of Borges, Aureliano creates its precursor. The feeling is this: any time the dress was transformed into slides, flour plant, Roxana Carolina.
Why
On Saturday I went to see AURELIANO, Román Podolsky, the Abasto Social Club (Humahuaca 3649 / 4862 7205) Saturday at 21. box
In 1997, at the legendary Alley of Wishes, Luis Machin and Alejandro Catalán, under the leadership of Omar Fantini, premiered a bizarre piece of theater would become a classic tested by a curious section in my view, unprecedented: his age, over the years, the renamed under another name. The work in question was on two lovable characters body language and broken, which dealt in a box that once housed a refrigerator, to reconnect an appliance-probably a TV aerial. Due to a short, one of them went to another dimension to the beyond, "and from there on stage remained attached. The play was called Near East and, personally, ever since I saw two actors conceived and executed with such precision alternative language for such effectiveness. Only sparkle in my memory, for various reasons, always celebratory-a fragment of Several pairs of feet above the marble floor (that version of Pinter's works adapted Rafael Spregelburd a year earlier, at the Centro Cultural Borges, with the ineffable Machin's protagonist), in which Luis was playing, dressed in a tuxedo, a sort of ping pong with tennis ball. Also a fragment of fishing , Ricardo Bartis, where Machin himself out to the balcony to mimic a hand amputated Perón waving, smiling, to "partners" in the square. And, of course, Carolina Tejeda, alone in the plains and in time, reeling Flour, Podolsky.
Near East, the lovable, unforgettable, it was renamed as "The Box", and the duo Catalan / Machín the continued offering here and there in a corner of Buenos Aires, Rosario in a room in a tour of France in Caracas, in Spain, until 2005. Since then, it is silent.
Flour (2005, Tejeda and Podolsky - click on the name) was organized in a square house with a sort of square window, and two related areas that cut in the plain loss of time and forgetfulness. In Aureliano back stage area that cuts square space, with the window now on the side, whereby the memory can only flee to return. And because this work is aware of its theatricality and its references, box, carton, that of refrigerators and refugee men in them, returns as a quotation and picture, along with the mattress and the lives of women narrates.
plot summary
A middle-aged woman cherishes memories and questions. Alone with his mattress, his clothes and his plant, stays together. The company is the word, thought, music and body uncomfortable secret.
A middle-aged woman cherishes memories and questions. Alone with his mattress, his clothes and his plant, stays together. The company is the word, thought, music and body uncomfortable secret.
time is not the emphasis on casual meal , either in this article on Aureliano or reviews from critics and the press. Aureliano Flour says. The first establishes a language, a way of saying, a way of living, a way to dramatize. Aureliano , to comment, as indicated, is established. Let's put the formula: as the Kafka of Borges, Aureliano creates its precursor. The feeling is this: any time the dress was transformed into slides, flour plant, Roxana Carolina.
Why
climbed a mountain
Comparatively, the first is the classic, the second a variation. The value is the language that crystallizes Román. Discuss it with anyone. Aureliano has magical moments, pearls and metaphorical reflection on trekking or distilled perfume that chik lit of the relationship between the dresses and moods. It also has strong moments of inconsistency, as the conversion to body = chamamé than it was a vague reference notable border into Paraguay. Insist on the illustrative figures to make them a risk but that risk taken worth: I also argue to anyone. The "mode Podolsky, "as that parent Open House at the beginning of the decade that is recycled in whole or as variations on Raymond Carver that saturated the dot 90 and this, deserves to be followed closely. I follow.
Comparatively, the first is the classic, the second a variation. The value is the language that crystallizes Román. Discuss it with anyone. Aureliano has magical moments, pearls and metaphorical reflection on trekking or distilled perfume that chik lit of the relationship between the dresses and moods. It also has strong moments of inconsistency, as the conversion to body = chamamé than it was a vague reference notable border into Paraguay. Insist on the illustrative figures to make them a risk but that risk taken worth: I also argue to anyone. The "mode Podolsky, "as that parent Open House at the beginning of the decade that is recycled in whole or as variations on Raymond Carver that saturated the dot 90 and this, deserves to be followed closely. I follow.
catch Paraguay and Paraguay is the border
evoked. Flour Sarmiento was the desert, who died in Paraguay. Aureliano is Spirited Away, which brings us back to living. The male body is very rare, but it is undeniable: it is there and makes her difference. The box hit by a female cloth causing the flight of a man by the window justifies everything, even the catch, which escapes me.
evoked. Flour Sarmiento was the desert, who died in Paraguay. Aureliano is Spirited Away, which brings us back to living. The male body is very rare, but it is undeniable: it is there and makes her difference. The box hit by a female cloth causing the flight of a man by the window justifies everything, even the catch, which escapes me.
Berco and Pecoraro
This is anecdotal and remarkable. Function came to China Zorrilla, and Susu Pecoraro. Do not tell me Susú Roxana Berco and sisters do not appear. They are a talented variation, one of the other and vice versa. Of the best.
This is anecdotal and remarkable. Function came to China Zorrilla, and Susu Pecoraro. Do not tell me Susú Roxana Berco and sisters do not appear. They are a talented variation, one of the other and vice versa. Of the best.
Friday, August 6, 2010
Shutters Distressed Look
About WINTER TRAVEL, Diego Alejandro Tantanian and Penelas
Last Friday I went to see WINTER TRAVEL, Diego Alejandro Tantanian and Penelas, the Metropolitan 2 (Corrientes 1343-5277 0500) 23.30 pm on Fridays.
Berlin, postal shadow
Fall 1995. Scala de San Telmo. The young playwright-colleague Actor-Alejandro Tantanian us to see one of his works based on songs by Kurt Weill, who by then was for me a vague reference to some musical works of Brecht, and from there would be almost a synonym for years, power an interpretive singer. The small room was expanded, with the experience. The tone in my memory is blue like the sea of \u200b\u200bthat song, "Blue, blue." And the picture is the deafening sound of a tear, a few years later would become classic theme and musical repertoire.
For a decade and a half, the qualities of interpretation, the standard versions and musical arrangements and the effectiveness emotional these shows continues. Do not try this article, then, a review of "Winter Journey", whose short story (?) Offer below-but a small, simple celebration of what this trip in progress, from 95 to now continues to provoke. Plot Summary
Composition theme "Winter Journey," Schubert's song cycle "as a starting point. Mr. Diego Penelas plays piano and does vocals. Rodrigo Quirós, drums and vocals. Alfredo Zucarelli, cello. And Alexander Tantanián act (and interact), singing, dancing (yes), and invites players to sing.
Moon and Lacan
Why sing the homo sapiens? We think we know why he speaks: he speaks because it is round and full as immutable planets. Speech because it lacks, because it is incomplete, because the other threatens to bite and maim in bits and to survive, to resist, to feed-forward teeth, hands and nails and phonemes-bite and mutilated in anxiety. We speak because we want to, talk to produce a material world that contains us. We speak to be from the other, to be with others. We talked to. Come in. We are plural.
Luna, the small moon of two and a half, talking up a storm, repeats and relates everything. Talk to me, with mother, Silvia, to Agnes, with her grandmother and wrists. It says a lot, think, play. And suddenly sings.
I sing myself
young children, during the slow language development and acquisitions, sing almost as much or more than they talk. The speech becomes, over time positions, meaning, intellectual, referential, phatic. The song, however, remains fun.
All adults sing alone. Sign of sanity, emotional, hot shower, recovery of sensory pleasure, sing as adults overflow. I think (and Lacan split with his beam me) that the subject speaks because he lacks, but sing because you do not. Sing because you do not.
-Jacques, get up and walk: In tears, protest, Night, Winter Journey .-
Of Tears
2002. The remarkable precision of artist Jorge Macchi in the lobby of The Wine Club. The strict concept ideas and Rudnitzky Tanta. The Peronist hype saying all that then, along with Brecht, will begin a stage of proportion. of tears is the classic indelible. Alexander, the singer, comic, marvel.
protest
2004. The Teatro San Martín get the idea of \u200b\u200ba musical theater design. This show Song "protest" foreshadows the dimension of "Winter Journey", but not privacy. Revolutionary moments, political, theme running through the scenic, six years after the marked drip hooked for Trip items ...
At night
2008. Or privacy. What was the scene of lush now condensed into a piano, and forces the body and the floor to expand and display. The actor is deployed, he says, and makes Night.
I celebrate myself and
Winter Journey. Tantanian and is Tantanian. And audience can congregate in the 600 seats at the Metropolitan, we know what will. Yes, we know. It is another spectacle. And yet, we quoted. Come on, we uphold. We are surprised (the "performance" of the flies ... well.) Why
sings the homo sapiens?
Why go once more to see a show of this performer?
Moon sings his songs again yesterday. His past is short. This is reaffirmed. And he held in the overflow. On another level, our past is also short. And the song is a celebration. Let's all get together then, that we know:
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loaf and invite my soul,
I lean and loaf at my ease observing a spear of summer grass.
My tongue, every atom of my blood, formed from this soil, this air,
Born here of parents born here from parents the same, and their parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and schools in abeyance,
Retiring back awhile sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
Walt Whitman
[Me I welcome and singing to myself.
And what I say now about me I tell you,
because what I have what you have
and every atom of my body is yours too.
Vago ... and invite my soul wander.
Vago and I lie on a whim on earth
to see how the grass grows summer.
My tongue, every molecule of my blood were born here,
of this land and these winds.
I gave birth parents who were born here, parent
that spawned other parents who were born here, parent
sons of this land and these winds also.
I have thirty-seven years. My health is perfect. And with my breath
pure
start singing today and do not finish my song until I die. To be silent now
schools and creeds.
Back. A place.
know what their mission and do not forget it;
anyone forget it.
But now my heart I offer the same to good to evil, let
talk to everyone without restriction,
and I open the doors to the original power of nature
rampant.
Walt Whitman.
(Version de León Felipe)] 
Last Friday I went to see WINTER TRAVEL, Diego Alejandro Tantanian and Penelas, the Metropolitan 2 (Corrientes 1343-5277 0500) 23.30 pm on Fridays.
Berlin, postal shadow
Fall 1995. Scala de San Telmo. The young playwright-colleague Actor-Alejandro Tantanian us to see one of his works based on songs by Kurt Weill, who by then was for me a vague reference to some musical works of Brecht, and from there would be almost a synonym for years, power an interpretive singer. The small room was expanded, with the experience. The tone in my memory is blue like the sea of \u200b\u200bthat song, "Blue, blue." And the picture is the deafening sound of a tear, a few years later would become classic theme and musical repertoire.
For a decade and a half, the qualities of interpretation, the standard versions and musical arrangements and the effectiveness emotional these shows continues. Do not try this article, then, a review of "Winter Journey", whose short story (?) Offer below-but a small, simple celebration of what this trip in progress, from 95 to now continues to provoke. Plot Summary
Composition theme "Winter Journey," Schubert's song cycle "as a starting point. Mr. Diego Penelas plays piano and does vocals. Rodrigo Quirós, drums and vocals. Alfredo Zucarelli, cello. And Alexander Tantanián act (and interact), singing, dancing (yes), and invites players to sing.
Moon and Lacan
Why sing the homo sapiens? We think we know why he speaks: he speaks because it is round and full as immutable planets. Speech because it lacks, because it is incomplete, because the other threatens to bite and maim in bits and to survive, to resist, to feed-forward teeth, hands and nails and phonemes-bite and mutilated in anxiety. We speak because we want to, talk to produce a material world that contains us. We speak to be from the other, to be with others. We talked to. Come in. We are plural.
Luna, the small moon of two and a half, talking up a storm, repeats and relates everything. Talk to me, with mother, Silvia, to Agnes, with her grandmother and wrists. It says a lot, think, play. And suddenly sings.
I sing myself
young children, during the slow language development and acquisitions, sing almost as much or more than they talk. The speech becomes, over time positions, meaning, intellectual, referential, phatic. The song, however, remains fun.
All adults sing alone. Sign of sanity, emotional, hot shower, recovery of sensory pleasure, sing as adults overflow. I think (and Lacan split with his beam me) that the subject speaks because he lacks, but sing because you do not. Sing because you do not.
-Jacques, get up and walk: In tears, protest, Night, Winter Journey .-
Of Tears
2002. The remarkable precision of artist Jorge Macchi in the lobby of The Wine Club. The strict concept ideas and Rudnitzky Tanta. The Peronist hype saying all that then, along with Brecht, will begin a stage of proportion. of tears is the classic indelible. Alexander, the singer, comic, marvel.
protest
2004. The Teatro San Martín get the idea of \u200b\u200ba musical theater design. This show Song "protest" foreshadows the dimension of "Winter Journey", but not privacy. Revolutionary moments, political, theme running through the scenic, six years after the marked drip hooked for Trip items ...
At night
2008. Or privacy. What was the scene of lush now condensed into a piano, and forces the body and the floor to expand and display. The actor is deployed, he says, and makes Night.
I celebrate myself and
Winter Journey. Tantanian and is Tantanian. And audience can congregate in the 600 seats at the Metropolitan, we know what will. Yes, we know. It is another spectacle. And yet, we quoted. Come on, we uphold. We are surprised (the "performance" of the flies ... well.) Why
sings the homo sapiens?
Why go once more to see a show of this performer?
Moon sings his songs again yesterday. His past is short. This is reaffirmed. And he held in the overflow. On another level, our past is also short. And the song is a celebration. Let's all get together then, that we know:
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loaf and invite my soul,
I lean and loaf at my ease observing a spear of summer grass.
My tongue, every atom of my blood, formed from this soil, this air,
Born here of parents born here from parents the same, and their parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and schools in abeyance,
Retiring back awhile sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
Walt Whitman
[Me I welcome and singing to myself.
And what I say now about me I tell you,
because what I have what you have
and every atom of my body is yours too.
Vago ... and invite my soul wander.
Vago and I lie on a whim on earth
to see how the grass grows summer.
My tongue, every molecule of my blood were born here,
of this land and these winds.
I gave birth parents who were born here, parent
that spawned other parents who were born here, parent
sons of this land and these winds also.
I have thirty-seven years. My health is perfect. And with my breath
pure
start singing today and do not finish my song until I die. To be silent now
schools and creeds.
Back. A place.
know what their mission and do not forget it;
anyone forget it.
But now my heart I offer the same to good to evil, let
talk to everyone without restriction,
and I open the doors to the original power of nature
rampant.
Walt Whitman.
(Version de León Felipe)]
Thursday, July 22, 2010
Specialist Services 1984
About DRESS OF WOMEN, Javier Daulte
On Sunday, 11 went to see DRESS OF WOMEN, Javier Daulte at Espacio Callejón (Humahuaca 3759 / 4862 1167), Sat 21 and Sun 20 hours. Ferdinand
Lacrosse and the next room
Any sport worth a sport in both value (negative) system. The Lacrosse is all the other sports are not. In women Clothing, clothing is adjacent to a golf a sport in a city in Hungary. Bottom line: everything you imagine about the sport and on this court and the city is suggested, often in opposition, so it is in the interior is central but not lateral to the core meaning of the drama: the final play offstage, but right there. The (intended) romances will be linked be consummated or will collapse in a hidden corner, there beside, above, back. The classic bloody event is obscene. Although the nine full nudity, the two wounds that narrates the play happen: a) behind the front panel Hellenic scenic, b) behind the panel energetic bodies.
Outside the outside is inside. This, gentlemen, is classical theater.
The Purloined Letter and the fisherman exaggerated
was once a fisherman who, from time to exaggerate the size of their catch, finished teasing her colleagues. In the end, they tied his hands so he could not pretend, opening his arms, which had caught a five-foot fish. With wrists together, however, the fisherman made a "bowl" with his hands as if holding a ball and said, "so great was the bug that I caught today was the eye that way!".
The spatial contiguity (the famous metonymy) is foundational in the history of Western theater, and survives in the most varied works, outside the palace of Thebes is the basement of the house of Babylon and costumes for women Alley Space. The intent of this resource property is to evoke in a relatively small space, an image of a large scale: the epic battle -Final match. The full public imagination (enlarged and improved) the adjacent part of the image that evokes detail: the huge fish whose eye is a ball, a terrible shipwreck, the epic game of Lacrosse.
Classically, evoked what is concrete, solid, (maybe) real. But as the years and centuries, the next is corroded by the uncertain, the indefinable, uncertainty. Javier Daulte in this work, I think, abundant and saturates the negative value of the signs in the game: no matter the content, but the value of the piece on a board that also changes with the passage of time (which in turn is impossible .) Let's see.
Plot Summary In a costume
(neighborhood) Hungarian, the lacrosse players Almagro amateur team prepares to play the final of the World Cup. They do not trust their coach. They do not trust their partners. Despite the unlimited faith in everything, do not trust anything. Still wrong, they're right.
I Ching "The future is so irrevocable / as the hard yesterday," says the poem I order a version of the King. Daulte (tell me) says, "and is written in ancient Chinese, and do not understand." The I Ching is read to strategize the game (a game that is, in turn, a symbol of life, or love, or desire, or deception). The love letter in the literary wall opening is in another language, too, as the outside world, another language, but that ejects, toward the locker room, a translator who speaks Hungarian or English, either all but one do not understand. But all pay. And a cobra. The value of the ticket is linguistic value, as the card empty, as the hair red ribbons as Kuan word that means looking but also offered the view, be a model. One shoulder hurts. A number of shoulder hurts. Then nothing happens. The Hungarian translator seems to come, for whom we could see, the premonitory dream of a chief Patagonia: the same gesture, the same intuition, but with opposite sign. Two players are identical, and therefore can exchange their name, their role as daughter, and his body victimized. Everything is stirred into the evidence, vacuum, it reveals how small and dangerous. Again and again the work points out the vacuum and the evolution of play by the rules explicitly changing it to be explicit, work the same. Seeing is believing: the time of saturation.
Almagro and dissolution
What I tried to say, without spoiling too much plot, is that above the classical "matrix" contiguity, stacking Daulte overwhelmingly playful, the language game of uncertainty. I think the effect is strong but maybe a little stressed. The book points out, he says, emphasizes the address. It is there, is there (are you there?): The costumes are so, so dress for women (filled panties, boobs, pubes angry, naked showers) which clearly indicates that it is, it can not be. It's theater, even the naked body is theater. Lacrosse is is Almagro in the heart of Hungary. That is another world.
Within specific limits, daultianos, the expertise, experience, sensitivity and emotion are stylized. Become thought. Part of chess or checkers, all alike, black and white, "this poignant ghost writing on the glass clouded his eternal love, becomes exposure.
impossible time
Finally, some pearls: Pearl
one time impossible, which is the time prior to the end and back. The time where nothing happens, nothing important happens all the time. Pearl
two astrologer trainer and personal interests. Domenech's French players Scorpio summons. The besuquero argentinisima diegote national symbol of the bicentennial, was sworn in with his boys: to defeat, always. Pearl
three witness (secret) is to be an oracle, is to "read" the future irrevocable, said in a secretly known English and no power to prevent anything, even theft and loss of all the proceeds. 
On Sunday, 11 went to see DRESS OF WOMEN, Javier Daulte at Espacio Callejón (Humahuaca 3759 / 4862 1167), Sat 21 and Sun 20 hours. Ferdinand Lacrosse and the next room
Any sport worth a sport in both value (negative) system. The Lacrosse is all the other sports are not. In women Clothing, clothing is adjacent to a golf a sport in a city in Hungary. Bottom line: everything you imagine about the sport and on this court and the city is suggested, often in opposition, so it is in the interior is central but not lateral to the core meaning of the drama: the final play offstage, but right there. The (intended) romances will be linked be consummated or will collapse in a hidden corner, there beside, above, back. The classic bloody event is obscene. Although the nine full nudity, the two wounds that narrates the play happen: a) behind the front panel Hellenic scenic, b) behind the panel energetic bodies.
Outside the outside is inside. This, gentlemen, is classical theater.
The Purloined Letter and the fisherman exaggerated
was once a fisherman who, from time to exaggerate the size of their catch, finished teasing her colleagues. In the end, they tied his hands so he could not pretend, opening his arms, which had caught a five-foot fish. With wrists together, however, the fisherman made a "bowl" with his hands as if holding a ball and said, "so great was the bug that I caught today was the eye that way!".
The spatial contiguity (the famous metonymy) is foundational in the history of Western theater, and survives in the most varied works, outside the palace of Thebes is the basement of the house of Babylon and costumes for women Alley Space. The intent of this resource property is to evoke in a relatively small space, an image of a large scale: the epic battle -Final match. The full public imagination (enlarged and improved) the adjacent part of the image that evokes detail: the huge fish whose eye is a ball, a terrible shipwreck, the epic game of Lacrosse.
Classically, evoked what is concrete, solid, (maybe) real. But as the years and centuries, the next is corroded by the uncertain, the indefinable, uncertainty. Javier Daulte in this work, I think, abundant and saturates the negative value of the signs in the game: no matter the content, but the value of the piece on a board that also changes with the passage of time (which in turn is impossible .) Let's see.
Plot Summary In a costume
(neighborhood) Hungarian, the lacrosse players Almagro amateur team prepares to play the final of the World Cup. They do not trust their coach. They do not trust their partners. Despite the unlimited faith in everything, do not trust anything. Still wrong, they're right.
I Ching "The future is so irrevocable / as the hard yesterday," says the poem I order a version of the King. Daulte (tell me) says, "and is written in ancient Chinese, and do not understand." The I Ching is read to strategize the game (a game that is, in turn, a symbol of life, or love, or desire, or deception). The love letter in the literary wall opening is in another language, too, as the outside world, another language, but that ejects, toward the locker room, a translator who speaks Hungarian or English, either all but one do not understand. But all pay. And a cobra. The value of the ticket is linguistic value, as the card empty, as the hair red ribbons as Kuan word that means looking but also offered the view, be a model. One shoulder hurts. A number of shoulder hurts. Then nothing happens. The Hungarian translator seems to come, for whom we could see, the premonitory dream of a chief Patagonia: the same gesture, the same intuition, but with opposite sign. Two players are identical, and therefore can exchange their name, their role as daughter, and his body victimized. Everything is stirred into the evidence, vacuum, it reveals how small and dangerous. Again and again the work points out the vacuum and the evolution of play by the rules explicitly changing it to be explicit, work the same. Seeing is believing: the time of saturation.
Almagro and dissolution
What I tried to say, without spoiling too much plot, is that above the classical "matrix" contiguity, stacking Daulte overwhelmingly playful, the language game of uncertainty. I think the effect is strong but maybe a little stressed. The book points out, he says, emphasizes the address. It is there, is there (are you there?): The costumes are so, so dress for women (filled panties, boobs, pubes angry, naked showers) which clearly indicates that it is, it can not be. It's theater, even the naked body is theater. Lacrosse is is Almagro in the heart of Hungary. That is another world.
Within specific limits, daultianos, the expertise, experience, sensitivity and emotion are stylized. Become thought. Part of chess or checkers, all alike, black and white, "this poignant ghost writing on the glass clouded his eternal love, becomes exposure.
impossible time
Finally, some pearls: Pearl
one time impossible, which is the time prior to the end and back. The time where nothing happens, nothing important happens all the time. Pearl
two astrologer trainer and personal interests. Domenech's French players Scorpio summons. The besuquero argentinisima diegote national symbol of the bicentennial, was sworn in with his boys: to defeat, always.
three witness (secret) is to be an oracle, is to "read" the future irrevocable, said in a secretly known English and no power to prevent anything, even theft and loss of all the proceeds.
Wednesday, July 7, 2010
Is Ma Good For Hiking
ROUGH On a typical work of Santiago Gobernori
On Sunday I went to see ROUGH, a typical work of Santiago Gobernori in Defenders Bravard (Bravard street-phone: 15 66777050 / 15 65074348), Sun 19 pm.
Plush toys sex
In the late nineties, with the notable performers and Paul Messiez Ana Garibaldi, Cristian Drut directed a play of mine that was unlike any that I think now it seemed to all: that comment about the casual and the destination and called purely theatrical history mourn for him (you can download this book by clicking here ). Their reasons: a kinder egg and carilina. Development: two versions of a chance encounter that do not match. The thematic work on the banal, a chocolate, a tissue, was not as prevalent as it was then. The mode of narration subtly different versions on the scene was taken, I think, to a maximum term ten years later by Marcelo Minnina in Lot 77 (you can read the review of this book by clicking here ). That sunset History mourn for him watched and commented on the drama surrounding modes and presented some of the emerging patterns. Twelve years later, on hyper-feminine Emily's monologue about love and cuddly plural (pronounced without eses) updates without knowing that image of the handsome actor who lit a cigarette on stage at the Red, and has now, in the Defenders Club Bravard, this exquisite, hyperconscious work on the modalities of theater this decade.
literary developments and the game of inventing names
An area of \u200b\u200bliterary theory holds that prevail after a while, a dominant genre begins to show their principles of construction to make them more aware and more explicit and even reverse their orientation and become parody. Two comments: one, that "structural principles", "reverse orientation" and "dominant gender" are words invented in order to account for something. Second, what happens when the dominant genre is already a parody?
In this review, as a tribute to hyperconscious Gobernori-aware that a couple of years, I coordinated a round table on the night of the libraries, promised to do theater with fewer financial resources than one would consider essential, and met- after synthesis will plot a collection of theatrical resources that, compensating, abounds. They invent names theorists. Let's see how it goes. Plot Summary
Three political pointers, weak and eighties aguantadero refuge in a stranger, the law, as in Kafka, is strict and unknowable. Corroborate the boys before the paranoia and love, in theatrical terms, are identical.
And the summary of the typical ... Men emotional
Apart from the emotional memory "method", the decade was given to the presentation of hyper-violent men and weeping. Masculine emotion from The sin that can not be named until Lot 77 - is a breeding ground for drama.
Trimetría
Three theater. The trio, which allows stability and variation, it spreads. See the photo of the show and be known, forever, a trio that inhabits the scene looking at different places. Reality is a symmetrical composition commentary from the scene two, scene one is a fake, if you will, because the wig is prologue: both looked away, I look at literally elsewhere.
The timeless locked already said that prototypical Telefónica advertising of the nineties: Walter, the son ochentoso, returned home. "Mom, Dad, what happened?" The past is a time of closure. The past, the grotesque animal. Your route.
Action for breach of tone
Or as World Cup training Menotti comment 78: "speed along, speed out wide, to recover the remainder of the perimeter." Acting is an altered state, a sudden pique, a cry unexpected win for demolition.
paranoid effect consists in the reiteration suspect, strongly, of a banal phrase that does not have much felt their deixis. Repetition, by the conversational plus the dangerous turns. For example:
X: (to pass) always read this blog.
Y: (dry) I do not care what you read.
X: (firm) always read this blog.
Y: (fast, foot, shouting) I do not care what you read!
X: (neutral) this blog.
Y: (violent) I do not care what you read! (neutral) What's for dinner?
Altered States and the displacement of time referred
The typical performance of the decade is neutral or rough. Needless to say which side says Gobernori and company performance. Holding midfielder, the game is an altered state. The fascinating comedy is to offer those states, without comment, with images of a decade did not know this roughness pants wrangler, ford sierra, and leather-Ubaldini camperitas epaulettes. Dislocation
time referred
language I do not know a Wednesday and I do not foo or.
The common accented
designating a cliché way, by entering the system as a common place, is the ABC of parody. Use of this commonplace, pointed, bet is the language of a dramatic actor, quasi impossible in case: What
desktop playwright wrote "one nail drives out another nail"?
Lady
evoked no evoked three men without a lady (except for all the works of three men in which there is evoked a lady). Not many. How intense is that evoked lady appears and fulfills its role in a play for three players.
private moment exercise
The classical method proposed exercise of the display of private moments, claiming a degree of concentration acting as to what the actor would never do in front of anyone real life could do on stage as if nothing had happened. I never saw anybody do that, "as if such a thing." Always lie. How to make your needs in a bucket. Exercise
imaginary objects
The classical method proposed by the mastery of the body by manipulating objects on the scene the actor imagines as the perceived truth. Rough achieves maximum exposure of the artifice, as are the characters who can act a game of trick without cards and no action. Musical Moment
Every work of the decade that price has musical moment. The musical moment is, again, two expressions: neutral (See matrix Open House, click here ) and the rough, which is to Gobernori. Is trying to be. Altered. Music. Teacher.
stabbed the crossbar
And let me quote a self-final:
said Ana Garibaldi, unforgettable, in the setting of Drut: "Whenever there is a crime at least, any silly thing gets interesting." More than a decade later, an intense actor performs the bearer of the wig, reciting classics.
Roughly, a typical job is no more (nor less) than the agglomerate aware of the theatrical means of an era. It is also the desire to be small, typically, do street theater Bravard.
And if this bit was the reaffirmation of the universe, all in Rough is excellently acted. 
On Sunday I went to see ROUGH, a typical work of Santiago Gobernori in Defenders Bravard (Bravard street-phone: 15 66777050 / 15 65074348), Sun 19 pm. Plush toys sex
In the late nineties, with the notable performers and Paul Messiez Ana Garibaldi, Cristian Drut directed a play of mine that was unlike any that I think now it seemed to all: that comment about the casual and the destination and called purely theatrical history mourn for him (you can download this book by clicking here ). Their reasons: a kinder egg and carilina. Development: two versions of a chance encounter that do not match. The thematic work on the banal, a chocolate, a tissue, was not as prevalent as it was then. The mode of narration subtly different versions on the scene was taken, I think, to a maximum term ten years later by Marcelo Minnina in Lot 77 (you can read the review of this book by clicking here ). That sunset History mourn for him watched and commented on the drama surrounding modes and presented some of the emerging patterns. Twelve years later, on hyper-feminine Emily's monologue about love and cuddly plural (pronounced without eses) updates without knowing that image of the handsome actor who lit a cigarette on stage at the Red, and has now, in the Defenders Club Bravard, this exquisite, hyperconscious work on the modalities of theater this decade.
literary developments and the game of inventing names
An area of \u200b\u200bliterary theory holds that prevail after a while, a dominant genre begins to show their principles of construction to make them more aware and more explicit and even reverse their orientation and become parody. Two comments: one, that "structural principles", "reverse orientation" and "dominant gender" are words invented in order to account for something. Second, what happens when the dominant genre is already a parody?
In this review, as a tribute to hyperconscious Gobernori-aware that a couple of years, I coordinated a round table on the night of the libraries, promised to do theater with fewer financial resources than one would consider essential, and met- after synthesis will plot a collection of theatrical resources that, compensating, abounds. They invent names theorists. Let's see how it goes. Plot Summary
Three political pointers, weak and eighties aguantadero refuge in a stranger, the law, as in Kafka, is strict and unknowable. Corroborate the boys before the paranoia and love, in theatrical terms, are identical.
And the summary of the typical ... Men emotional
Apart from the emotional memory "method", the decade was given to the presentation of hyper-violent men and weeping. Masculine emotion from The sin that can not be named until Lot 77 - is a breeding ground for drama.
Trimetría
Three theater. The trio, which allows stability and variation, it spreads. See the photo of the show and be known, forever, a trio that inhabits the scene looking at different places. Reality is a symmetrical composition commentary from the scene two, scene one is a fake, if you will, because the wig is prologue: both looked away, I look at literally elsewhere.
The timeless locked already said that prototypical Telefónica advertising of the nineties: Walter, the son ochentoso, returned home. "Mom, Dad, what happened?" The past is a time of closure. The past, the grotesque animal. Your route.
Action for breach of tone
Or as World Cup training Menotti comment 78: "speed along, speed out wide, to recover the remainder of the perimeter." Acting is an altered state, a sudden pique, a cry unexpected win for demolition.
paranoid effect consists in the reiteration suspect, strongly, of a banal phrase that does not have much felt their deixis. Repetition, by the conversational plus the dangerous turns. For example:
X: (to pass) always read this blog.
Y: (dry) I do not care what you read.
X: (firm) always read this blog.
Y: (fast, foot, shouting) I do not care what you read!
X: (neutral) this blog.
Y: (violent) I do not care what you read! (neutral) What's for dinner?
Altered States and the displacement of time referred
The typical performance of the decade is neutral or rough. Needless to say which side says Gobernori and company performance. Holding midfielder, the game is an altered state. The fascinating comedy is to offer those states, without comment, with images of a decade did not know this roughness pants wrangler, ford sierra, and leather-Ubaldini camperitas epaulettes. Dislocation
time referred
language I do not know a Wednesday and I do not foo or.
The common accented
designating a cliché way, by entering the system as a common place, is the ABC of parody. Use of this commonplace, pointed, bet is the language of a dramatic actor, quasi impossible in case: What
desktop playwright wrote "one nail drives out another nail"?
Lady
evoked no evoked three men without a lady (except for all the works of three men in which there is evoked a lady). Not many. How intense is that evoked lady appears and fulfills its role in a play for three players.
private moment exercise
The classical method proposed exercise of the display of private moments, claiming a degree of concentration acting as to what the actor would never do in front of anyone real life could do on stage as if nothing had happened. I never saw anybody do that, "as if such a thing." Always lie. How to make your needs in a bucket. Exercise
imaginary objects
The classical method proposed by the mastery of the body by manipulating objects on the scene the actor imagines as the perceived truth. Rough achieves maximum exposure of the artifice, as are the characters who can act a game of trick without cards and no action. Musical Moment
Every work of the decade that price has musical moment. The musical moment is, again, two expressions: neutral (See matrix Open House, click here ) and the rough, which is to Gobernori. Is trying to be. Altered. Music. Teacher.
stabbed the crossbar
And let me quote a self-final:
said Ana Garibaldi, unforgettable, in the setting of Drut: "Whenever there is a crime at least, any silly thing gets interesting." More than a decade later, an intense actor performs the bearer of the wig, reciting classics.
Roughly, a typical job is no more (nor less) than the agglomerate aware of the theatrical means of an era. It is also the desire to be small, typically, do street theater Bravard.
And if this bit was the reaffirmation of the universe, all in Rough is excellently acted.
Thursday, July 1, 2010
Extraction Of Trimyristin From Nutmeg
on a vow of silence, Veronica McLoughlin
On Sunday I went to see a vow of silence, the story of a kiss, written and directed by Veronica Mc Laughlin, theater space Elkafka, Lambaré 866 (4862 5439)
White Silence A play is-also-an event sound. Kartun, master playwright, spoke in musical metonymy writer's ear works. Rubén Szuchmacher, master directors was an exercise for his disciples to compose a theatrical event based on a sound matrix (the case I remember was a tape recording from the musician Edgardo Rudnitzky). The classic works written in verse, the old, amplified with the mask or "per-person" voice of the actors. The dreams and the theater, silence is a musical silence as a value in the art of combining sounds.
Vow of Silence is the staging of the delicate score that surrounds a gesture, the story of a kiss, amplified sound and movement by the archetypal figures in a fable.
plot summary
A quiet and demure woman staying with a lonely man. The desire, soft, accurate, undeniable, exerts a gentle pressure on the habits.
Fable: The train, the bag, water
To achieve the expansion (and interest) of the gesture, said, the book provides the time and space in the fable, its characters and story elements are : an old suitcase that refers to its archetype, the sound of water, the roar of the train-trip-thunder symbol, dim lighting, clothing classless and literary characters: the male energetic and noisy, and the seminarian silent quintessence Immaculate body.
Women
girl The small and intimate audience of Elkafka crying, touched by the loss of a renewed innocence. The characters are not children, but it's as if they were. She does not speak and then speak: the breakdown of the expected benefits enjoyment.
Vow of Silence circumvents the obstacle of all public areas, pointing, modified, novelty: for this persistent torsion-making talent of the actors, the soundtrack and the use of time-a seamstress nun sleeping in a suitcase and wakes up one sunny morning with birds with a "book of penance" hidden, alone in the house inhabited by a man, giving away the artificiality and becomes intimately erotic.
Tell me a story
Aware and thematic exhibits her work in putting procedural abyss: "Tell me a story," he says almost the first time, as if just learned to speak, "the woman girl. And he tells the story of himself, who receives it. The meeting of literary elements and metateatreales, I believe, allow focus to move the "naturalness of behavior", amplified. And it is this slight movement that proposes and bodies while their strange tension, that for which even the empty space, the intriguing moments in which neither actor or actress is on stage, is inhabited.
A door
How to speak of love, asks from the program's author and director. Quoting Barthes, love is "madness is the region where the language is both too much and too little, excessive and poor." However, the language of Vow of Silence is nothing excessive or poor, but rather think about the exposition of a thesis about the perfection, the virtue of the need. Approaches, for its brevity and the small tour of his bow, to a year. Exercise approved: the sequence of the dress on, in which a single step on skirt is repeated indefinitely, says it all.
My conclusion is that Vow of Silence does not refer to love, which is imprecise, but the refined erotic gesture. Impossible-the complete works of a gesture, or Hollywood-the guy who saves the girl and, after changing the established order, is rewarded by a kiss-here music and body become, without being dance. There are forty minutes, no more, a gesture that has no time. The charm and accurately transform a low history of a kiss in a play. 
On Sunday I went to see a vow of silence, the story of a kiss, written and directed by Veronica Mc Laughlin, theater space Elkafka, Lambaré 866 (4862 5439) White Silence A play is-also-an event sound. Kartun, master playwright, spoke in musical metonymy writer's ear works. Rubén Szuchmacher, master directors was an exercise for his disciples to compose a theatrical event based on a sound matrix (the case I remember was a tape recording from the musician Edgardo Rudnitzky). The classic works written in verse, the old, amplified with the mask or "per-person" voice of the actors. The dreams and the theater, silence is a musical silence as a value in the art of combining sounds.
Vow of Silence is the staging of the delicate score that surrounds a gesture, the story of a kiss, amplified sound and movement by the archetypal figures in a fable.
plot summary
A quiet and demure woman staying with a lonely man. The desire, soft, accurate, undeniable, exerts a gentle pressure on the habits.
Fable: The train, the bag, water
To achieve the expansion (and interest) of the gesture, said, the book provides the time and space in the fable, its characters and story elements are : an old suitcase that refers to its archetype, the sound of water, the roar of the train-trip-thunder symbol, dim lighting, clothing classless and literary characters: the male energetic and noisy, and the seminarian silent quintessence Immaculate body.
Women
girl The small and intimate audience of Elkafka crying, touched by the loss of a renewed innocence. The characters are not children, but it's as if they were. She does not speak and then speak: the breakdown of the expected benefits enjoyment.
Vow of Silence circumvents the obstacle of all public areas, pointing, modified, novelty: for this persistent torsion-making talent of the actors, the soundtrack and the use of time-a seamstress nun sleeping in a suitcase and wakes up one sunny morning with birds with a "book of penance" hidden, alone in the house inhabited by a man, giving away the artificiality and becomes intimately erotic.
Tell me a story
Aware and thematic exhibits her work in putting procedural abyss: "Tell me a story," he says almost the first time, as if just learned to speak, "the woman girl. And he tells the story of himself, who receives it. The meeting of literary elements and metateatreales, I believe, allow focus to move the "naturalness of behavior", amplified. And it is this slight movement that proposes and bodies while their strange tension, that for which even the empty space, the intriguing moments in which neither actor or actress is on stage, is inhabited.
A door
How to speak of love, asks from the program's author and director. Quoting Barthes, love is "madness is the region where the language is both too much and too little, excessive and poor." However, the language of Vow of Silence is nothing excessive or poor, but rather think about the exposition of a thesis about the perfection, the virtue of the need. Approaches, for its brevity and the small tour of his bow, to a year. Exercise approved: the sequence of the dress on, in which a single step on skirt is repeated indefinitely, says it all.
My conclusion is that Vow of Silence does not refer to love, which is imprecise, but the refined erotic gesture. Impossible-the complete works of a gesture, or Hollywood-the guy who saves the girl and, after changing the established order, is rewarded by a kiss-here music and body become, without being dance. There are forty minutes, no more, a gesture that has no time. The charm and accurately transform a low history of a kiss in a play.
Tuesday, June 22, 2010
Does Drinking Beer Affect Football
About COHANACO DREAMS, Mariana Chaud and Leandro
Last week I went to see the dreams of COHANACO, Mariana Chaud and Leandro Halperin (Teatro San Martín 0800 333 5254)
in sleep are the theater, auditorium, actors, plot, the words we hear.
linguistic code and the rectification of parody
How tehuelches represent? How to represent the desert and, basically, the weather? The power of theatrical mimesis reaches its limit in space and in the language: while we can still refer theater almost directly to an interior space, and you can use plain language that you hear extra scene to build a realistic effect must necessarily question their own modes of representation to go out to the outside and to speak to those whose voices we are outside or are dead. Dreams of Cohanaco invites the geographical and historical journey: stages the immense plateau, and starts talking to tehuelches nineteenth century. The problem is not the degree of realism that is achieved, but plausible. And this is a curious, antiparódico achievement of the drama and commissioning. The ground floor of the canopy, the background of vast horizon and, above all, poetic speech distortion of the men drunk tehuelches do what literature Argentina in the late 80's and early 90's refused to do with the Indian representation: create and recreate without rising-from-authority in this superb parody sneer. The
Chaud and Halperin Indians are drunks, they are philosophers, wimps, convicted, unrealistic but are essentially poetic.
And the theatrical representation of that dream, aesthetically curious thing happens: while a fine selection of theatrical resources to face the challenge of a credible scenic Patagonian Indians, representation Sleep uses expressly theatrical paraphernalia off the scene of Buenos Aires in the last decade: the woman supine, eyes front and the red dress, is the monologue as a primary form, and microphone and Open House his songs, is the word chaotic and coral, the parody of forms and the restriction of acting. Cohanaco, in his own play, dream the dream the future and incomprehensible (to him) is not simply the contemporary theater, a dream of a reality that is lost.
Bonus track The code remains the edge to watch. The chief Gobernori philosophy in a language that we imagine lost. And the culture of bad weather Leloutre Alice puts on his plastic plant a pregnant stage. 
Last week I went to see the dreams of COHANACO, Mariana Chaud and Leandro Halperin (Teatro San Martín 0800 333 5254) amazing thing, the strangeness of the fact of dreaming
Towards the end of a conference entitled "The Nightmare" (which can be read from the collection of lectures entitled "Seven Nights" and published by Emecé) Borges proposes a conclusion, "more poetic than scientific" that dreams are the oldest aesthetic activity. In dreaming, the mind prepares so surprising, even to the protagonist, because the dreamer is both character and author of the dream-what it represents: organize your images and then planting elements functional unveiled a plot. And he further this activity which is "very curious because it's dramatic order":
Towards the end of a conference entitled "The Nightmare" (which can be read from the collection of lectures entitled "Seven Nights" and published by Emecé) Borges proposes a conclusion, "more poetic than scientific" that dreams are the oldest aesthetic activity. In dreaming, the mind prepares so surprising, even to the protagonist, because the dreamer is both character and author of the dream-what it represents: organize your images and then planting elements functional unveiled a plot. And he further this activity which is "very curious because it's dramatic order":
in sleep are the theater, auditorium, actors, plot, the words we hear.
poetry and narrative abound throughout history, stories and representations of dreams, dreams of its authors and their protagonists, and thus make conscious and explicit the second level of representation, this single implementation gap is the story of dreams: what it is fiction, fictionalized. The theater also used, from time to time, though less frequently think, " representation of dreams, but in his case, the metatheatrical is displayed in its own limit the dramatic nature of the images of the dream: the dream is dramatic action. The work of Cohanaco Dreams, Mariana Chaud and Leandro Halperin, updates that way.
plot summary
The legendary desert nineteenth century is not so: it is inhabited. A small group led by Cohanaco tehuelche denies and confirms at once the fiery speech in history. Nomadic Indians, Chileans fugitives, English captives, everything is plural, despite being single. The alcoholic and philosophical chief is a woman who dreams of the future, as illusory as our present theater.
The legendary desert nineteenth century is not so: it is inhabited. A small group led by Cohanaco tehuelche denies and confirms at once the fiery speech in history. Nomadic Indians, Chileans fugitives, English captives, everything is plural, despite being single. The alcoholic and philosophical chief is a woman who dreams of the future, as illusory as our present theater.
linguistic code and the rectification of parody
How tehuelches represent? How to represent the desert and, basically, the weather? The power of theatrical mimesis reaches its limit in space and in the language: while we can still refer theater almost directly to an interior space, and you can use plain language that you hear extra scene to build a realistic effect must necessarily question their own modes of representation to go out to the outside and to speak to those whose voices we are outside or are dead. Dreams of Cohanaco invites the geographical and historical journey: stages the immense plateau, and starts talking to tehuelches nineteenth century. The problem is not the degree of realism that is achieved, but plausible. And this is a curious, antiparódico achievement of the drama and commissioning. The ground floor of the canopy, the background of vast horizon and, above all, poetic speech distortion of the men drunk tehuelches do what literature Argentina in the late 80's and early 90's refused to do with the Indian representation: create and recreate without rising-from-authority in this superb parody sneer. The
Chaud and Halperin Indians are drunks, they are philosophers, wimps, convicted, unrealistic but are essentially poetic.
The vigil
Magical thinking does not distinguish between waking and sleep. The events at both levels are equally real. It also invites theatricality, in its concrete here and now, to suspend disbelief and remove the limit of representation. It is an activity of the waking dream as it assumes the voluntary reverie. And I think that is the problem of theatrical representation of dreams, especially when both planes are on the scene separated. The chief Cohanaco, which is a real dream of the scene, dreams turn an incomprehensible future, which by default proposed as our reality-that of the twenty-first century audience. The dream of the chieftain (recurring dream is one) is clearly separated from his hypothetical wake. It's a dream that all of us, once evoked, we understand, but he did not. Companies
Magical thinking does not distinguish between waking and sleep. The events at both levels are equally real. It also invites theatricality, in its concrete here and now, to suspend disbelief and remove the limit of representation. It is an activity of the waking dream as it assumes the voluntary reverie. And I think that is the problem of theatrical representation of dreams, especially when both planes are on the scene separated. The chief Cohanaco, which is a real dream of the scene, dreams turn an incomprehensible future, which by default proposed as our reality-that of the twenty-first century audience. The dream of the chieftain (recurring dream is one) is clearly separated from his hypothetical wake. It's a dream that all of us, once evoked, we understand, but he did not. Companies
And the theatrical representation of that dream, aesthetically curious thing happens: while a fine selection of theatrical resources to face the challenge of a credible scenic Patagonian Indians, representation Sleep uses expressly theatrical paraphernalia off the scene of Buenos Aires in the last decade: the woman supine, eyes front and the red dress, is the monologue as a primary form, and microphone and Open House his songs, is the word chaotic and coral, the parody of forms and the restriction of acting. Cohanaco, in his own play, dream the dream the future and incomprehensible (to him) is not simply the contemporary theater, a dream of a reality that is lost.
Allegory
Dreams of Cohanaco are two works discussed among themselves, a naive, theatrical significantly in purpose, that of dreams in the background, the future in mind, what is from what appears to have been. And the other, the remarkable work of waking and the drunkenness, the visible and sad work of the absence.
Dreams of Cohanaco are two works discussed among themselves, a naive, theatrical significantly in purpose, that of dreams in the background, the future in mind, what is from what appears to have been. And the other, the remarkable work of waking and the drunkenness, the visible and sad work of the absence.
Bonus track The code remains the edge to watch. The chief Gobernori philosophy in a language that we imagine lost. And the culture of bad weather Leloutre Alice puts on his plastic plant a pregnant stage.
Wednesday, June 2, 2010
Phat Azz Brazilian Orgy 2 Dvdrip
On HERNANITO Halperin, Alexander Acobino
On Monday I went to see HERNANITO, Alexander Acobino (Monday, 21 hours in NoAvestruz, Humboldt 1857 - tel: 4777-6956)
Two theatrical modes over a year ago I mentioned in my review About Frankie & Johnny in the moonlight (read that review, click here ), a classic technique of handling realistic characters in the drama: the profound encounter ¬ "or personal revelation," that "involves conduct strong internal contradictions of the characters [...] to a degree of tension that the pop in the revelation [...] a certain "truth" inside, a truth that was there and even usually also revealed before the astonished eyes of the protagonist. "
is clear that the conduct of the internal contradictions of the characters burst into a developer is not the exclusive property of realism and can be found, exacerbated in the grotesque, that kind of extraordinary productivity in our theater in the fall the mask reveals the protagonist himself the sad and epiphanic face the truth.
Hernanito The foundations of , Alexander Acobino, appear to be strongly supported in this mode of conducting its duo: its gentle and enervating characters attract and over again-while-repel, causing the explosion and the unveiling. The problem, or causing or non-installation is the powerful, while an opposite way and perhaps incompatible theatricality.
Permanence
Immortals, Vladimir and Estragon remain performing their routines and waiting for Godot. The revelation to them, as has happened (and is dark and forgotten) or no longer happen (they might be Godot, and we are waiting). The remarkable and touching conclusion come into question even suicide, for only permanence is kept at bay the loneliness absurd. The management of "routine" the comedy duo (or grotesque duo, duo or pathetic) is that of ritual, laughter, return. And indeed, the foundations of Hernanito melt and merge with this (other) great tradition, stopping, shifting and changing the staff of the key action.
Workshop Summary plot suspect metallurgical industrial belt of Buenos Aires. The pattern of the enterprise by hiring qualified operator for the manufacture of (suspected) industrial parts. Despite the efficiency of the production chain, the tension increases. A deep crisis becomes chief vocational personality crisis. And it manifests itself.
moments of happiness Acobino
The noted author of the remarkable Rolling no longer offer theatrical moments of true happiness. That music, Acobino, that music ...
The comedy duo is a pin pong
Hernanito is a dual development work in which a comedy duo with solvency remains and executed their routines, while a plot tension and slowly weaves devel is in the interstices of the quiet (or vice versa: the stillness is inserted into the interstices of an action that moves). He is also aware that a work, and their images are often there as a comment. See especially the scene of the Ping-Pong: The rally is uneven pace and grace of the duo is effectively stable. The tension grows and, under routine emerges the idea of \u200b\u200bconflict.
Metallurgy Perhaps the problem is the expectation that each work, assuming doubled, resulting in the viewer. He personal world of metallurgy, in which the machines operate really, really sound and produce real scrap metal, proposes a metaphoric world exorbitant whose magnitude is not part of the action: the work is concerned with moving the metal world to dear / ominous world of wooden doll leaving the steel case, leaving aside the real and terrible about the little pieces supermachine expelling nickel. Propose another universe of equivalent power, but will not return to the metal.
be
The grotesque is exquisite and recurrent. The operator will, in a quasi-exorcism, her head to face the truth. And then return to face it. And then again.
Be
What comes to mind from the routine. And actors who can hold it. Even at the maximum stillness: the flagship radio pastor who preaches the impossible.
Hernanito Stay proposes something that is an excess: to the fleeting glimpse of the truth (the metallurgical and Nietzschean clash of swords) a routine comedy duo in Chinese boxes, where you yourself can even do two voices. The result overflows senses. And kill the time. 
On Monday I went to see HERNANITO, Alexander Acobino (Monday, 21 hours in NoAvestruz, Humboldt 1857 - tel: 4777-6956) Two theatrical modes over a year ago I mentioned in my review About Frankie & Johnny in the moonlight (read that review, click here ), a classic technique of handling realistic characters in the drama: the profound encounter ¬ "or personal revelation," that "involves conduct strong internal contradictions of the characters [...] to a degree of tension that the pop in the revelation [...] a certain "truth" inside, a truth that was there and even usually also revealed before the astonished eyes of the protagonist. "
is clear that the conduct of the internal contradictions of the characters burst into a developer is not the exclusive property of realism and can be found, exacerbated in the grotesque, that kind of extraordinary productivity in our theater in the fall the mask reveals the protagonist himself the sad and epiphanic face the truth.
Hernanito The foundations of , Alexander Acobino, appear to be strongly supported in this mode of conducting its duo: its gentle and enervating characters attract and over again-while-repel, causing the explosion and the unveiling. The problem, or causing or non-installation is the powerful, while an opposite way and perhaps incompatible theatricality.
Permanence
Immortals, Vladimir and Estragon remain performing their routines and waiting for Godot. The revelation to them, as has happened (and is dark and forgotten) or no longer happen (they might be Godot, and we are waiting). The remarkable and touching conclusion come into question even suicide, for only permanence is kept at bay the loneliness absurd. The management of "routine" the comedy duo (or grotesque duo, duo or pathetic) is that of ritual, laughter, return. And indeed, the foundations of Hernanito melt and merge with this (other) great tradition, stopping, shifting and changing the staff of the key action.
Workshop Summary plot suspect metallurgical industrial belt of Buenos Aires. The pattern of the enterprise by hiring qualified operator for the manufacture of (suspected) industrial parts. Despite the efficiency of the production chain, the tension increases. A deep crisis becomes chief vocational personality crisis. And it manifests itself.
moments of happiness Acobino
The noted author of the remarkable Rolling no longer offer theatrical moments of true happiness. That music, Acobino, that music ...
The comedy duo is a pin pong
Hernanito is a dual development work in which a comedy duo with solvency remains and executed their routines, while a plot tension and slowly weaves devel is in the interstices of the quiet (or vice versa: the stillness is inserted into the interstices of an action that moves). He is also aware that a work, and their images are often there as a comment. See especially the scene of the Ping-Pong: The rally is uneven pace and grace of the duo is effectively stable. The tension grows and, under routine emerges the idea of \u200b\u200bconflict.
Metallurgy Perhaps the problem is the expectation that each work, assuming doubled, resulting in the viewer. He personal world of metallurgy, in which the machines operate really, really sound and produce real scrap metal, proposes a metaphoric world exorbitant whose magnitude is not part of the action: the work is concerned with moving the metal world to dear / ominous world of wooden doll leaving the steel case, leaving aside the real and terrible about the little pieces supermachine expelling nickel. Propose another universe of equivalent power, but will not return to the metal.
be
The grotesque is exquisite and recurrent. The operator will, in a quasi-exorcism, her head to face the truth. And then return to face it. And then again.
Be
What comes to mind from the routine. And actors who can hold it. Even at the maximum stillness: the flagship radio pastor who preaches the impossible.
Hernanito Stay proposes something that is an excess: to the fleeting glimpse of the truth (the metallurgical and Nietzschean clash of swords) a routine comedy duo in Chinese boxes, where you yourself can even do two voices. The result overflows senses. And kill the time.
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