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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.

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. "

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.

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Nestor's funeral today, Friday 29, no Postpartum function

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

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

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.

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:

"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 ).