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.

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.

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.

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.

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.

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.

[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

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!