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.
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