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Los Natas in Tucumán

Los Natas
bands to
Caravan Black
Merkhaba


Thursday, 23 September 23 am - Robert Nesta
San Martín 1129 - Tucumán

Los Natas, pioneers in Argentina within the genre "stoner rock "artists are considered cult. His repeated tours Europe and the United States ranks as one of the greatest international bands. Los Natas propose a sound with a strong presence of valvular equipment and vintage instruments. Their music is characterized by constant changes to the length of a song, and improvisations that vary by show.

www.natasrock.com

Please inform Luciana Soria Lic Media & Communications from 0381 to 155020592 lucianasoria@arnet.com.ar San Miguel Tucumán

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NOTES FOR THE MEMORY: THE House of Bernarda Alba

One of the most delicious productions both in return was the fact the beautiful and compelling tragedy of the poet and playwright from Granada, Federico García Lorca (1898-1936) was substantiated in the month of July in Conference Room Two of Celarg with magnetic staging of The House of Bernarda Alba . For any optical this show - which only had a short time - became one of the strongest theatrical projects consisting of the first half 2010. This was not fortuitous but is validated by the compaction of a group of artists, designers, directors and technicians who punctually career, creative integrity and decanted conceptual aesthetic insight that amounted to counterplay Theatre (established in 1987) under the direction of plumb Orlando Arocha (Maiquetía, 1954) would lead to this staff to the exact pulse got both the dramatic dimension of the English authorities as the selected text. Theatre of counterplay already mentioned cultural journalists, reporters, researchers and critics are not just a group that has twenty-three years of constant battle in domestic and foreign tables have been generated, but beyond that driving Arocha-forming element that has opened the gates for the rise of young prospects for both the field of art of the actor as to the territory of address, part of the litter of puestistas that one way or another have left their professional growth can cite: J. Bouley, V. Albarracín, and Mario Sudano JJ Martin , among others. Counterplay Theatre as a production unit, such as body art and art collective has been driven by visual Arocha Orlando from the moment they decided that both the classical theater, art, and contemporary Venezuela should be a north outlined goals that expose a challenge not easy but that there would help them emerge as group leader in the step cycle s. The S. XX XXI. Under these and other artistic and theoretical assumptions have been taken up by tables with focus rigor, to convey significant meaning and understanding of codes of communication that axis of the text and is based on a resolution scenic imbued with ideas for the receiving public. This can be noted that the counterplay Theatre has been known for its strong commitment to build towards the north where their vision / mission creative outlined since the mid-eighties century XX has been firmly established to date. The palm of prizes, awards, national and international as well as keep up with the exploration of the boundaries that theater should conform to no typecast is another of the distinctive elements of its institutional heading group. The sum of their products is broad and blunt. Authors unusually low labor and texts made by other directors and groups form a distinct unit of what lies as creative ideology. Sometimes, according to the socio cultural / political / economic Theatre counterplay express it risks their positions of beliefs of what should be capitalized TEATRO not only to provoke wonder, aesthetic enjoyment and intellectual reflection but operating in the mind the taste of the actor and, especially in the viewer, a processing reaction that demands rationality inquisitive, open sensitivity and stamina for the challenges of breaking with the times to be receiving when they take long-term projects as is the concrete representation. What is undeniable is that last July, counterplay Theatre bet by one of Lorca's iconic pieces such as The House of Bernarda Alba (work written in 1936, two months before an ominous execution "After the military uprising of the English Civil War" as a double condition of being to be related to the Popular Front, committed intellectual and openly homosexual. This Lorca infinite and multifaceted in its scriptural universe, human and an "ideological acrimony" has been described by Francisco García Lorca in his book, Federico and his world as "the poet more sensitive to social problems among English authors of his generation "(1981: 407). Always tempting and fascinating to a group with strong artistic as a director who has the maturity / experience to deepen multi-faceted that a work as La Casa de Bernarda Alba can propose to each time and each group of people who sit in the theater, a channel of communication with a human being destined to become immortal and transcend beyond the effects of the postmodern masificadotes and more Moreover, the incidence of the heterogeneity of a drama that sometimes borders on trying to "shed the great human themes." The essence of Lorca take these days is that it allows an artistic theatrical explore how mature and refined are to enter with heads held high into the path of compromise and cohesion synthetic operator substantially to a whole .... The structuring of each paper and that mysterious "collective resonance" of a people beyond tempting to say that he has behaved in a traditional way from the local or shutters can be opened to universal, transparent communication placed under the conceptual umbrella an artist who knew how to decode and calibrate a Multivalent meaning to the understanding of Lorca's work. From memory you sign what is perceived as a function of the season that had the counterplay Theatre in Celarg . The first thing that comes to mind was the choice calibrated template formed by leading actresses acting in theater, national television and even medium and emerging performers to work on the boards. However, the fact that this list shows names like Diana Volpe (Bernarda), Haydee Faverola (Poncia) Antonieta Colón (Maria Josefa - Bernarda's mother), Carolina Torres (Magdalena), Ana Melo (Amelia), Gladys Seco (Martirio), Jennifer Morales (Adela), Maritza Briceño (Maid) and George Llanos in the roles of Prudence and begs denotes Arocha calibrate and select a choice that not only imply that each of these artists had time in his acting work to embark in a journey of short-season but that of his composing looking weave a maze of contrasting personalities who could fit not only the test task to put together some response but where they felt the proposal to seek Arocha make a correlation between the traditional regionalist Iberian world to approach (projection "?) to a" Latin American vision of women united in a bond of love and respect to a generator of life mother and role model. " I'll take it signed by the brother of the poet / playwright (Francisco García Lorca, 1981: 375) who references: "..." The poet says that these three acts are intended for a documentary photo » and even with this work "is believed to see in it something like the correction of a poetic vision of the theater, while step toward the kind of realism that has been considered as normal theater itself ...", these extracts can I infer that the proposal was given significant meaning from the individual membership group acting up the plane by this group was able to assemble a scaffold histrionic axis from the referentiality of the house which sits an oppressive atmosphere as onion, layer sets after layer where you can read things like the weight of "sex, fate, tyranny and death." Every actress from the potential of their work - And it reminds me that given by the late Maestro Enrique Porte in Actor Workshop years ago on what would be the actor himself and work as an actor with the character - which means that a group of these actresses did conform with skill which demanded Arocha when articulating the division of roles and what should be the horizon for each paper. Even let me make a paragraph about what concerns us in Pabis Patrice Theatre Dictionary around the "character read and seen character" because I could verify these aspects from the excitement of the show is, that there histrionic rendition that assumed the purpose of representation on the understanding that this "only exists in the common mind of the actor, the scenic spot and the viewer" (Pabis, 1990: 423). That visual was obtained from the proxemic understand the distances between each body, through filigreed network of glances, gestures and intentions, even, I can add that since the syntactic corpogestual determination of a segment of the template acting which ended up generating in the audience that real sense that these actresses substantiated a "infracomunicación" which, in case of Haydee Faverola , Gladys Seco , Nathalia Cortez and Columbus Antoinette was patent. For Diana Volpe interpretations and Carolina Torres I can say that their roles were somewhat spherical (in the view function) in terms of rhythm, voice modulation and a devolution another point. However, the cast was attached to high tension despite the drama demanded and the type of nonverbal communication between the actresses could have been more dense. The public reception was great which he expressed his satisfaction about what they had to project itself as a rich composition and giving dramatic substance to the whole of this stupendous scaffolding staging of The House of Bernarda Alba . The only staging will indicate who was at the height of exposure as a show sober in style, clean, aesthetically and fluid in its period of implementation. Plant movements where each scene was calibrated with the following communication and dynamic light created by Jerome Reyes allowed cadences of nuances that gave it that it drives like atmosphere, but that we understand who is in correspondence to the tune dramatic acting and the concept that stands the address. Joaquin's costumes Nandez and makeup Andreina Arteaga cohesion contributed to final disposal ideas of management. Show that should have kept a more extended period on the card so that our audience would enjoy a regional assembly that brings honor to the Lorca drama.

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The Beats, 2 office on Friday 24

The Beats
presents

UNIQUE

Friday, 24 September
20.30hs y * *- Teatro Alberdi 23hs
San Miguel Tucumán

new feature!
because they sold
* 23 hours *


$ 50 advance, $ 70, $ 80 and $ 90
in Theatre - Chrysostom and Jujuy


This musical play, designed and assembled specifically for the pleasure of the lovers of The Beatles, will tour the country on a tour of selected prior to the annual tour abroad. The Beats were established by the Beatles Annual Convention, London and Liverpool (England), "Best Banda Beatle World." With 23 years of experience, have a fabulous show about music and history of The Beatles, this time entitled "unrepeatable". This new proposal stage, unique in the world, is renewed every year, so the faithful followers will be delighted with new blocks and surprises, with the magical quality that THE BEATS used to pour into their performances.

During the show THE BEATS use the only complete collection that exists worldwide original instruments and amplifiers using the four Genii of Liverpool. For the setting of each act, and change the instruments according to the time that is evoked, THE BEATS has full costumes used between 1962 and 1970. This staging is divided into nine chronological blocks, thus showing all the music and history of the amazing and exciting career of The Beatles. To split a time of another during the show is projected on two giant screens a video explaining completely covers the history of The Beatles.

Please inform Luciana Soria Lic Media & Communications from 0381 to 155020592 lucianasoria@arnet.com.ar San Miguel de Tucumán

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COIN TWO FACES: SAILORS AND THE GOSPEL OF THEATRE

As I expressed in the previous game, the exercise of critical must commit to memory the fact that the stage is in effect is well chronicled, a reflection or an analysis that involves the task and Who produces dynamic? Where is exposed?, And How is the reception of the artistic product? Remove these questions seem simple, but it is not. The memory sometimes you who commit it notes (the public receptor) a position of like or dislike that according to their myths, values \u200b\u200band beliefs in addition to an open or closed makes certain elements of the relationship production, circulation and, especially, the consumption of a creative work is undertaken with relaxed enjoyment, aesthetic pleasure to meet a spiritual, emotional or intellectual rather than another. Aspects also who makes up what we call the proposed dramatic / theatrical work and / or theatrical production. There are subtle differences in my opinion in each and if a group, company agree on the selection of a particular author means other derivations play most of the time remaining veiled consciousness of the person to a space (theater) to confront the creative effort. Even the factor of the reception is so particular that nobody understands even the forces working for such and such a spectacle permeates the taste of a segment of the public and can break the cellophane that which is called individual taste and become in a blockbuster. And beware, I am not referring to groups / artists who already enjoy a certain popularity in the sense that without being hegemonic as a social cultural historical moment of a particular city to force it to flow, magnetism go to see that show no sign of the importance of the ongoing promotion / advertising to be deployed in print or audio, but for the much vaunted 'buzz' that between each viewer becomes a mounting an event to the rest of others. Think of the currently operating theater circuits in a city like Caracas where you can distinguish not only their rooms and how managers manage their resources so that certain events are given in a manner consistent with the horizon of expectations of the potential audience accustomed to the theater. It is well to reflect that if a room is active, the program manager will have several options (groups / project mounting / replacements / releases) to decide how and when to articulate a supply gear that is not only attractive but also cause the effect of positioning a target of viewers who feel confident that between the cost of entry (which can even be from free to pass through the singular fashion of "input collaboration "to hold a price segmentation according to the capacity of the space) and what you will receive an offer to convince consumption from the neophyte who attends for the first time to see a stage show more seasoned viewers (which is chroniclers and critics inserted specialized). Either can or leave satisfied or, conversely, generate a kind of fan that opens from the pleasure to disgust. We can say then that is something subjective reception of each. But certainly, the pleasure / pleasure / enjoyment / joy of a viewer can be multiplied by thousands, if and only if - beyond has to do with the cartel, a work or a fashion show where operating behind the positioning of a group name or a director, even beyond the most effective advertising promotion that it has been established this consumer-known theater found in his confrontation with artistic aesthetic quality assembly in structuring the scenic fact that acting response exposes undeniable qualities ranging from a balanced staff histrionic relevance as a conceptual design intended to - encode and re - encode the text to mount, a solvent decision to build each role to play by the buffoons and something strange but sometimes may impact or not, I mean the time duration of the show. These brief reflections (there are still many more in the pipeline) are appropriate for spinning that the critic / columnist theater should consider when approaching to see / grasp some scenic proposal is exposed by a pop group or, for the most skillful theatrical collectives which make continuous and active life in this metropolis. What it should be for the critics is consistent enforcement role, restrained analysis, reflection, depth and raise in his speech an ethical attitude which will give the patina of credibility to what you see after the fact, assume the act of writing and memory lay in their respective arenas of opinion . In what was the period between June 15 and today (September 16), 2010, the theaters Caracas has been very lively in terms of quantity. There are circuits and server rooms that even this approach has failed (eg Teatrex ) and, moreover, by the Los Naranjos and opened another private room that I have understood is being taken within the field of management / program for actor and director Basilio Alvarez . In short, no offer stretch factor to it when exercising the activity of selecting what is described as "billboard unified" the newspaper El Nacional, we have already emphasized that there are rooms and circuits that does not appear with Quote this card. The consumer choice comes to us in several ways: email, cell phone text messaging, customized invitations, the odd poster or banner and up, call the theater's number (case of Teatro San Martín de Caracas ) where tells you what there is in programming. Again, in the space of nearly three months, supply Caracas has set stage theater works of all kinds and for every taste. The work is for the viewer or critic is born to seek the possibility of using something more than a quarter of this offer and realizing that this offer can be overwhelming. COIN: TWO SIDES. CARA A: The SAILOR . Easy assembly hereby space teatrino Theatre Lab Anna Julia Rojas ago a couple of months (July) in short time. Under the direction of veteran actor (former member of Rajatabla ) and emerging director Germain Mendieta in these conflicts, she became personal risk and under the patronage of own Laboratory, the staging of the word - picture of the poet Fernando Pessoa . In the playbill own ideas why this show?, Tells us Mendieta that "I assume eager to do, above all obstacles, some of what we were accustomed and, on returning to believe in the real theater, no tricks or false. " Something significant that we read between the lines as it is quite true that an iconic part of the theater we see these days appeals to the grandeur of the scenic or sight apparatus playful collection of clothing or without forgetting, the increasing presence of technological effect that seems to create a theater of appearances with his own speech that transmutes the essence of the word, the sign and expression of the bodies in communion with a text that appeals to the himself as justification stood Mendieta: "(...) air Ricardo Lombardi, discipline the teacher Peterson and ingenuity with which I [ Mendieta ] this show. " Certainly, this director in a closed environment he created a staging of the universe compacted pessoiano want to argue with it the visual staging balance calibrated with a compact, light only to suggest more measures that emphasize, a plant of simple movements, quite plumb the air to indicate the word must have its charm and is able to interweave that understanding the poetic play of the poet heteronyms Lusitanian that "the character" expands its limits or shortcomings in what was to build each paper in its proper dimension. Mendieta's work was just in the realization of a spatial construct within which summed up where he could take and leave as a significant derivative of light (Victor Villavicencio design ), the woven symbols flash the simplicity of color and fabric falls in the design of Raquel Rios, and the use of certain objects. Also will add the artistic work of seeking to project a small staff acting. Within your role-play record made direction was made clear in a frank assertive work rested on empathy would expect both a viewer not accustomed to sit as a spectator in this room to anyone who already knows and understands that there are limitations space with insight can compose a graceful and subtle power that can capture the public's reception. The non-effectiveness of his work as director was in that did not require further work which actor himself - I suspect that when the actress tried to spin their search of the actor with his character, did not have a more settled as a reference background to boost the projection of character, therefore I think (and this is only a subjective assessment) that if management had insisted in working more with each actress Cerradicas separately and then articulated with power emanated as a significant message from the histrionic overall have been more effective. And yet, I will limit the overall compositional effort was rocking to say the plane. I here that offered by Cristina Latt (First) and Olivia Parra (Third) no subtleties to be cohesive arise from the floor on their gestural and less on voice projection cadences, melody and nuance. Could be more concentrated (for this was the day I played observe) and establish so if you did Karla Fermin it from their silence and their movements were the expression of poetry and the gracefulness of the word art is arming a whole very suggestive. In short, The Sailor was created in an attractive sign that the theater is not hegemonic, the theater of truth and simplicity will be with her powerful presence (though few have heard of it) elicit a moment of delight for anyone who was lucky if any found. CARA B: The GOSPEL Bulgakov. It is rare to find in recent years in the theater marquees of this city a reference for the work of Ukrainian Mikhail Bulgakov (1891 - 1940). Even being a European author in a literary, dramatic and critical, whose titles can reference satirical novel The Master and Margarita (1928 / first letter burned by the author / 1931 / A second draft setting out an articulation of its plot and the final version of 1937 where this installment is definitely structured, it is said that using his wife, this piece reached a final polishing and-4th version by 1940 to four weeks of his death) which has said it was "the best novel of the Soviet period" or the most controversial of his plays billed in full Stalinist period as it was Ivan Vasilievich (1936) on which is inscribed as "grotesque comedy" which acute and fierce to be sort of metaphor for the ruthless dictator figure that dictated the destination of millions of Russians. It was from reading The Master and Margarita the group Panthea Theatre under the direction of master Francisco Salazar devised a frame assembly which places a day in the life of what would become known as the "prefect of the Roman province of Judea between 26 and 36 of our era," Pontius Pilate (Pontius Pilate) which we all know in the New Testament was the one who took the trial (Yeshua) Jesus of Nazareth once the priests of the Sanhedrin stood in their hands, which would be the fate of the preacher of Judea. A drama that drives the viewer to witness and witness subjective background of what is the value of an act that has consequences: guilt versus cowardice to an undeniable truth. The Passion of the Christ will be at the bottom, a set of contradictions that not only relate to the characters but acts as a parable against conditions of treason / dichotomies between moral values \u200b\u200b/ ethics that a citizen can find decisions to address political or social dilemmas, of course, always within the context of each individual must assume a role and responsibility in making these decisions. An incisive as corrosive "chronic" one of the most significant events that mark a milestone in the history of Jewish culture and open the portal to what would be after the death of Jesus, the controversies of the Christian religion in the Western world . For group Panthea Theatre staged this production (season 03 to September 19) within the experimental room spaces "José Ignacio Cabrujas" Cultural Chacao (Los Palos Grandes) and best reference on the idea of \u200b\u200bthis project scenic which can be extracted from this collective blog (http://pantheoteatro.blogspot.com) where we read an interview derivative Ángel Gómez: "The staging is determined by the acting process. [ Francisco "Pancho" Salazar added that] "The guidelines go on the scene, drawing from direct contact with the actors, the score that they are generated, which defines the movement on stage. "Mounting attempts in a small space to create two rooms, one real and one dream, the period costumes are not only eclectic, according to the director, and uses some recorded music composition" And for those who do not know about history and relevance of this group may be added that: "Panthea emerged three years ago as a research project the actor's art, a subject that has passionate Francisco Salazar since its inception in Artistic Creation Center TET. "Our interest is the work of laboratory training and acting," added the director, who began working with just two actors. Panthea first assembly was A camera (Huis Clos ) of Jean-Paul Sartre , in a second round of functions are called A Season in Hell . "There are few groups that apply and questioning the audacity to build a proposed staging with very firm pillars, this group is proving it with every experience and although not entirely safe for the average viewer is a hint that they know what want and firmly fight openly with establishing which impels him. With The Gospel According to Bulgakov the viewer is not free to understand Laughter is not drama or something that will be there to be taken easily, is an acute challenge and demand that has questions and answers on a bi-directional, meaning that emerge from the creative work / aesthetic / conceptual art stage given by the buffoons in a direction where the subtleties embroidered and cracks indicate structural signal; an assembly that generates the analytical approach of the viewer and challenge (given the proxemics, understood as the "relationship between personal space and features each individual and used to know and understand the needs of each in different types of situations ") the actor himself and with others buffoons and even the public-which inevitably generate a non-indifference to the reader / viewer but a subjective and intimate involvement with the threads of the drama and with greater rigor, with the subtext that from the direction you want to project. The direction of Francisco "Pancho" Salazar was spun around in their formal and technical aspects to ensure a synthetic form and substance from which both the ground motion, the density of atmosphere designed by José Pérez and basic elements of setting and costume make up a significant level on which the work of the staff made up acting Arnaldo Mendoza (Pilate - Berlioz), Steven Rose (Yeshua), Israel Moreno (Afranio - Voland), Natasha Puches (Margarita), Markel Méndez (Teacher), Ana González (Secretary Puches ), Jonathan Rodriguez (Secretary-Judas) and Alejandro Miguez (Matthew - Ivan) were ready to fit into the needs of each function, the construct of individual role. Since I managed to attend the premiere, reading histrionic performance was more convincing me in the work of Israel Moreno for his warm performance where the nuances, the internal tempo, cadence and voice modulation and body organic function of signing the coordinates of each paper, rose above the rest of her castmates. We also acknowledge the ductility of Alejandro Miguez who was always with his character and he showed it throughout the entire performance. The final credit, grant to the interpretative work of Jonathan Rodriguez who with warm smell of their physical coordinates and the pulse of how it would cope with the rest of his colleagues sharpen a unique profile role. I hope that with the passing of the rest of the cast features refine their roles and artistic density to warm so that everything looks compact and free of hesitation own day "rise of the curtain." I will take as the climax to what the group itself Panthea Theatre sent us a press release to tell us about this work The Gospel According to Bulgakov to take "this contemporary classic for viewers to witness an old story, which controversial characters everyone knows, but told in a new and sometimes contradictory "

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Bulgakov

After a much needed break, it takes reflection and task analysis stage found in the Caracas theater marquees. With a absence written about a month and a half, I continued to attend to what is offered as a staging proposals aimed at different segments of consumers - and, boy, what I have seen says almost with a unique tone that has been exposed and is still in the canopies of the various circuits and commercial theaters or not is quite heavy, even reassures me the feeling of power yes to any dramatist who holds an undeclared Festival! - and this is synonymous with or without subsidies, with high and low artistic quality of art or theater or simply "commercial", the supply / demand leads to more of a viewer feel a little overwhelmed when choosing to do every weekend is week. For my part, I'll post comments from it because as several playwrights confronted, criticism must assume its role and assume the memory, analysis and reflection on the processes of production, circulation and consumption, from the theatrical act is experienced in a city \u200b\u200blike ours. Thus, both this paper and the subsequent look out of ink seen spectacular armed with proposals offered by both novice and consolidated groups. Thus, entering two nice comment on jobs offered in the cozy living room while the dynamics Laboratory Theatre "Anna Julia Rojas" located in Mexico Avenue next to the Hotel Alba Caracas and close to an entrance of the Metro Bellas Artes de Caracas. A training area, a place open to bands, artists and creators who are looking not only to test or meet a great time program open through those outstretched arms of a royal woman of the theater as represented Carmen (La Negra) Jiménez who from the disappearance of teacher Horacio Peterson (founder of that institution) has created what at one time was described as off off Ateneo. An action and a commitment to dignity, risks, little government support and a sense of commitment, allows emerging theater, the theater professional theater novel, drama which aims to find niche broadcasting is well Walker proposed step or one spectator stage languages \u200b\u200bbilled looking young people are right there on hand to see and feel in their hearts that not all theater (art / commercial) will be found in rooms / channels established in this bustling megalopolis. From July to the time I write this review / criticism have gone through the lab tables that attracted groups with their peculiar way of being produced and being resolved scenic, mount that could well be said that it is part of the theater "hegemonic" norms within the formal rooms and exposed groups and artists and possess relevant experience ments come have left their mark on those who were lucky enough to see them. On the one hand, I must refer to the group Only 2 Tosen from Aragua State, and specifically of La Victoria. Under the style of storytelling and theater with a full sense of rhythm, musicality, an acute angle as sharp focus on the socio-political problems of the country and looks sharp on globalization tone situations where both human and sociological issues on the horizon the intimate psychological and at the edges of the behaviors of being in front of his becoming or existential angst, stinging articulated with wisdom, creativity and undeniable talent, as you can "build a new social paradigm." Only 2 Tosen , I can qualify as a rarity among the groups that make artistic life in the regions. Exposed to a small group of spectators who followed them were surprised and pleased from beginning to end (one hour and ten minutes) the Café Concert show entitled irreverent. An assembly structured songs such as "protest" but inspired by what a tough life sometimes we cry or the same national or global reality we spit but that sometimes is subsumed by a whole layer or media myths informative news that big companies make us understand how expression of action - a social reaction to several factors whether they are war, consumerism, sexual behaviors, situations sojuzgarmiento the powerful (companies or individuals) against the weak (the mass alienated or citizen who is simply trying to survive the predatory injustice in these concrete jungles, concrete, and glass rods. The irreverent itself is a solid set consisting of songs / stories full of furious jocularity, corrosive humor which the audience could laugh or not but that could distinguish in the background that no there anything said / presented was to laugh heartily but to reflectively chewed why is pretty hard to laugh at the tragedy of others more if in a segment touches the tragedy of the Haitian people suffered the terrible design of earthquake that shook a few months ago and also brought all this ominous social history, economic and political that we know who has become one of the poorest countries in the world could be generated to the public something to rejoice? or who is to laugh listening and viewing (graphics) on a story / song in which existential plot reveals dozens of Iraqi children have been killed, mutilated or irreparable losses under inhuman bombing of arms occupying powers? In any case, if there were moments / situations where the current letter of protest was relieved and seasoned with a less dense to the receiver. This allowed the relaxation and the possibility that the reflection and with the pleasant but biting humor that the force of the power of the signifier, the subjective scope and understood the dual situation of how it looks something but as it really was work product Kervin Ojeda (composer, musician, teacher, storyteller and musical director) and Christian Fernandez (theater instructor, actor, stage director and producer) who since 2004 have opted for this alternative gestate beyond the title of this show which I was able to attend are really irreverent, are a outsider in what we are usually accustomed to see and enjoy. As a climax just say that in this country managers should be more spaces or cultural institutions that sees him and understand that the public would give the stroke of good note with those who seek that kind of proposals do you create that much desired and reflective catharsis strain of humor that, in these "days of rage" are well needed. A loud applause for them!

A broader

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Trocca Mariano Garcia & Leo - SpringFest

Leo Garcia & Dj Mariano Trocca


Springfest
City Cycle RDV

September 17th
23 pm - Club H
Maipu 450 - Tucumán


The second cycle date RDV in the City will be a great spring party with DJ Mariano Trocca, some of the best exponents of electronic music in our country, and Leo Garcia, who presented his new album "Common and Special."


Valley Rock Productions
Luciano Vallejo & Raúl Ortiz

Please inform Luciana Soria Lic Media & Communications from 0381 to 155020592 lucianasoria@arnet.com . ar San Miguel de Tucumán

Replacing A Lock On A Tool Box

Upcoming Dates - Rock Valley

The c RUC recitals of Rock Valley City with the participation of some of the bands that made up the grid of RDV 2010, held in the summer Tafi del Valle pasado.La first date was in charge of Banda Tourists , disclosure of this year and one of the promises of the new rock. We also have the participation of Victoria Mil , Argentine pop indisputable reference, who presented her new album "Far."

This series of shows in San Miguel de Tucumán continue with the presence of Leo Garcia and Mariano Trocca , Friday 17 September, and then Los Natas on Thursday 23.


www.rockdelvalle.com
Valley Rock Productions
Luciano Vallejo & Raúl Ortiz

Please inform

Luciana Soria Lic Media & Communications from 0381 to 155020592 lucianasoria@arnet.com.ar San Miguel de Tucumán