Licença Para O Technobingo

Lisandro Aristimuño at the Teatro Coliseo

Lisandro Aristimuño
and Turquoise Blue

Teatro Coliseo

Friday November 26 22 pm - Capital Federal


http://www . lisandro.biz /
www.myspace.com / lisandroaristi

Stimulate Facial Hair

PRE RDV Tucumán Tucumán

ROCK VALLEY PRE 2011

TUCUMAN

25 and November 26
22 pm - Robert Nesta

The winning bands will be part of the grid of Rock Valley 2011. Sign a contract for $ 1000 .- and also receive merchandise from the band with the designs of RDV.
Come and vote for your favorite band Tucuman!

Http://www.rockdelvalle.com/

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

Digital Playground Film Online

MEXICAN IDOLS DO NOT FORGET TO TENNESSEE WILLIAMS IN CARACAS

to the reality of the West Theatre Festival always had the support / sponsorship of the State is either through CONAC, Vice Minister of Culture and later the Ministry of Popular Power for Culture in 2010 is has been quite an ordeal. And I say it - because if I remember because historically any of these government agencies has supported through special credits or familiar cultural grant many of the showcase type events (ie, Sample, Meeting and Festival Theatre) in the country. This year, so particular, it did not happen, the consequences, FTO-2010 accused not once, but that followed, rose curtain and had the invaluable support of local cultural entities as the Governor's Regional Government Wilmar Castro Soteldo by ICEP, the government cultural Yaracuyanos through ICEY and Portuguese Cultural Institute, the mayors of San Felipe Iribarren and the Institute OAC Barinas State, Portugueseña Corporation of Tourism among others and especially the public who assumes his commitment to a festival that is part of their cultural and artistic heritage and, above all, the unwavering moral force of an entire team, technical, and logistical support, amounted to not subtract, giving without getting, but coupled so that if the spear was broken by a chief with dark desire to divide and finish, because what is a sovereign decision to remain standing. Popular culture has friends galore but when the little girl, friends of culture are those who will be at the forefront of challenges to the challenge to continue on the path is somewhat overwhelming. I'll take the words of the organizer to summarily hits on the essence of the above when welcoming remarks said: "There is a invaluable support, even in the most difficult times in those where this word appears fearful "Suspend" stops us and makes us go, the public, these men and women, boys and girls on foot, full of places where we met. Is that the word of great romantic content, "date", fits perfectly, because this festival, meeting or appointment is an act of love, nice compromise between those who want to build a place where you can love, live and work in peace " why work with passion must join in a dual purpose: the theater and the public. In this framework party FTO-2010 on Sunday, November 14 at the Chamber "Federico Collado" Cultural Complex "Hernán Lejter" City Guanare (Edo Portuguesa) the central western theater festival organized by Carlos Arroyo, was able to present the first foreign delegation within the cabinet as the "Athens of Venezuela" whose performance was awaited with anxiety. The show entitled Mexican holiday Purgatory (celebrating its hundredth the public guanareño first function) by the collective Productions Art Studio under the syntactic view in the staging of Marcos Vargas (director) and solvents as articulated characterizations of two actors with technical insight, wit to the genre (drama and comedy type of song much in vivo) and that knowing wink plausible coupled each other and without ever losing sight communication with the viewer. This pair of excellent actors are Luís Carlos Wong (playing the actor and singer Pedro Infante ) and Frank Rodriguez (assuming the role of cantor Jorge Negrete ) iconic figures of popular culture on radio, film and media in what might be called the golden age of the spectacle of fraternal country. A nostalgic tribute of remembrance to these men - artists who are in the Latin American collective subconscious, and that while there cult of good music / movies on this continent where all in some way or another we know what our roots and cultural similarities know you can not let die the memory of these artists because they are people who did their thing for the people and the people idolized beyond the changes of fashion, style transculturized and global effects. Two actors in a pattern of images of these characters are placed in a kind of purgatory awaiting the celestial immortality makes them rise to the pantheon of other celebrities. Aware, their fraternal rivalry, his personal past, their successes and achievements are contrasted, merged and murmur to the opposite one currency is always dramatic wink that comedy and a touch of criticism social season waiting. It is the great story of a Latin American country and love as we reflect on them for being part of such joys and sufferings. Impeccable acting job. A fantastic artless exaggerated and a synthesis of history that not only the current generation knows about them but father and grandparents lived with delight. Production had the script Angel Mendez on a budget for these cowboys transcend space-time and earn a bonus immaterial to them by an audience that good theater should not be sweetened with fireworks and no exaggeration. Theater of the word, image and expressing action. If Peter and George are still in purgatory with each win applause points to make a miracle not to be saints or deities disposable artificial golden with the passage of time but the real stars in the sky flashing memory of all. Health pride for this proposal!

Obi Sashbelt Dkny Stardoll

already close to the centenary of the birth (April 2011) of one of the great American playwrights of the century XX as it was Williams Laneia Thomas (Mississippi, 1911), we can observe how the marquee theater in Caracas, an assembly workshop interest has focused on training and creator of the pieces signed by the notorious author, screenwriter and novelist winner of the prestigious Pulitzer Prize it would be better known as Tennessee Williams . A playwright whose optical knew revealing as to grasp the strength of the psychological and existential tensions that form part of the invisible / visible in a sordid world that for many is only part of the underworld of physical places, passions and ideas about sexuality and morality U.S. after the war. Who has not heard of or had the luck to see represented here in Venezuela or abroad titles like A Streetcar Named Desire, or The Glass Menagerie, Cat on a Hot Tin Roof? In some form or another is part of the cultural heritage of the contemporary world because its drama is in the garb envistió film and this led to the power of their situations and the magnetic strength of their characters have permeated the collective unconscious. For this and other iconic Williams is an author of a nation and by extension, today. The topics discussed by this writer dramatic play one way or another, for example, "unrequited passions," the fear of emptiness and loneliness of man "to fluctuations in their environment as being and the social changes that will persuade it to respond to them. The ability to communicate a dramatic situation from the dialogue and the power of fractured souls are potentially part of the legacy of a man whose right scalpel as a playwright was able to cut and expose before the eyes of a surprised and expectant audience. The wisdom of having been a teacher and journalist acute as the fact of his underground sexual duality made the minority could speak only of shadows whose eferbecían by the pressure of no correlation, the latent anxiety that touched oiled sexual intimacy each of his characters and thus find correspondence with depression can be life and if this is lightened by evasion, alcohol, sex, repression of the instincts it will be like pressure cooker explodes at the sight of spectators that somehow or other beings of flesh and bone. And no matter what their pieces have bumps in the decades Williams was the man who envisioned the destructive tensions that every bears within himself and fed with the impulses and anxieties of not finding answers for psycho affective communication (empathy) can lord it scene when one of his pieces to be placed before the pupil who created free. That's the Tennessee Williams that today still lives and breathes in each of its textual products. In last night in the theatrical exhibition Luis Peraza Hall, home of the Experimental Theatre Workshop (TET) we had the special opportunity to see and hear one of the pieces of this author as it represents short pieces entitled like rain Tell me of which showed four ( I can not imagine tomorrow ; The case of petunias trampled ; Auto-Da-Fe and Tell me like rain and let me listen ) which in its fragmentation or if seen in totality by attending at least two different functions with disparate casts, you can make the audience Caracas (especially young viewers) approaches unambiguously tennesiano the universe. Talk to me like the rain is from every point of view, a good result derived from a workshop installation by actress Diana Volpe . Coherent work, a solvent and plumbing acting filing a thick number of actors and actresses, many of them with a proven track record in tables, film and television with others who seek training tools for tackling the difficult and demanding job of writing characters- had the opportunity to showcase their talent as an actor, physical and imaginative powers give life and create artistic plausible this fascinating world of dramas that only an author of the size and scale of Williams knew offer from the fifties, sixties and seventies of the last century that responded to his personal way of apprehending and encoding aspects of the human drama would clay, plaster, stone base for the actor could place each piece in its proper space and thus make the game of passion empathy on who should be the end of the chain: the receiver (the public). Thus, an experience to see this product is not as simple work to meet the workshop process, but see it with a different perspective, perhaps inferring that the Venezuelan artistic potential is fogueandose and well being led by the wisdom / experience of a "veteran "actress who knows what he knows because he has lived and still living but not from the theoretical from the practical art of the actor in roles identified in this here and now of Caracas and scenic reality check here if you stated is true or not. It was not only the desire of a group of young well-targeted in this training made progress in tables but from the tables that give surprising and fascinating than molded in form and substance of individual and collective delivery would prove that after a lapse of assembly shop requirements speak for itself from the physical context is the setting, that setting out tables that its dynamics within the art of rapport actor / character was real, the emotions / desires / anxieties / frustrations and other aspects could be some material to work convincingly by what should be a period of an hour and a half after which the results speak more than young energetic or power of mind and vitality that have united as a group they knew who would substantiate that the act is viewed as stories crease in the receptor that situation of pleasure, joy, enjoyment and, more beyond their reflections on the art of dramaturgical T. Williams was the actor's art can build self-made characters universes whose mission was able to lead / shake when there is the understanding that these are challenges that were overcome as the technique, testing, persistence, commitment and desire would make the resolved was plausible, effective and convincing. A large group but split in two so that everyone could have their share of responding to the challenges that the workshop and the outcome demanded that the piece Tell me like rain from becoming a proposal suggesting that this country has a great potential talent in a few years given its share the actor's art enrichment, but from the ground that are not only pleasant faces and bodies but authorities aware, reflective, analytical thinking and acting towards a better assay of the trade. The reality of writing a chronicle / critique is sometimes overcome by the fact that they should find him and even written here, seeing the laborious job of a photographer friend ( Nicola Rocco) to seek the best angles in the odd scene in his blog that when exposed to your business skills so that words can not synthesize it was pressed to the demands of their lenses and have to keep an eye on the shutter and the other on what is developed because the strength of achievement was certainly well done as fantastic as a response to the composition of action units, such as atmosphere, as a single unit building of character, proxemics, the economy of the drama, the internal density each sentence / dialogue, in order that all that was the realization of a show that even being classified as assembly workshop was indeed a worthy and effective production given by all actors and actresses, as it emerged sober deftly spun what apparently is a shortage of intrigue but if that internal ripping each character and the stifling of their own situations impel the actor / actress to be able to build a scaffolding of gestures, glances, movements, hints, silences, spring action, sequence of tones of voice, inflections and other items intended to inform the public that poetry and sensuality can come from something as unexpected as one pleading voice of love when it already is on the verge of succumbing , that a simple twist of a stable personality can blossom into sensual boundaries, a psychopathic turn can create a collapse of accepted paradigms and that love can speak like rain for solitude is not isolation. My admiration and gratitude as a spectator to the work of the group that will play exhibited in the first function (1st Season / Hall TET)-which will be rotated depending upon role and will continue in a second round in the spaces of the Theatre Laboratory teatrino " Anna Julia Rojas ", next to the Bellas Artes Metro station, and, of course, I encourage young people to confront and stand out as from other academic areas but not very serious, art and technique of the actor of Mull, prepared with method and precision to be observed by all. Highlight the work of composition, from my personal appreciation are strong in terms of handling voice and corpoexpresividad, organic intensity to draw from within that world that gave life to construct the character which was felt solid, adhesive and plausible because it was a unity of meaning and its domain architecture incised gradients psychological or action and that it earned in the responses of Rosanna Hernandez (A), Balducci Sunday (two); Yuri Pita (Dorothy Simple), Darwin Barroeta (Police), Germain Manrique (Boy) Maria Alejandra Rojas (Ms. Dull) and Pablo Andrade (Male) and finally Pablo Andrade (Male). Their physical forms and visual potential sensuality and even generate significant force to the text because they feel on paper. Regarding grounds for Nakary Bazán (Mme Duvenet), Abel García (Eloy) may have had more strength in your inner self (Nakary), less hesitation with the letter and accent shades (if Abel), to generate density atmosphere when they are creating dialogic exchanges or when in silence so that the load voltage does not erode and be more attentive to the matching unit subtext Auto-Da-Fe was the segment or short piece where they played intervene. In the case of María Gabriela Díaz work is twofold: one, that world to hear and pass from the body that is changing the face of things to know / hear and then assemble the response in the face nuances which sometimes it was sometimes rather indicative expressionless but was not submerged in the deep transformation of its decision. Must be attentive to the tone and timbre to make the statement and what is unsaid. In short, with its technical achievements / artwork and weaknesses (corrected) group is worthy of applause and it was given spontaneously by the public which indicated that both labor and management response block group that goes from the lights of Jerome Reyes small stage solutions of stage of Gerardo Terán and the wise wisdom of a direction that left more than the resolution was from the actor to the public and not foist from ego bet master creator to the receiver set to give the endorsement was significant that this kind of formative experiences give her special touch to what many young actors and actresses are looking to perfect. Bravo!

Bleeding 8 Days Before Period

the theaters for the period October / November has been exhibiting strong momentum. The halls and theaters in most schools and public and private cultural institutions and academic spaces (Group Corp., Celarg, UNEARTE, Teatro Alberto de Paz and Mateos, Teresa Carreño, Rajatabla, Teatro San Martín, Luis Peraza, Trasnocho, Teatrex, just to indicate a certain segment) states as I've already been saying in other supplies and theater performers and students commented: "We are in a undeclared Scenic Festival!". Yes, the volume of mountings, proposals, premieres, revivals and even exhibitions and festivals requires more than one viewer to change the provisions established for an alternative to what he has heard a recommendation or viewed as a season, do not miss this or that show. And what that if there is something for everyone and targets! Highlight something that quickly is that the Platform for the Performing Arts, Music and Cultural Diversity (read old IAEM) is offering between 04 to 14 November in National Stage Plan 2010 a International / National and theater where dance, the training (workshops and seminars) and the meeting of analysis / discussion (forum and discussion groups) with groups and national and foreign artists looking to put a positive fill the conspicuous absence of the beloved International Theatre Festival. Constructively say that there are excellent mounts and alternatives to be of great interest to both the creators of the courtyard to a viewer no longer has a case to contrast as discussed artistic practice in other places were produced, circulated and consumed differently to the models established here. It's always healthy to have such experiences in this city for the pupils to dilate and one as a viewer to compare and here is what is produced and how is what is seen abroad. Diversify into what is believed is unambiguous plurality. As an incentive to give incentives to promote alternatives when one perceives that he has seen everything or that everything seems to say quietly that as usual, and combine the dissimilar is to create spaces for the multidimensional sense that art is always dilated and not biased to the navel about us. A boost to this kind of project which is only expected to be more consistent and less jerky, that action may also be the project of a coveted Festival but where everyone has the opportunity to join efforts to portray the situation What is aesthetic art the present moment "What kind of deprivation suffered and what kind of strengths flaunt?, and especially why not have a National Theatre Festival bi-annually to all add the talent, creativity, experimentation, new roads artistic talent insurgency, the cabinet not the eventual production of this or that but the ability discuss and draw closer and more active as a guild that strives in the arduous task of building this demanding job of making home from the trenches of theater or dance? Moving on to what responsibility this release, on Friday, 06 November was "lifted the curtain" Release Part Goodnight Mom the American author Marsha Norman (Kentucky, 1947) by the group HEBU Theatre Space in Plural of Trasnocho Cultural headed by Juan José Martín with a massive crowd that, at various levels of what was their experience of receiving or were attentive, concentrated, played or simply peering expected, but also a strong outcome. An elusive subject for the viewer but not a taboo perhaps a touch more acid by way of being counter to known theatrically tragic accounts of life sometimes gets magnified as truly explosive charge at the scene. Good night Mama dodging places a plot nothing to be apprehended: a relationship is worn for an average family in the U.S. but where late metastasis of solitary confinement. One day Thelma, a widow and a life of conformist and burdened by family conventions to be resolved and in the twilight of its existence entire mouth his daughter Jessie (a single forties, touched by an inherited disease that has been his life horizon (epilepsy) decides to order the entire universe of stability of the home and close his gray life, committing suicide. This act is not surprising but premeditated the mother of a little know why that decision, "but at the same time the daughter will know the hidden threads of a fabric close to your family has denied knowing that the fabric has been backing the decision irrevocable. Drama and tragedy of everyday life. Annihilation of the assumptions and oversights to purposes within the context of the affected dislocated but that appears to run on ordinary absurdity of the things expected of human drama: the life and death. Both full of euphemisms, deviations, departures, sarcasm and irony but overall the two sides of a coin when it comes to understand that once the coin is tossed into the air, and some random chance which will ultimately tell the option left to the player. Here players / actants (the characters) and who are part of the observation / expectation (the public) will see how it solves the puzzle of the inevitable. Yes, a drama that can move and be both sarcastic and biting black humor but how life sometimes does not expose those edges? Thelma and Jessie are just the tip of the iceberg dramas comparable to Anglo-Saxon counterparts in many societies and Why it not, to Latinas. What ultimately matters is that it is a story that touches and speaks for itself to reason and understanding who is represented y. therefore be accompanied by several hours the viewer (alone or in company of a couple who took to see any night of the season will last until December 12) when it emerges from the room and go home to see if your personal drama with the atmosphere of family privacy is not at the bottom of a loft, in a forgotten box of shoes or on a shelf well protected steel cold eject the least desired: the closure of the hypocrisy or the excuse of silence never spoke. This Award winning piece Pulitzer in 1983 and intends to assume a director staging hyper quasi order on what is the view of a middle class family home, makes it corrosive to the plot woodworm what we take for granted like the tranquility of feelings among members of a group of people. This "overwhelming taste of suicidal desire" is a shutter button that creates other subplots that only the receiver must assemble a puzzle mode is in a quiet personal or until an accomplice if there is anything of substance between two beings who are going to see a piece of this magnitude and at the conclusion of representation not only applaud or agree that generated artistic aesthetic pleasure offered work but in their environment rather than leaving things to avoid but to find things in the theater, know that beyond the shock, fascination, the charm of this solvent representation is not portrayed in ways vein equivalent. So the theater is more than a little tract. So the theater is more than something cathartic. Theater will be a touch old wounds and makes you bleed / new injuries and if the theater to the naked eyes, the theater can provide the necessary balm for, at least, they talk / think about small - big issues that bind and unleash upon the private sphere of each. Today's society is still timid and prudish in the comparison of these spines of the soul and touches of irony if the doors for there to give the bang for further given the lack of communication. Goodnight Mom is a good excuse to light avoidance zones and open the curtains of the "hackneyed conventions" that touches on many. The staging, the work of mounting global leadership, the perception that the hand of Juan José Martín as a young director of the Caracas scene with incisive digs what should be the response of the subject, the shape of the plot and discourse response to the histrionics of the pair acting too assertively combination of two outstanding performers of national boards such as Diana Volpe (Thelma) and Dag Dáger (Jessie) knew combined into something closed, dense and credible speaks of him as puestista. Know that there is an excess of form or substance it was blatant but the scenic drive was assembled in response communicating synthesis is the achievement of a director with a clear horizon of what should be done. Capture and densify an ethereal atmosphere of drama but with the passing of the pace of actions and that after each unit was densifying situation without falling precipitously in the corny and trite melodrama, it was plausible that it recovers tone of this creative effort Juan José Martín . It was accompanied by a professionally posed stage setting jealous zeal of detail necessary realism that speaks leveled the work of Oscar Solomon . The concept of enlightenment (the director himself) that might be perceived it to be more marked in some scenes where the energy charge where clashes mother - daughter left exposed the past that is revealed layer upon layer of truth must have had more character and thereby monitor the stark and cruel game of truths envestían knew the decision to come. Union Cement production given by Mary Gabriel Diaz compact a team with professional seal where the hand of Diana Volpe own branded his initials for the work of seal HEBU Theatre Group The joint response of the actresses was clear: there was empathy as to how to spin a relationship in the emotional background and assumptions of the everyday lives of these women who must live under a roof, this means that the physical actions of everyday objects is well in the living room or kitchen or suggested in the outer space of each was fixed and defined. The fort was individually because we apprehend a Diana Volpe hyperkinetic is using / use of objects, which says the manipulation of the body and the things on the scene, which makes the drama of emotion a catapult to implode or exploit feelings that have a wide range depending on the challenge of building this or that character, but her demanding she knows technique and experience to place each survey and a character set (for the elderly, widowed, with domestic anxieties that harass) very growing role after role and which gives not only the person who sees artistic pleasure to compose their interpretative challenges but are blown independent personality. Thus, the dimension that gave its role in this work (which just collate the inaugural function) allows me to say that I noticed with some ups and downs with the letter but nothing unusual that would affect the internal diagram he had of his paper, this diagram stop If so and will be something much more organic that will densify to reach the forcefulness with each function-many viewers will notice is the product of a solid actress, perfectionist, doomed to the challenge of unbreakable records give and give voice to do that and we have admired, is an actress! Dag Dáger is an actress and nerve fiber to place a character difficult as Jessie in this drama Marsha Norman. He knew his place each record in the measured voice of intent that emerged from his decision. The expression was strongly attenuated but the motion was attached to the verbal discourse and physical revealed throughout the performance. His eyes were tight and defined their intention assumed. It was handling its own space as well as sequences of interaction with his mother. The past that had eluded him (read his paper) was paired with the innards of the microcosm of sites is well known that solar / satellite everyday. Thus narrowed into an ability to know that is a piece of two actresses and a pair he combined with oiled Volpe. Both, therefore, to this reading of the release were truly worthy and do not be surprised that I grow more and more when they are dislocated from the early days to present their artwork in the plural of Trasnocho Cultural .