Girbaud Online Outlet

Three old Mares, Aristides Vargas works of Argentine staged three show yourself

Theater of Fine Arts in Guatemala is like a big tooth decay.
Inside, in addition to cold walls and damaged seats as the gums of an old, containing a huge vacuum that crawls along several meters above the seats to the ceiling. So cold

space is heated, though now only very occasionally when, by another theater company are encouraged to use their boards in a site located a few meters from The Cock and the Historical Center.
Just last Friday was the turn Three ancient seas, a tale of three old men standing in front of the ocean.
The author of the drama is the Argentine Aristides Vargas. The play was acted by the Guatemalan and Piedad Patricia Orantes, the Honduran Edgar Valeriano as Marcial, and Omar El Salvador and Nicasio Renderos.
I touched the right side inside the decayed tooth, where it's hard to hear the parliaments, so that I could not hear everything. Therefore, to avoid becoming with a poor assessment, the next day I went to see the play again, this time the English Cooperation Centre in Antigua Guatemala.

The second presentation was offered in the multipurpose room of that place, where it is very difficult to see the full theatrical box because it is not a theater but a space with no stage, improvised for the purpose. There could not see, but listen because the room has good acoustics.

So I saw the work on Friday, Fine Arts, and heard on Saturday in cooperation. I built and nurtured a puzzle to me while I boast of having appreciated the step by Guatemala Three of ancient seas more than any other spectator.

The work, premiered in Quito this year, about three old friends. A former postal worker, a soldier who just came to say seudoabogado sergeant and interesting conversations. For any society, the elderly tend to be somewhat less than a hindrance, but in this work, Aristides Vargas shows us the funny, contradictory and even liars. In other words, the old are an extension of what we've been all my life.

friends watch The ship or aircraft, dead, migrants and some crustaceans, all pumping of an intense reflective attitude, so much that we returned Aristides Vargas the credibility of the playwrights of our time, many more engaged in the performance in the equatorial deep human being. The author makes every sentence of his work is important to question life, the vastness, weather, pain and happiness.

As for the performances, Orantes, Valeriano and lucid Renderos are three American players, some of the cream to be found in the region. In this work, as in others, approach their roles with heart and with great eloquence. Unnecessary in this case, I think, is the abuse of localism "dad" by the Salvadoran Renderos.

Moreover, while presentations will take the praise worthy artists well embossed, it is fair to note that Renderos and Valeriano, unlike Orantes, were closer to being two burly fifties two ancient seas. Leave the question of how it would be if both players had their characters aged about 20 years, so we would have had before a powerful intertextual old and not robust adults aged dint text and makeup. Address

Aristides Vargas and Charles French.

Secondhand Rabbit Hutches For Sale In Kent

American Dance Wool Foot Juan de Corzo in the Cerro del Carmen

grind for the seventh consecutive year the guitars in these lands Wool Pie.
We are in the Cerro del Carmen. It's the weekend just past when the festival show yourself.
"For those who do not know, Pie de Lana was a thief nineteenth century, the legend, stole from the rich to give to the poor and was hanged in an avocado plantation stretched just behind the temple at the peak with it scans the south of the historic center of Guatemala City. Trumpets return
inhalation converted into jazz, and music stands on the hill. We are outdoors and there is music for all tastes, there are rhythms played by musicians of all brands. In the generic jazz float environment, the raging rock, the ancient boleros and sad troubadours, all embraced as musical notes fly happy drunk who walk on the land of Juan de Corzo.
"For those who do not know, the Cerro del Carmen chapel was founded by our lust and sympathetic hero Juan de Corzo, back in the seventeenth century. Today is the world's most beautiful chapel, millions of times photographed by tourists and foreigners.
addition, poetry, painting, photography, theater and dance. Attendees come together and break up the slopes of the legendary place.
During these two days, the Cerro cradles, like brothers, and the classical art of backpacking. It's interesting how in one place on the same land maman bards as opposite sides and styles. For example, display their paintings both landscape and contemporary artists-run almost to dismember his guitar-rock musicians and rappers shout themselves hoarse in verbal juggling. There are writers of those who speak of the country, flowers and elusive muses who bow reverently before the holy rhyme and other verses that contain barking lesbian landscapes, penises, vulvas and existential gloom.
also show yourself does bring people from almost all economic backgrounds who come to hear the sound of drums that drop the poets and painters maracas.
The theme this year is "Art for a better world human. " Everything is
brotherhood, tolerance and vivacity. What we ask after the festival, as a final thought, bad karma is what prevents the city a permanent show yourself? We live in a quagmire
incredibly wide and deep, every day. Daily cruelty is profound. Guatemala is a country suppressed by violence. Unfortunately, only occasionally (only once a year!) The police and his cohorts are criminals holiday.
We are pleased to show yourself organizers, all volunteers, so high achievement with respect to the spirit and recreation, have been reignite mission seven years ago and get a reminder that this is the natural state of man: the coexistence, respect and tolerance. This and other similar festivals are those that return to the city of peace that is stolen daily. Long live
show yourself, annual festival where dance Wool Foot Juan de Corzo, drunken toasts and corn porridge in the Cerro del Carmen.



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Hacking I-catcher Cameras

Game Mariela Romero and foul play Ibargüen Home

The work is a segment in the lives of two sisters who claim a relationship chaotic and destructive.

is a drama entitled Game, the Venezuelan Mariela Romero, played by the Guatemalan Sofia Arevalo (Anita) and Rebeca Vargas (Ana), directed by Venezuelan Jany Campos.

Anita, in a wheelchair, pretending to immobility in the legs, while Ana simulates the bends, even a whip.

this perspective, the picture seems just a repetition of the cruel reality in which our violent die and suffered aquesta mezquinoamericanos countries. But the task of artists is, precisely, to take that reality and transform. That is, sometimes have to make a delicacy of a rotten tomato. Both

as cuts dramaturgical performances are what give something better than reality. Mounting is fun, the audience is given a bath of black humor. The young actresses playing the text with graceful skills. It is fair to separate their properties.

Sofia Arevalo is expressive, an actress cream, is one of those people, probably very shy in real life, but that flash like lightning on the scene. I could not come under such ease, that his spontaneous impulse. Sofia handles anger, grief, sadness and power of their characters with plausible and infectious enjoyment actantial. Rebeca Vargas has technical and self-confidence. Is an actress who smugly walks without hesitation, on the stage. Nothing shy, sets the pace in groups-in this case, its parigual- and that is something that took advantage of the director, who for this show decided to improvise a circular theater, Casa Ibargüen.

Fields has had the wise, in this and other occasions, experiencing unconventional forms of leadership. Chosen for Game the actresses were surrounded by us, the viewers who sincerely applaud their impressive performance.

last show I attended on 21 November, but, according to the director, the work will go on stage in January, while in another room.

Something unfortunate happened to this theater group the night of 20 November. The function was canceled because-well reported by the producer at the entrance to those who were arriving, the family decided to Ibargüen, at the same time, a fellowship there. Cancel

a function for a family celebration is a lack of appreciation of art, is a serious lack of respect for the artists and the public. Worse still, if House Ibargüen is given in usufruct to the Municipality of Guatemala to serve as an artistic space, there is abuse to a family party, be it family owned, because that family or receives money in return, thanks beneficial ownership, or pledged his word, and both money and honor have weight-or would be.

should also consider that maybe it was the family Ibargüen the direct cause, but the administration did not respect Ibargüen House undertaking. Who heads the cultural center was not tall enough to explain to the family: "Sorry, there is a play, it is not possible to use the space," and the way remind you of your status as the remainder beneficiary. And if they did, then was Ibargüen family that broke his word and the rules of usufruct? While

Game is a registered drama within the aesthetics of cruelty, the game was unfair Ibargüen house, missing the word the actresses and the audience is playing dirty.

.
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Warrior Cat Name Generator

Lucille Chung and Alessio Bax / Review of a concert for two pianos

How many keys are needed to touch the inner essence of being human?
is needed by a piano well reviewed by the performer. And if there are two pianos, the thing can reach almost extra sensory dimensions.
In a concert hall (two pianists interpret Russian composers), you have these options:-yawn and doze
feigning deep commitment.
-Close your eyes and feel in your room listening to a CD.
-Cross leg with frequent changes to lighten the weight on one buttock.
-receive with every sense the vibes flowing, a result of typing.


The Italian Alessio Bax and Lucille Chung Canadian Bravissimo closed the 2009 Festival of the Arts Organisation Francisco Marroquín, a concerto for two pianos.


Ever heard that playing Russian and Polish composers is very difficult, because their works have a musical architecture is quite complex and requires much technical skill to open his heart to the piano.

any pianist not by professional it is, comes alive with one of these threads woven in which is a millisecond trip and look like a clumsy. Sometimes, pianists prefer something more relaxing, something soft, something less wobbly to walk a tightrope.


know if it is true that that the Russian and Polish architecture is more complex than most Western popular compositions. But I doubt that the couple Bax-Chung whole soul was in the interpretation. One that requires not only technical skill and a lot of oil on the fingers, but also a spiritual depth to climb and, with so much energy, to the mountaintops of musical notes and then decline, sometimes a single pull-at times slowly, " but still playing as if they were living in each composition.

She, sweety, panting fast vibration on the keys, creating swirls and gusts living "somewhere in your notes still walk, wandering in one dimension because the music born of a piano never dies. She generates the sharp chords, playing at high speed levels of the building complex that left written Lutoslawski, Stravinsky, Shostakovich and Rachmaninov.

He, a master pianist of great ease and elegant bar, click on the consistent severe shaking the air between them, two pianos facing each other, separated by a bouquet of roses.

composers who played Lucille Chung Alessio Bax and left specific orders; accommodated note after note on the staff for the construction of their buildings remain in the hands of any guy. With almost cryptic instructions to prevent the desecration, wrote what is now beautifully executed Italian-Canadian couples: the complete ballet Petrushka (Stravinsky), the Concertino for two pianos, Op 94, Shostakovich, and Suite No. 2 for two pianos, Op 17, Rachmaninov.
staves leaves bursting flying more demanding sharps and flats.

And the music is created, curled, impetuous, panting. Chung almost dancing while playing the piano, and Bax received with great delicacy of her movements, transforming into anger and serenity. There
each if you sleep, switch legs on the chair or absorbed. These musicians have today opened every crack in front of the staff and throw us into the abyss.


(Alessio Bax won the Avery Fisher Career Grant 09, presented by Lincoln Center in New York, also the First Prize of the famous Leeds International Piano Competition, and First Prize at the Hamamatsu Competition, awarded in Japan.
Lucille Chung First prize is Igor Stravinsky Competition Silver Medal and International Franz Liszt Competition held in Weimar, Germany. The concert was held Thursday 4 November at the Auditorium Juan Bautista Gutierrez, Arts Organization par Francisco Marroquín, Guatemala City).




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Ejaculating After A Brazilian Wax

died Philosopher

has killed a great thinker. How many more must die?

I think in our country we have failed to hear some important voices pointing to the horizon. will future generations that must know the work of great intellectuals such as the recently deceased Peña Jaime Barrios (Guatemala, 1922 - Stockholm, Sweden , 2009).

Author of more than 20 books and numerous articles on psychoanalysis, education, anthropology, art and philosophy, has an extensive curriculum that would take a few pages of the newspaper. Just write a couple of facts: Doctor of Philosophy specializing in psychology, with studies in universities in several countries, was a diplomat for 18 years, during which folk festivals held abroad, organized conferences, some of which were once dictated by Miguel Angel Asturias, collaborated with the arrival of Guatemala's National Ballet at the Teatro Colon in Bogota, and the Festival of Communities Indians in the Teatro San Martin in Buenos Aires.

In August 2003 I interviewed, and I quote one of your answers.

JCL: Why did you decide to live outside of Guatemala? JBP

"family and professional circumstances, but this does not mean that a people forget that runs through my veins like tradition, birds singing in the rain, flying toucans, forest murmurs among pyramids, inns, processions and the voice of our northern dawn. "

Very little we can do from the media by drawing attention to the great intellectual and Barrios Peña. If anything, some mention, some interviews and some persistence in memory. But almost no interest that they show the universities, the private and public-art schools and teachers' bodies.

is often blamed the lack of support for artists, and almost always a reasonable complaint, as journalists often do not happen to write two lines of ad or chilled as a newsletter, "but is even more reprehensible the disdain and indifference to demonstrate their academic colleagues and the artist.

As Barrios Peña, writers, artists, researchers, musicians, theater actors who have 20 or 50 years of living in Switzerland, Italy, Mexico, France, Germany, Japan, USA and other countries.

Do they have to die to be remembered? What university know Carlos Solorzano, the illustrious writer who lives in Mexico and whose work is 10 times higher than that of Monteforte Toledo? "And I say no interest in provoking its devotees, because I only interested in explaining the importance of the unknown. What
Humanities deans have made contact with the leading actor Mario Gonzalez instructed hundreds of artists Europe? Have you heard of the painter Jacobo Rodríguez Padilla, who lives in France? Were humans to see the marvelous performance of actress Carmen Samayoa, when he came for a few days in Guatemala? Do our intellectuals that one of the best violinists in the world is Henry Raudales? Do they have heard of Luis E. Rivera, Antonio Cosenza, Abel Solares, Julio Cambranes, Francisco Nájera, Rina Lazo, Erwin Schumann, etc.?

How many philosophy students, teachers and historians that matter know the work of Dr. Barrios Peña? Do they know, by chance, he would gladly come to chat students with the powers-came to their land from time to time, and would have given lectures without any financial interest?

The philosopher's death reminds us that "it is a breath of life" but also that we should turn our eyes to many Guatemalans who, like him, have well earned wide recognition.

And not only those living abroad, remember, by the way, his book Heirs of the spirit of Kukulkan (Artemis Edinter), an essay on Guatemalan plastic artists (Carlos Merida Goyri, Grajeda Mena, Rodriguez Jacobo Padilla Dagoberto Vásquez, Abularach, Recinos, Roberto Cabrera, Quiroa, Magda Eunice Sánchez, Luis Diaz, Elmar Rojas, Ramón Banus, El Tecolote Guillermo Ramírez Amaya and Erwin).

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Jenna Jameson The Measure Online

About Youth Symphony Concert Municipal

a gala night. In the public are from children that sometimes throws a cry from the arms of their mothers, to people dressed in impeccable suits gray hair black.

Outside is parked vehicle of the year, and scrap the 1980's.

is about to begin the concert given by the National Youth Orchestra of the City of Guatemala, who plays Mozart (Concerto for piano and orchestra, K. 28) and Dvorak (New World Symphony). The guest pianist is the Italian master Giuseppe Giusta.

is the night of Thursday 22 October. The room Efraín Recinos of Miguel Angel Asturias Cultural Center has occupied most of its 902 thousand seats.

Before submitting a video is projected informs us: "7 out of 10 children with cancer can be saved." The concert will benefit the foundation "Help me to live" (www.ayuvi.com.gt). Entering

youth orchestra (Applause). Are about 80 students from the School of Music, which is installed in the old Post Office building, a beautiful building located in the Historic City Center. Take their places, refine, browse sheet music, give glimpses of the staves, cough. Suddenly, the director enters (applause), Bruno Campos (28 years). After greeting, up the baton and everything is completely silent (almost complete, then remember that there are children). He drops and begins the tide and the storm. Will

academic music critics who explain-o-tangle the reader with his assertions. Mine, which gladly share, is something that caught my attention and I describe below.
is an orchestra that has just three years after being founded, the musicians that comprise part of a municipal program, where classes receive pay Q25 per month (about $ 3 a little over 2 euros per month). So are apparently young, inexperienced, so that perhaps one could believe that they are mere amateurs interested in putting together an orchestra. Not so. For starters, violins, cellos and violas, basses, trumpets, flutes, oboes, ie everyone in the orchestra-up of drums, "exudes an exceptional physical joy, move their bodies while running, almost dancing.

In our tropical country, so do not always have happy, relaxed musicians, but some are as stiff as the rule of a school teacher. I emphasize that only some, because it would be unfair to describe as rooted trees many of our great musicians. Furthermore, I clarify that our symphony orchestras, chamber and the like are, of course, much higher level than a youth orchestra newcomer, but there is something in this very beautiful and is a tide, are waves of vitality, is the movement of bodies as they play. This orchestra-energy dance with a pardon if my comparison seems exaggerated, similar to having certain European orchestra, as Berlin Philharmonic. I'm not saying

obvious joy ensure better implementation, but the musicians are able to share swings generating much emotion.

The curriculum director Bruno Mountain owner can be tracked on the Web, but I will summarize, with gusto. He made his debut as a conductor at 14 years of age participated in orchestras in Venezuela, also in the Latin American Youth (directed no more and no less than by Claudio Abbado) and has received workshops with teachers of the Berlin Philharmonic and the Bamberg. Probably still not enough, but it's pretty much as normal, and this young director makes fly to the orchestra. The paste made of jumps along with it. Leads to an overheated power tools safely. The night ends with a sweet and happy danzón. In the room, as said earlier, there is a varied audience and that is because ev9identemente assist the families of the young. Mothers, cousins, uncles, grandparents and neighbors, plus there is foreign (many Italians, perhaps by the guest pianist.)

What we are doing with this program is great city for art and culture. I do not doubt that this young director will talk about in the very near future, and so does the orchestra.



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Orange County Florida Recorder Of Deeds

Upon closing of Metropolis Contemporary Angel cultural radio program Elijah / A Matter of Culture "shameful meanness

This week (the third of October) was closed on Contemporary Metropolis program that led, in state-run Radio Faro Cultural five years, the writer Ángel Elias.

Given this news, one wonders why it is often cut off the head of those who eagerly come to the surface to collaborate with others.
It's crazy to prevent the advance of those honored with tenacity make cultural contributions and even spend the money of their own pockets. Angel Elias

published

more than 250 interviews with musicians, singers, writers, painters, actors, theater directors, in short, many of the most important artists and some foreigners. Elijah
not only did not charge a penny, but also became his own to travel by bus from his native Suburban San Martín Jilotepeque. Many times he was besieged by student and labor commitments, but never went off the air. It was an amateur interested in look at the expense of others, their intentions were not petty, his was pure and simple, yet effective and extremely valuable documentary.

Within 10 or older, who wish to be aware of the task cultural country, should make an obligatory stop in his interviews you will hear the voice of people like Dante Liano, Hadjidodou Tasso, Maria Teresa Martinez, Gustavo Palma Murga, Guillermo Paz Carcamo Nahual Alux members, or the last that came out air: the great painter Miguel Angel Perez. I could go on quoting here hundreds of names.

But on Saturday just past, who we used to tune the program we have a musical segment. He did not even indicated that they would not publish his last interview, which made Jesus Fernandez, Latin American Book, from Asturias, Spain. And he listed nothing more and nothing less than the Chilean Luis Sepulveda ( the author of The Old Man Who Read Love Stories ; Name torero; Pinochet's Folly, etc.)

words , the program expanded. Learned to move elsewhere in the world and oxygenating the slumbering national cultural waves. More

on Monday, when Elijah came to record, the director of Radio Faro, Antonio Juarez, called his office to inform him that his program was closed. The reason? Angel Elijah had been "winning" too much prominence and even seemed that he was "representing Radio Lighthouse."

role "Winning is winning friends? Is being interviewed in the media? Are you bothered that the five-year director of the transfer were concluded by the Cultural Center of Spain.

Win "role is that he was invited to a breakfast by cultural promoters? Is that a threat be appreciated by those artists? Are these the parameters of cultural representation that it considers important the director of an institution as impressive as it is or should be, Radio Faro Cultural? Angel

Elijah deserved more than a finger pointing toward the door. It's embarrassing.
In Guatemala, with the first rains in May, usually spring from the soil to grow new green projects, the land is fertile, cast sheets, but at any moment anyone looks in his truck to let him fall on rocks and trash.

Recent interviews conducted by Angel Elijah can be heard in www.arteradial.blogspot.com

Or if you want to send thanks, or condolences, "this is your email address: culturaradio@yahoo.com


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Dbz Doujin Collection

or entertainment? Mercedes White and Patricia

In some newspapers in Central America and the world-cultural journalism is seen as a well decorated vase or hinders.

cultural journalist, on his part and in many cases, is considered the day idle, the drinks being with painters who writes a newsletter on a guitar recital and one on the birthday of Saramago. Is seen as the responsibility to remind birthdays of famous people ... In its excesses, is the cat that sits on the couch and bristles with an opera. Moreover, many journalism students choose to do their internships in cultural sections because they think there will win easily.
fact, are the same cultural journalists, many times, who have set the pace of all this, since the ancient times when they were recording his notes on stone plates. The reason is that it always has a vocation. The journalist, often, not to become hunting dogs news crushed and prefer to make real and sovereign enter the world of arts journalists lazy and glamorous.

I can not imagine a journalist in those sections that do not like attending an art gallery, a rock concert or a market. And is that the cultural journalism is more than watch ballet. Is a strong science and passion that carries a monstrous need to eat as seen, heard and swallowed it greedily written return and be a pop concert or acoustic guitar. These and other details reminded us of one of the best journalists in the world's cultural, Hispanic, his name is Jesus Ruiz Mantilla, writer and journalist with El País Semanal, who attended with us, some journalists cultural Central American and Caribbean- Last week a workshop on the subject, in Costa Rica.

Interestingly, in our countries culture is still seen as a segment made by-and-the elite. Some dinosaurs still consider that hip hop and mariachis are not cultural issues. Fortunately, it is increasingly absurd. Entertainment and culture are merging in a while, like it or not.
many years ago when there was no Internet, it was decided that the difference between fine arts and music in the style of what today would be Los Tigres del Norte, for example. That has changed. But watch out, not a matter only of mixed information on a page to be fashionable. It is not just a matter of putting a dog gossip singer more valuable information that was operated slut tits and an essay on a book or Theodor Mommsen Böll.

Al periodimo cultural need, many times, common sense.

Today, cultural journalist should take seriously as a chronicle reggaeton as a heavy metal concert or opera.

Central America is almost always the last to set changes. First look how they're doing in other places before taking the plunge. Whether from fear or caution, it remains the reason why some are masters and other supporters.

These days, cultural journalism is of aesthetic and anthropological extensive discussions. A theorist of great importance, Lázaro Israel Rodríguez-Cuban living in Cuba, was present and opened fire the discussion about the power companies already have on media companies. The blogs, citizen journalism and other sources of information takes great strength, fortunately.

Rosa Jiménez Cano's English journalist periodismociudadano.com integral Madrid since its foundation (must be added that is a pioneer in the field, at least in the English-speaking citizen journalism) said its way to coordinate and implement the period from country. Incidentally, I believe that both the Cuban and Madrid, are poles apart on the assessment of power and hegemony over citizen journalism, which is healthy (who wants to deepen on their views, you can easily track them on the Web).

Yet another thoroughly familiar with the subject and the sociological aspect is the clog Rafael Cuevas, who was present and reminded us that there is falsehood in covering culture from traditional views and hegemonic. Painter and writer, the Guatemalan is trained in Romania and living in Costa Risa for some 30 years.

important thing about cultural journalism, in any case, be aware that those who exercise do it with the same passion that puts a carpenter to show the best angles of the best furniture. And any reader will know when you forward to a newspaper with vocation or who got into the cultural periodimo just because they served in economics or politics, and wanted to go for a walk in the theaters. Cultural journalist has a strange vocation for digging in front, side and behind the scenes.

Greetings.

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Pokemon Soulsilver Rom

Orantes: technique and aesthetics unite / Actresses that have the gold and screening Infernum

time through life, relentlessly, through centuries and generations .
sweeps time people, in the midst of violent storms, but also creates quiet and lethargic horizons. Only there is a way-immobilizing every animal, domesticated or not, has its limitations. When art is so petrified (even through their fantasies). This is when the viewer marvel at a painting by Canaletto, with a Roman construction stage or before a well constructed building. This is the case, the latter in the age of the plum, the work of the Aristides Vargas Argentine acting these days, two women of great experience. The White Mercedes
Cuban and Guatemalan interpret Eleonora Patricia Orantes, Celina, grandmothers Mary and Gumersinda, Aunt Adriatic, Francisca and Blanquita. Girls, young or old, all women are screwed to a social routine and psychological.

We are facing a high-drama textual beauty, entertaining, funny and sad. We are faced with two actresses who have extraordinary technical and aesthetic possibilities.

The age of the plum is a starting point the moment when Eleonora (Oran) describes Celina (Black) details of his dying mother. From that moment both evoke the other women of her family. Well

value of this show both the text and the excellent performances, as well as visual design. The terrain used for this show is a creative device that gives new shades to the story and the characters' actions. Time and space were endowed code (Rings of bicycles, for example) that far from star, and even further than just decorating, copulate with the text perfectly. So does the wardrobe. But I repeat, are special proceedings. Experienced to the hilt, and Oran White Infernum have that, in addition to enough gold - or screening-with which to build the piece. White Mercedes

owns a skill as natural as acquired, disciplined, fierce grace, which does realize the endless beauty which the work is semiological. Seeing her Cuban understand why this is delivered to body and soul to the theater troupes founded in Guatemala has been director of several very good players, but above all, is the great actress whom we see every moment sprout on stage and act with unbridled conviction mostrándonoslos characters back and forth, front and inside . White serving up with the thumbs of the feet (literally) when it plays the crazy aunt. This, perhaps imperceptible, is one of those small details that are like a lock, but they open the huge gates of creativity.

actress Patricia Orantes is a target. Knows the terrain like the back of his hand. Although each play is always new, like a sunrise, we know that she has the flashlight and per diem for the road. So say, if White gets the lock, put the key Orantes. But best of Orantes is that even when acting with very clear guidelines, suddenly is a hunter who is thrown into the mud, across swamps and go at night. Patricia Orantes surprising decision to open new avenues of expression. Creative freedom, his poise and control that is clear about its characters are the best mix.

is a work that the audience applauds with great content. No wonder: there have been so well planted scene actions capable of provoking a domestic joy.


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The Shiners

Dogs Butt Is Inflamed And Red

The Shiners: a pot with tripe, kidneys and tomato

The play, directed by Nery Aguilar, is in season at the Theatre of the People's University.

I would not refer to the proceedings, they are more than 30 artists on stage and I do not doubt that among them there are great talents. It is a false praise, in fact, demonstrated by its participation.

today's comment is directed towards the text and approach. First, the reader can imagine the scene: a park somewhere in Guatemala where there are vague, workers, street sweepers, food vendors, prostitutes, policemen, clerks and, of course, polishes. That first impression
promises that the tables show us something interesting, perhaps we will see a good comedy of manners or a new social approach to poverty.
But as it progresses we discover that the text does not contain a story but a parade of street scenes in which everything happens and nothing happens. If we understand the theatrical staging a production defined in the text that is developed at Los polishes nothing happens. You do not have the slightest complication, even a composition, contrast, something that makes us celebrate together a theater.

I will say that things do happen, for example, theft, abuse of police authority over a polisher, a merolicos sells magic dust, but all these are scenes which, moreover, are poorly constructed. For example, the librettist was left with the idea of \u200b\u200bPolice of the 1980's. We know it's an institution that has earned the public confidence, but let's be honest it is not unlikely that two police officers beat him to a polisher for stealing a quetzal, in the park, in the light of day and under the gaze of several people?

is a naive look at social analysis is a poor approach to phenomena that are deeper.
Another example is the way the characters explain the origins of their miserable lives. Have their life, almost a relief, after a question which makes them a polish or something. The tone is more or less like this: "Why are you so? "Because my parents beat me ..." and so on. Example, clarify, this is a paraphrase, but it's as free and naive.

A theory of intertextuality (Barthes, in this case) says a word game which produces appoint the great text. The text is a series of fragments which introduce a whole. While the intertext can transform the original text (the original work is Ricardo Mendizabal, and is an adaptation of the director, Nery Aguilar) in Los polish there is no articulation of content but a great babble of social context.

Director tries to compensate with the joke, with some satire, and falls in the same cafes that have fallen theaters (let's be clear here that this staging is from an academy of the renowned People's University, and therefore does not have the privilege of error coarse and Spontaneity unhappy).
Like a pot of giblets, tripe, kidneys, bofe and tomato, put a "critical" to the deputies (who, according to the text, are entangled with fags) and insert "critical" to the current government.

can not take seriously this kind of staging, but we deal with it because, again, this is the UP, one of the most important academies theater the country.

(My Other Blog, welcome as to: The Age of the Bumblebee: http://www.juancarloslemus.com/ )

Restoring Formica Table

end Guatemala's National Ballet gala season

Dance is the passage of a vessel between straight and curved lines, only the waves are so beautiful.

ended with the presentation of Othello, the gala season of 2009 the National Ballet of Guatemala. This work is a mire of jealousy and slander, a lust gorge ending with pain and death. Interpretive force subjected to purifying fire requires the skills of any dancer. It is a work inspired by the drama of William Shakespeare, choreographed by Eddy Vielman teacher who has shown throughout his career, a demanding artist, great attention to detail, and his outstanding career as a dancer as well as refined master choreographer.

Ballet

Although he was worthy of praise throughout this season, there are three aspects that could be improved. First, is a notorious lack quantitative dancers (we emphasize: men) in the National Ballet. And some of them, frankly, should lose a few pounds. A bulky torso and belly are not good allies of a discipline that requires willful tyranny-with-breaks and bold returns.

Second, the dancers they lost their balance on the scene in La Bayadere, and he lost count and left the group in Othello, should remember that although nothing in the scene can be so severe, can hope to complete cleaning and the total concentration, because other countries would face tigers and snakes (both public and critics) that tear with great joy any hesitation. Third

. I refer to the visit of two Russian dancers. I already wrote about them, but would like to expand a little. La Bayadere glowed with three stars. One was Vladimir Neponozhniy dancer, the other was that of the Guatemalan dancer Claudia Garcia, and the third, eight dancers were two variants of four each. More clarification that the Bolshoi ballerina, Anna Antonicheva, seemed smart, physically bold, but did nothing extraordinary. Ballet did not perform any step that could make all Guatemalans. And I have left the impression that, in fact, made a number to third world countries. Rather cold face, there seemed to enjoy what he did. And would like to see at the Metropolitan Opera House with these modes. Your participation in La Bayadere was as if he had come to the room directly from the airport to meet a commitment.

good thing, by the Ministry of Culture, is that, as I have understood, paid for tickets of admission of the public who attended La Bayadere for prices to see the Bolshoi dancers were not very high.

Finally, just as the ballet ended with a resounding Othello, I would conclude with the participation of the first dancer Anoushka Devaux. She is an artist of deep commitment on the stage, versatile body and regal presence. Both La Fille Mal Gardée as proved Othello possesses a style that dominates and covers the entire stage. His colleague, Benjamin Hernandez does a good job with it. It should be a great difficulty for the force receiving delicacy, grace and return to power bay in the body of a woman who not only dances but also black flies among their own constellations.

(My Other Blog, welcome as to: The Age of the Bumblebee: http://www.juancarloslemus.com/ )

Does Cold Storage Singaproe Sell Sage

La Bayadere. National Ballet of Guatemala with guests from the Bolshoi Opera Falstaff

The central figures were the dancers of the Bolshoi Anna Antonicheva ( Nikiya) and Vladimir Neponozhniy (Solor). He looked with flashes of their own, in addition to the guests, the Guatemalan dancer Claudia Garcia (Gamzatti).

To be fair, the third act faltered due to the unfortunate hesitation that had two or three of the 20-shadow-dancers on stage. The balance failed them broke while the white box (for the costumes) and elegant (for the strong position) that imposed its director, Amalia Selva. During those seconds must have felt as a waiter when you carry the finest cuisine in the serving tray composition, but it falls on the head of the retainer. It was like a dissonant clarinet escaped from a well-tuned orchestra. But not more torment, since the best cooks in the sauce they are watered, they say. In addition, prevailed rigor, accuracy and freshness of all in three acts.

We will move at this point our camera at three stars flashing. First, the Russian Vladimir filled Neponozhniy expectations. A great dancer that at times seemed to fly, with great firmness when taking on the top to Anna Antonicheva or rotate it. Both alone and in the Pas de deux showed why he is one of the central figures of the Bolshoi.

Dancer, meanwhile, acopladísima and autonomously, according to requirement, was conspicuous by his physical courage. An elegant woman. We miss her, yes, more joy on his face. And we do not mean a joy to interpretation, but the glow that flows when the artist is grateful sinks in the waters of art. His companion, however, satisfaction flashed whenever he appeared on stage. Detail, far from being a vulgar attempt to show sympathy, is fundamentally integral in this and other artistic disciplines.

The second frame points to Claudia Garcia. Is a dancer of remarkable self-confidence, his self-assurance makes him look arrogant, but natural. His night was great. We suspect the pressure that might mean for her, before the show, being on stage with a pair of dancers from the most renowned ballet company in the world. But it handled like a fish in water. Nothing timid, on the contrary, quiet and strong, made with high accuracy some of the most expensive classic steps. Claudia was the bayadera of the night leading the way within the work, but the derivative of the word - "Devadasi", "bailadeiras", "Bayadere" or radiant dancers.

Now, we focus on Sonia Mark, Nancy Urla, Adriana Valdez and Ligia Lopez, a unique quartet. Although for individual participation exhibited some nervousness over its accuracy group was a beautiful rhyme. Their performances prove a careful training and honest devotion to accuracy, they also demonstrated the second variation, comprising Claudia Yax, Gruschenka Sandoval, Zoila Vasquez Karla Dardón.

Dancers from the Bolshoi came to the country thanks to the Russian Embassy in Guatemala, which thereby contributes to blow the fires that fuel the flames of the National Ballet deserves to be visited by you, on Saturday 5 or Sunday September 6, when present Othello.

(My Other Blog, welcome as to: The Age of the Bumblebee: http://www.juancarloslemus.com/ )

Terra Cotta Paint Color Bedroom

: Another bad cut Stefano Poda

admire a stage where a bedrock creates the illusion of a landscape flanked by fields of wheat. The inclined platform creates dynamic and in the field of action the characters take on a more amazing than they would in a single plane horizontal. The curtain boasts a delicately crafted.

The voices of great singers abroad both the sky theater, such as stelae sometimes hilarious (it's a comedy), other threads that people like candy corner.
are frontline. Out-standing, of course, his voice and by his grace, Roy Stevens, who plays Sir John Falstaff, in addition to U.S. and German Annalisa Wimberg Birgit Beer.

The accompanying an orchestra whose sound has nothing to envy to the best of other countries, composed of musicians from the Guatemala National Symphony Orchestra, conducted by maestro Ramiro Ramírez.

The text, humorous: a big drinker try to seduce two bourgeois. Women, however, are more clever and mock Falstaff he collapsed, and again in his traps.
All this is so beautiful that one wonders what motivated the director to break up the elements. Perhaps this is an attempt to revamp the genre, perhaps a misguided inspiration in the ideas that might be revealing remained at the level of occurrence.

course before proceeding it is fair to point out the qualities of the director Stefano Poda, has a deft handling of the mass movement, not content with making a simple adaptation and highlight shows you know very well the scenarios.
But what doing there, for example, the man with an umbrella with slow acting all the time, as if out of another work to be inserted into one that is alien to him?
The angel or bird makes sense when given a letter to Falstaff, but then and before that wanders like a sleepwalker aimlessly. Several of the characters seem zombies, are handled with an invisible rope, in the manner of pampering.

The director also creates visual noise with curtains, cutting so that wayward Taylor, the beauty of his best canvases. Long time projects a woman's eye, and, later, to video of a war to the part where they sing "He who laughs last laughs best ..."

Since the beginning of the work is seen to be a waste of creativity, where the singers act makes walking among the public, resource managers are employed by enthusiasts seeking surprising angles, even if they are already fairly well-worn practice in both plays and pop music concerts.
The second part, equally funny, too solemn renders displaying a tragic stage performance (there is even dry ice), a body slide, without a reason, even more emphasis on the surface.
When John Falstaff seduces Alice Ford, is a piece in which, according to the text, she subtly wraps with clever words, but the director chooses both wallow on the floor (¡!).

The address, in short, is like a beautiful woman who has been voraciously wearing a fashion student: uses in the neck a diamond, ruby \u200b\u200bon toes, hands white quartz, emeralds in the ears, a topaz pendant, beautiful dresses, everything is real, even the shoes encrusted with gems and veil herself brought from Samarkand, but that woman knows how to combine your clothes. Almost has a gold tooth and wiggle like walking through a market in flip-flops.

Poda, a director obsessed by the "slow motion", he failed to demonstrate in this work, again, their hobbies baroque. Is it perhaps your style? If so, we must accept that it does get very abstract, but loses text coherence.
fragments of his work may well be autonomous texts. "An innovative, misunderstood? Actually, shows a very rebellious teenager, still babbling. Create the assembly of an opera that takes place at the service of his good ideas, but it takes precisely the opposite.
But save this presentation, the excellent quality of the actors.

Juan Carlos Lemus

(My other Blog, welcome as: The Age of the Bumblebee: http://www.juancarloslemus.com/ )

Bleeding The Day Before Period

tailor Opera Aida: There were only three errors, three very serious

Finally, Aida was presented in society. Such was the public's desire to see this opera by Verdi, directed by Italian Stefano Poda, that the five thousand tickets were sold out two days before the function.

Aida was the great operatic end of 2005, and it rose to the rank of art center the Champ de Mars.

technical resources were beyond reproach. Good lighting, good sound and an excellent platform contributed to the development. Overall, the assembly was dramatic.
Awesome.

There were only three errors, three very serious. First, the director gave too much prominence to the more than 500 actors on stage. The problem is that the bell song singers were relegated to the background.
As if they were in charge of livening up a party, Stefano Poda put them behind a crowd that appeared throughout the work.
By allowing the mass of humanity a leading role, so central, it would be obliged to be even more virtuous than the solo, which was impossible because the singers are of much greater size to painting, geometry and visual design created by the director.

Second, the "estelarización" from the crowd is not possible to assess the physical presence of the singers. Most of the time no one knew who was singing, except when one of them expressed to the emotion gestures.
If we say that no matter see who sings, but the sound it produces, it would then play a disc while watching a choreography designed for pruning.

Another problem was that the crowd, composed of athletes, dancers and even National Army soldiers in Guatemala (yes, as it reads) was not entirely consistent with the text, nor completely synchronous when they needed.
At times, the actors were useless movements for the content. Recall also the chaos, abstract, rebellion, have consistency. Each element has a function of the stage. Such
crowd as a whole had a role, but the time came that he had nothing to do there, not even served to try to be a reflection of the emotions of the characters, let alone to be a reflection of our own which is is, are we will empathize with the staging.

Perhaps the director had this purpose, precisely to dislocate the massive oral performance. Such boldness is excellent when it gives us greater satisfaction in return. We do not advocate, either, by an imitation of reality, but by a more heartfelt and less architectural emotions, if not, what good is the theatrical?

Finally, the director, knowing that the content of Aida is romantic, he wanted to do something unconventional. That is a great merit, but got out of the Alexandrian sonnet, ie armed Baroque scenes, using all the bodies, which looked beautiful, spectacular, but it would require would be more than that, spectacular as it is just accumulated a lot of art at any stage.

The distribution of resources is what this show would make a perfect presentation, no matter if done the traditional way or with the ideas of Poda, who probably has known how to manage resources well in other works, but not this time know what to do with them and went on to create figures, very plastic, and even got Tai Chi, so nothing is wasted.

Juan Carlos Lemus (My Other Blog, welcome as: The Age of the Bumblebee: http://www.juancarloslemus.com/ )

I Want Hair Like Megan Good

Opera Carmen: Italian Stefano Poda inconsistencies

is likely that viewers will have bowled since the first five minutes.
Half an hour later, the first yawn, and an hour later, another look at the clock. Finally, some secret gratitude because it's over. Italian Stefano Poda
achieved a number of human beings to form a body whose buds have level tone plastics.

mass movements give life to a creature that moves like a huge human canvas. But the effectiveness dies soon because such opportunities are no longer impressive plastic and become monotonous. Are the same formula is repeated choreographic Pruning from Aida in 2005 and Falstaff in 2007.

Carmen is possible that this can be measured from records for contemporary choreography, and it is also true that any operator is free to paint a mustache on the Mona Lisa or make a helicopter landing on stage. Wrong, in this case is that you committed a dishonest advertising to announce the introduction of "Carmen. Bizet opera. Poda Stefano production "and not what actually was: a choreography-based Pruning in the opera Carmen.

And if we strive to abandon the idea of \u200b\u200ba traditional Carmen, we found a supermarket in inconsistencies. Here are some: What makes a crazy moving around the stage all the time? Is it perhaps a spirit? Is it the embodiment of pleasure? Carmen, of course, recalls his first appearance, his clothing and glasses, Michael Jackson. What are three men and a woman, topless, hanging from the ceiling? Why are handled the chorus? Why is the human body, at some point, it suggests homosexuality and bisexuality? What are you trying to say the director to select the most gallant boys, who neither sing nor dance, but which puts stripers showing the buttocks in the foreground?

The answer to these questions Pruning is trying to exploit the curiosity of the viewer. Shows a preference for the display of the libido that makes his work on an issue, at times, "sexes." This commentary is not a moral review of the assembly, but the observation of a phenomenon. Pruning has good potential for development in these areas choreography (even could be more daring).

The problem is that out of the closet operatic, remains wedded to the traditional justifications. In addition, because of the publicity, more than two thousand people dressed in elegant evening dress because they thought it would take a night of opera at the Teatro Nacional.

(Teatro Nacional Miguel Angel Asturias, June 2008)

Juan Carlos Lemus (My Other Blog, welcome as: The Age of the Bumblebee: http://www . juancarloslemus.com / )