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.


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

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 / )