"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 22 junio 2005
Reciben esta Newsletter 641 suscriptores

Christina Applegate stars in "Sweet Charity," on Broadway at the Al Hirschfeld Theater<br>[Photo Paul Kolnik]
Christina Applegate stars in "Sweet Charity," on Broadway at the Al Hirschfeld Theater
[Photo Paul Kolnik]

Álbum de figuritas "Bailadores de Geba 2005"

Guardá en tus favoritos

Álbum de figuritas al día de hoy

- Papá si descubrís a alguien mandá tu mail y si acertás damos vuelta la figurita.

Nota del restaurador: al día de hoy (domingo, 28 de noviembre de 2010 21:00) todas las figuritas han sido descubiertas, sin embargo, para que puedas revivir la emoción de la aventura, haciendo click en los links Álbum de figuritas al día de hoy podrás ver el estado del álbum a la fecha de la newsletter.

Charly en Barcelona la Rompería (Cris Salcedo)

domingo, 19 de junio de 2005 15:19
La presentación de Charly Calatrava en su ballet de Jazz

Cris Salcedo

Ariel: Buenìsimo todo tù comentario, sintetico y preciso.
Ud, siempre ha tenido poder de sintesis, ja, ja
con el tema de las chicas que bailan jazz y flamenco
tambièn..... ja, ja. No se le escapa nada, eh??????????
Y este Charly sì estuviera en Barcelona, la romperìa.......
seguro que sì. Me imagino , que se deben haber diver
tido muchìsimo. Como siempre ha sucedido, con nuestro
grupo. Mandale muchos cariños a todos, un abrazo a
Charly y otro grande al matrimonio Lichtig. Cris

- Retribuimos Mami !!!
- Papá, viste, Cris siempre atenta a todo pasito en cualquier ritmo !

De-Lovely. Vida y Amores de Cole Porter

"De-Lovely" (Idem, EE.UU.-Gran Bretaña/2004, color; hablada en inglés). Dirección: Irwin Winkler. Con Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin McNally, Sandra Nelson, Allan Corduner. Guión: Jay Cocks. Fotografía: Tony Pierce-Roberts. Música: Cole Porter. Edición: Julie Monroe. Presentada por CGI. Duración: 125 minutos. Sólo apta para mayores de 13 años.
"De-Lovely" (Idem, EE.UU.-Gran Bretaña/2004, color; hablada en inglés). Dirección: Irwin Winkler. Con Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin McNally, Sandra Nelson, Allan Corduner. Guión: Jay Cocks. Fotografía: Tony Pierce-Roberts. Música: Cole Porter. Edición: Julie Monroe. Presentada por CGI. Duración: 125 minutos. Sólo apta para mayores de 13 años.

- ¿Cómo la calificás Agus?
- Trata sobre un autor importante de Musicales, sus temas, trocitos de Broadway, Hollywood ...
... o sea, a mí me gustó y a Celia Tazelaar que me la recomendó, también !

GAY DIVORCE
Fred Astaire, Claire Luce
GAY DIVORCE
Fred Astaire, Claire Luce [fuente]
musicalstonight.org/ARCHgaydivorce.html

November 1932, Cole Porter´s Gay Divorce(248) at the Barrymore, introduces "Night and Day". (Gene Brown, Show Time, page 109, MACMILLAN 1997, ISBN 0 02 862072 0)

Ritmos, Localizada y Latin World (Mauro Monastra)

sábado, 18 de junio de 2005 22:03
BS AS FITNESS -Domingo 26 de Junio - Quilmes

Mauro Monastra

Domingo 26 de Junio

Gimnasio Club Quilmes Oeste - Quilmes

3 clases practicas de diferentes tecnicas, el costo es de $25.- incluye un CD 2005 de regalo además sorteos y sorpresas...

Cronograma de clases

14.00hs a 15.00hs - Zapping de Ritmos -
15.00hs. a 16.00hs. - Localizada x Interpretacion -
16.00hs. a 17.00hs. - Latin World -

Para participar podés dar tu nombre de preinscripción en las oficinas de la ESCUELA NEF te: 011-4331-6698 y luego presentarte directamente el sábado 26 de junio, media hora antes de la primer clase, en el Club Q.O. Av. Vicente Lopez 235

Este evento tiene un costo de $25.- por persona, que incluye un cd de regalo.

También la Organización ML sorteará por cada 6 personas,1 free pass para el 8vo Congreso Internacional de Fitness & Calidad de Vida,
del 13 y 14 de agosto y las ESCUELAS NEF, sorteará t-shirts institucionales

Te espero Mauro:)

Nuevas Tecnologías (Cris Salcedo)

sábado, 18 de junio de 2005 18:29
Nuevas Tecnologías

Cris Salcedo

Desde una calurosa Barcelona...

Cris Salcedo

- Cris hace referencia al sitio smileycentral.com donde podés descargar un programa (que no probamos) para incluir dibujitos en tus mensajes.

Para Salvar Vidas (Carlos Varela)

sábado, 18 de junio de 2005 11:45
para salvar vidas!

Carlos A. Varela

Augusto:
te envio para que lo difundas y que no le haga falta a nadie.
Saludos
Carlos

- Gracias por el aporte Carlos !
Papá, se lo podés pedir a Carlos, yo te lo puedo reenviar o lo encontrarás en:
proletarium.org/a/static/20050 ... uealCorazon.pps

En caso de que no lo encuentres o no tengas un visor para archivos PowerPoint acá tenés una mini-versión del mismo: Ataque al Corazón

Break, Pop y Tap-Jazz en Bogotá

Estereofónica.com, vie 17jun2005 (Alertas de Google)

La danza urbana se toma Bogotá

Del 17 de junio al 4 de julio Bogotá vibrará con el voltaje de la Danza Urbana. El Instituto de Cultura y Turismo reune a los mejores bailarines de break dance, pop dance, Tap y Jazz. Serán 28 agrupaciones en total que buscan ser reconocidas como las mejores exponentes de la Danza urbana en la Capital.
...

estereofonica.com/article.php?sid=943

"Fokine Celebration" at the Metropolitan Opera House

The New York Times, June 16, 2005

From 'Ballet Blanc' to Faux Barbaric Splendor

[Nan Melville for The New York Times]
From left, Marcelo Gomes, Amanda McKerrow, Julio Bocca and Frederic Franklin in "Petrouchka"
Nan Melville for The New York Times
From left, Marcelo Gomes, Amanda McKerrow, Julio Bocca and Frederic Franklin in "Petrouchka" [fuente]
nytimes.com/2005/06/16/arts/da ... kine-extra.html

By JOHN ROCKWELL

Michel Fokine led a long and vastly influential life, having been born in St. Petersburg , in 1880 and having died in New York in 1942. He had a strong connection with American Ballet Theater, staging his beloved "Sylphides" for the company as the very first ballet at its very first performance in January 1940. So it is entirely fitting that the company should stage a "Fokine Celebration," a four-ballet program that opened on Thursday night at the Metropolitan Opera House and continues, with rotating casts, through Wednesday.

That said, while the evening had its delightful, even thrilling moments, it was not a complete success. Nor, it should be said, was Fokine's curious career. A rebel against Petipa tradition at the Mariinsky Theater, he joined with Diaghilev to create some of the most influential ballets of the early 20th century. Yet nothing of his varied output after this early burst of creativity has survived with anything like the popularity of his youthful ballets.

There was "The Dying Swan," for Anna Pavlova, from 1904, which became an imperishable warhorse (or warswan). Ballet Theater spared us that, but all four ballets on its Fokine program date from the first seasons of the Diaghilev Ballets Russes in Paris: "Les Sylphides" from 1909 (though it dates to "Chopiniana" in St. Petersburg in 1907) came first, followed by "Petrouchka" from 1911, "Le Spectre de la Rose" from 1911 and the "Polovtsian Dances" from 1909. Other famous Fokine ballets include "Scheherazade" (1910), "Firebird" (1910) and "Daphnis et Chloé" (1912). After that, perhaps knocked off his stride by his abandonment by Diaghilev, a world war and his subsequent relocation to the United States, he worked constantly but never again at the same high level of inspiration.

What is remarkable about the four ballets on display at the Met is their variety: Fokine believed in adapting his idiom to his subject. "Les Sylphides" is a "ballet blanc," all pure dance in white with the subtlest poetic allusions. "Petrouchka" is a slice of St. Petersburg folk life, with a mystical tale of a Charlatan and his puppets, who come to life and act out a tragic triangle of jealousy and murder. "Le Spectre de la Rose" is poetry again, this time a young girl's fantasy of the spirit of a rose she received at her first ball. (That the rose originally came in the highly sexual, highly androgynous person of Vaslav Nijinsky provided another level of meaning.) And the "Polovtsian Dances," from Borodin's opera "Prince Igor," is all faux barbaric splendor, flash and sensuality on the steppes.

"Fokine Celebration" was first seen in February at the Kennedy Center in Washington, and "Les Sylphides" and "Le Spectre" had entered the company's repertory in their current stagings last fall at the City Center. The "Polovtsian Dances," like "Petrouchka" new at the Kennedy Center, was seen here at the opening gala of Ballet Theater's current Met season on May 23. That left "Petrouchka" as the only real novelty of the night.

All four ballets were done in re-creations of the original Diaghilev décor by Benois, Bakst and Roerich. They looked swell, even in the overly bright lighting. "Petrouchka" was staged by Gary Chryst, a former Joffrey Ballet Petrouchka, and hence inevitably recalled that company's popular staging from three decades ago. If memory serves, the Joffrey performance was surer: the crowd scenes looked livelier, the décor (basically the same) more atmospheric, the solo dancing more vivid in character.

On Wednesday Marcelo Gomes made a commanding Moor, with all the racist business about childlike, violent blacks intact. But Amanda McKerrow as the Ballerina and Julio Bocca (filling in for the still-injured Ethan Stiefel) seemed small-scale. It didn't help that the orchestra sounded undernourished and error-prone in Stravinsky's glorious score.

The "Polovtsian Dances" were done more surely than on May 23, with the same principal dancers, Gennadi Saveliev and Stella Abrera. Frederic Franklin, who played the Charlatan in "Petrouchka" and staged the "Polotvsian Dances," said in an interview that it was difficult to teach ballet dancers "to treat the floor as solid ground and not just something to escape into the air from." On Wednesday, things were still a little too airy.
"Le Spectre" and "Les Sylphides," airy ballets both, went better. Herman Cornejo was particularly exciting in his virtuosity (and androgynously sexy in his appearance), and Xiomara Reyes was sweetly deferential as usual.

But "Les Sylphides," which came first, remained the highlight of the evening. The winged female corps posed prettily in Fokine's delightful groupings, and Yuriko Kajiya and Maria Riccetto handled their smaller solo parts adeptly. But the greatest pleasure came from Gillian Murphy and Maxim Beloserkovsky. These two are forming a really elegant partnership, and Ms. Murphy's purity of line and lyrical grace were something to behold. She may have been first-rate as the huntress Sylvia, but she was special in this.

American Ballet Theater performs through July 16 at the Metropolitan Opera House; (212) 362-6000. "Fokine Celebration" continues through Wednesday.

nytimes.com/2005/06/16/arts/da ... kine-extra.html

Choreographer Pascal Rioult at the Joyce Theater

The New York Times, June 16, 2005

A Choreographer Employs Past Ballets as Prologue

[Don Hogan Charles]
Members of the Pascal Rioult troupe, from left, Posy Knight, Marianna Tsartolia, Anastasia Soroczynski and Penelope Gonzalez, in "Les Noces."
Don Hogan Charles
Members of the Pascal Rioult troupe, from left, Posy Knight, Marianna Tsartolia, Anastasia Soroczynski and Penelope Gonzalez, in "Les Noces." [fuente]
nytimes.com/2005/06/16/arts/dance/16pasc.html

By GIA KOURLAS

Pascal Rioult doesn't make dances as much as remake them, using famous works and their scores as his points of departure. In his latest program, seen Tuesday at the Joyce Theater, Mr. Rioult takes on Stravinsky: "Les Noces" is a modernized marriage ritual, while "Firebird" (2003) is an earnest exploration of good and evil in which a bird - portrayed by a young girl - transports a group of jaded souls to a place of innocence and rebirth.

The premiere of "Les Noces," a portrait of sexual discovery, was blessedly the less preachy of the two. Just as Bronislava Nijinska did in 1923 with her original seminal ballet about a Russian peasant wedding, Mr. Rioult explores a marriage rite. In his version, there isn't one bride and groom, but four of each, trapped between desire and a fear of commitment.

"Les Noces" here is mildly sexy: the women appear first, wearing Pilar Limosner's satin black-and-white bras and panties; the men don white cotton briefs. On the stage are eight folding chairs, which the dancers straddle, stand on and grope. At times, the movement looks a bit "Flashdance," but Mr. Rioult's angular, unison vocabulary mirrors the aggressive score with a handsome, formal attack.

The evening also includes "Kansas City Orfeo," a partial reworking of a dance about the myth of Orpheus and Eurydice featuring recorded music from the 1762 Gluck opera and compositions by artists like Duke Ellington and Count Basie performed live by the Juilliard Jazz Ensemble.

The piece, transplanted to the underworld of 1930's Kansas City, is overly ambitious. Pompous voiceovers attempt to set the seedy scene, yet it doesn't matter where or when Mr. Rioult has placed his story: the casting is distracting. Carlos Molina, a guest artist and a principal with Boston Ballet, is a wooden Orfeo, and Penelope Gonzalez, a small, precise dancer, plays an unconvincing Eurydice. She simply isn't a femme fatale. Mr. Rioult already has a better Eurydice in his ensemble, and her name is Posy Knight. A juicy, robust dancer with impeccable technique, her very aura oozes Greek nymph.

The company continues through Sunday at the Joyce Theater, 175 Eighth Avenue, at 19th Street, Chelsea; (212) 242-0800.

nytimes.com/2005/06/16/arts/dance/16pasc.html

Charly Calatrava en su Ballet de Jazz (Ariel Lichtig)

miércoles, 15 de junio de 2005 22:27
La presentación de Charly Calatrava en su ballet de Jazz

Ariel Lichtig

Y allí fuimos, la delegación autos con de fans de
Charly a verlo con un nuevo grupo en Ing Maschwitz.
Una noche con un frío de la p...
Hasta que entre jamoncitos y ensalada rusa, llegó el
turno del ballet.
Vestido de negro, vestido de blanco, Charly volvió a
demostrarnos que no hay estilos que lo limiten. Muy
bueno, como siempre.
Y al final, luego del postre, se armó el baile con
Charly dirigiendo alguna coreografía como él sabe,
para luego entrar al baile libre.
Una observación intelectual al estilo en sí: las
chicas que bailan jazz van mucho más ligeras de ropas
que las que bailan flamenco...
Como cierre de la noche nuestra compañera Inés nos
convidó con torta y champagne para festejar su
cumpleaños.

Saludos, Ariel Lichtig

- Gracias por el reporte, Ariel !

Charly Calatrava
14Charly Calatrava

Ariel Lichtig en la exhibición de Salsa ... bailando con su acompañante frecuente, Hilda Reynoso.
Ariel Lichtig en la exhibición de Salsa ... bailando con su acompañante frecuente, Hilda Reynoso.

Paris Inépuisable (Héctor Di Bello)

miércoles, 15 de junio de 2005 14:58
Gacetilla

Héctor Di Bello

Paris Inépuisable (Inagotable), un Audiovisual de Héctor Di Bello dirigido tanto a los que ya conocen la capital francesa como a quienes aún no la visitaron o planean hacerlo.

Se presenta el jueves 23 de junio a las 19 horas en la sede Belgrano de la Alianza Francesa, Once de Setiembre 950 de Capital Federal.

Se trata de un recorrido turístico cultural de dos horas de duración con imágenes tomadas por el propio Di Bello, acompañadas por un relato que aporta una mirada diferente sobre las innumerables atracciones de París y sus rincones menos conocidos.

La huella de argentinos en París, Jorge Luis Borges, Julio Cortázar, Julio Silva, Astor Piazzolla, Antonio Seguí.

La entrada es “a la gorra” y se pueden pedir informes a los teléfonos 4772-1607 / 4775-1891.

Paris
Paris

Pina Bausch and the Paris Opera Ballet

The New York Times, June 15, 2005

Mutual Affection Grows for Pina Bausch and Paris

[Ursula Kaufmann]
Dancers and singers double as the chorus in Pina Bausch's version of Gluck's "Orfeo ed Euridice," now at the Paris Opera Ballet.
Ursula Kaufmann
Dancers and singers double as the chorus in Pina Bausch's version of Gluck's "Orfeo ed Euridice," now at the Paris Opera Ballet. [fuente]
nytimes.com/2005/06/15/arts/dance/15baus.html

By ALAN RIDING

PARIS, June 14 - France fell for Pina Bausch's German-based dance company when it first traveled here in 1977. Twenty years later, a different affair began between Ms. Bausch and the Paris Opera Ballet when, for the first time, she allowed a troupe other than her Tanztheater Wuppertal to perform one of her early creations, in that case her raucous rendering of Stravinsky's "Rite of Spring."

...

nytimes.com/2005/06/15/arts/dance/15baus.html

Merce Cunningham

Dance

Merce Cunningham

**** Barbican, London

Judith Mackrell
Wednesday June 15, 2005
The Guardian

Rapt, collective clarity ... Merce Cunningham dancers. [Photograph: Tristram Kenton]
Rapt, collective clarity ... Merce Cunningham dancers. Photograph: Tristram Kenton [fuente]
guardian.co.uk/arts/reviews/st ... 1506853,00.html

Serendipity has always been one of the ruling gods in Merce Cunningham's dance universe, especially when it comes to his staging of events. Although the material for these one-off shows is excerpted from old repertory, Cunningham varies the order of dance with every performance, each one accompanied by improvised music.
For this week of Barbican events he's courted extra complication by having new (and previously unseen designs) for each show. This is literally art for one night only - and on Tuesday the artist contributing the decor was Cunningham's old friend Richard Hamilton.

The core of Hamilton's decor was a collage of black and white images projected across the back of the stage. Taken mostly of domestic objects they had a quality both humdrum and monumental, though the bicycle wheel perched on a stool signalled a homage to the ready-mades of Marcel Duchamp.

Scattered among the images too were snippets of earnest scientific text, just occasionally too distracting. But most of the time the decor felt like a gently comic and scrupulous dialogue with the 14 dancers. It proposed the same kind of attention to the way things look, and work, that radiates from Cunningham's own best choreography. And without question this event was one of the best.

It may have been the astuteness with which Cunningham selected his excerpts, it may have been the dancers, who performed the material with a rapt, collective clarity. But the choreography unfurled with an almost zen like authority, making certain fluky connections between the dance, the visuals and the music.

The footage of the revolving bicycle wheel that appeared just as a dancer whipped through a witty series of pirouettes, the burst of accordion that chirruped through the music's industrial rhythms just as a crowd of dancers crossed the stage in a sketchy jig.

You felt far more thrilled and lucky to have spotted such moments than if they'd been planned.

Eight years ago, Garrison Keillor wrote a poem to celebrate Cunningham's "brilliant advance/of randomness in modern dance". In it he quipped "many folks guessed [it] was genius, and the rest /left quietly when given the chance." On Tuesday no one left.

· Until Sunday. Box office: 0845 120 7550.

guardian.co.uk/arts/reviews/st ... 1506853,00.html

Al ritmo de la música que llevamos en el corazón!! (Claudia Tarazona)

miércoles, 15 de junio de 2005 06:37
la newsletter

Claudia Tarazona

1) Congrats!!! Augus, la Newsletter está cada vez mejor. 2) Cuántos espectáculos para ver: If only I could go see them all!!!!
3) Ah, me encantó la coplita y 4) los piecitos del bailarín del final que no dejan de moverse al ritmo de la música que llevamos en el corazón!!
5) Ah, gracias por incluir el avisito de la Fundación. Los galenos, agradecidos.
Cariños
C

1) Siempre tan gentil, Gran Bailadora !

2) Es verdad ! Al menos me siento complacido de ir entrando en confianza con nombres de teatros y de bailarines top-top !

3) Las coplitas son un encanto, y, cada vez siento una admiración mayor por Jorge M. Furt que allá por la década del 20 hizo una monumental recopilación en la cual abrevaron los sucesores para editar por áreas geográficas. Los libros de Furt hace mucho tiempo agotados, afortunadamente han sido incorporados recientemente a cervantesvirtual.com, y, allí iremos a pillar coplitas hasta el año 2050 (para no ir más lejos), cuando se terminen los libros en uso.

4) También yo acabo de descubrir lo mismo. (Rescate del Aladino que coopera técnicamente, tal vez)

5) Gracias a Google Desktop Search puedo encontrar cualquier cosa al toque, y, por lo tanto tu mail que incluía el programa del año, y, luego ya se sabe "Copio y Pego".

Retribuyo y cordial eSaludito
A

Gabriela Tavolara (a lo lejos), Claudia Abramic, Claudia Tarazona, Lorena Villafañe y María del Rosario Sotelo en exhibición de Danza Jazz. Terracita 26sep2004 [Foto Sergio Elfman]
Gabriela Tavolara (a lo lejos), Claudia Abramic, Claudia Tarazona, Lorena Villafañe y María del Rosario Sotelo en exhibición de Danza Jazz. Terracita 26sep2004 Foto Sergio Elfman

Dancing With the Stars

The New York Times, 15June2005

[Adam Larkey/ABC]
Evander Holyfield and Edyta Sliwinska on ABC's "Dancing With the Stars," which pairs a celebrity with a professional dance partner.
Adam Larkey/ABC
Evander Holyfield and Edyta Sliwinska on ABC's "Dancing With the Stars," which pairs a celebrity with a professional dance partner. [fuente]
nytimes.com/2005/06/15/arts/dance/15ball.html

- Papá, si querés seguir de cerca este certamen de ABC visitá abc.go.com/primetime/dancing ! (También fotos y biografías de los concursantes)

(A Evander, multicampeón, lo conocemos todos. Edyta, polaca, 25, campeona amateur de latino, se ha hecho bailarina profesional hace un año.)

nytimes.com/2005/06/15/arts/dance/15ball.html

Coplita

El amor es un niño
que va creciendo;
cuanto más le va dando,
más va queriendo.

Fuente:
Rubén Pérez Bugallo
Cancionero Popular de Corrientes
1999, Biblioteca de Cultura Popular,
Ediciones del Sol, BA, p202 nº1393
ISBN: 950 9413 80 1

La Figurita de Hoy

Roxana Rosso
20Roxana Rosso

La foto original:

[Foto Sergio Elfman]
Roxana Rosso, Norberto Patitucci, Salsa dom 15ago2004, Terracita
Foto Sergio Elfman
Roxana Rosso, Norberto Patitucci, Salsa dom 15ago2004, Terracita

Selección y Recorte: Alejandro Lapeyre

Imágenes de Salida

TOGETHER AT LAST
Gillian Murphy and Maxim Beloserkovsky in "Sylvia."
TOGETHER AT LAST
Gillian Murphy and Maxim Beloserkovsky in "Sylvia." [fuente]

Hilla Rebay (1890–1967), ‘Staccato’ (undated)
[SOLOMON R. GUGGENHEIM MUSEUM]
Hilla Rebay (1890–1967), ‘Staccato’ (undated)
SOLOMON R. GUGGENHEIM MUSEUM [fuente]

[Foto: AP, El Mundo 16jun2005]
Naomi Campbell en el Festival de la Moda de Rio de Janeiro
Foto: AP, El Mundo 16jun2005
Naomi Campbell en el Festival de la Moda de Rio de Janeiro [fuente]

- Mirá Papá, creo que el modelito no sirve para bailar Regatón! ¿A vos qué te parece?

Henri Matisse, ‘Harmony in Red’ (1908).
Henri Matisse, ‘Harmony in Red’ (1908). [fuente]

June 16, 2005

[Marisa Torres/Cavin Morris Gallery]
19th-century silk embroidery from South China.
Ceremonial Textiles and Wedding Objects of the Minority Peoples of China
Cavin-Morris Gallery
560 Broadway, at Prince Street
SoHo
Marisa Torres/Cavin Morris Gallery
19th-century silk embroidery from South China.
Ceremonial Textiles and Wedding Objects of the Minority Peoples of China
Cavin-Morris Gallery
560 Broadway, at Prince Street
SoHo [fuente]
nytimes.com/2005/06/17/arts/de ... ign/17gall.html

TheatreDance.comChau!, nos vemos en Geba !