- Volvemos con las Clases (Claudio Monteros)
- New DVD: Lubitsch Musicals
- The National Ballet of Canada
- Abro mi Escuela de Fitness en Quilmes (Claudio Monteros)
- Convención 100% Fitness (Marcelo López)
- Grammy Americano, Mejor Álbum Tropical: Juan Luis Guerra
- “American Songs and Dances” by The New York City Ballet
- Azúcar Belgrano, Salsa, Merengue, Rock&Roll y Bachata
- Fazil’s Times Square Studio closed after 73 years
- Sunday in the Park with George at Studio 54, NYC
- Spring Broadway Preview Musicals
- Tamango's Urban Tap at The Town Hall, NYC
- Mamma Mia ! The Latest News
- Johann Strauss Gala at Victoria Hall, Stoke-on-Trent
- Monty Python's Spamalot
- In The Heights, a New Broadway Musical
- Henri Oguike Dance Company
- Chicago The Musical
- The Joyce Theater
- Défilé Jean Charles de Castelbajac P-A-P, Printemps-été, 2008, Prêt-à-porter
- Vintage Film Poster
- El Logotipo de Hoy
- Imágenes de Salida
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 13 febrero 2008
Reciben esta Newsletter 446 suscriptores
martes, 12 de febrero de 2008 06:30
Sabado 16 de Febrero en el Oeste y en el Sur
Volvemos con las Clases, no te las pierdas
The New York Times, February 12, 2008
By DAVE KEHR LUBITSCH MUSICALS
Film history books recount how the four musicals directed by Ernst Lubitsch in the early years of sound — “The Love Parade” (1929), “Monte Carlo” (1930), “The Smiling Lieutenant” (1931) and “One Hour With You” (1932) — helped define what talking movies would be. Now all four have been released in “Lubitsch Musicals,” an indispensable boxed set from Eclipse.
Lubitsch’s precise, highly stylized direction of actors, his genius for concentrating the maximum amount of narrative information in a few carefully chosen shots and symbolic details, his masterful sense of ellipsis (presenting only the most important story points and leaving the rest to the viewer’s imagination) — all these devices and more had emerged during Lubitsch’s silent-film period, and by 1929 had already been enshrined as “the Lubitsch touch.”
But Lubitsch wasn’t content to let things stand, not when faced with the transformative technical advance represented by sound. Where so many of the early musicals are simply passive records of already established stage hits (like RKO’s 1929 “Rio Rita”) or strung-together highlights that showcase a studio’s stars in various production numbers (like Warner Brothers’ “Show of Shows,” also 1929), the Lubitsch films are full-fledged book musicals that integrate their songs into their plots and frequently move, operetta style, from spoken dialogue to recitative to full musical performances. They are light, fluid and graceful at a time when the heavy apparatus of the talkies was threatening to render movies flat and stagebound.
For reviewers at the time, these movies were buoyant, witty and casual in a way the plodding stage adaptations were not. Less remarked upon then but more important in the development of the medium was Lubitsch’s innovative way of using sound.
For Lubitsch the new medium wasn’t just for recording dialogue but also for bringing out the musicality contained in sound effects. (See in “Monte Carlo” how the chugging of a train engine slips into the rhythm of “Beyond the Blue Horizon,” sung by Jeanette MacDonald.) He uses sound to suggest whole realms of off-screen space unavailable to the silent film, employing sound cues as a way of replacing dialogue (like the trumpet call in “The Smiling Lieutenant”), much as he would use visual cues to replace entire sequences of dramatic action.
Their formal and historical importance aside, these films remain marvelously adult entertainments, at ease with human desire (and its inevitable conflicts with the institution of marriage) in ways that movies of our own time either ignore or trivialize into crude physical comedy. Lubitsch’s coquettishly liberated women (Jeanette MacDonald in three of the four films here; Claudette Colbert in the fourth, “The Smiling Lieutenant”) unabashedly enjoy sex as much as their rakish mates (Maurice Chevalier in three; Jack Buchanan, a gifted but now forgotten British musical star, in “Monte Carlo”).
In “One Hour With You,” the last of Lubitsch’s musicals for Paramount (he would make one more, perhaps his greatest, for MGM: the 1934 version of “The Merry Widow”), the Chevalier character, a happily married (to MacDonald) Parisian doctor, eventually gives in, despite his better instincts, to the sexual blandishments of his wife’s best friend (Genevieve Tobin). They spend a late night together, during which, Lubitsch clearly indicates, they enjoy a sexual dalliance — for which MacDonald smilingly forgives him at the film’s conclusion. Attitudes like this would disappear with the enforcement of the Production Code in 1934, seldom to return to American movies again.
Which is not to say that beneath their bubbling Art Deco surfaces these films are not actively and even philosophically engaged with moral questions. The masterpiece in this collection, and the film that leaps out from the others for its dark undertones and sharply painful emotions, is “The Smiling Lieutenant,” filmed as Lubitsch’s own marriage was collapsing.
According to Scott Eyman’s biography of Lubitsch, the director had discovered that his first wife was having an affair with his best friend and longtime collaborator, the screenwriter Hanns Kräly. There had been a public fistfight with Kräly, divorce papers had been served, and Lubitsch had left Hollywood for Paramount’s studios in Astoria, Queens. In the film Chevalier plays an Austrian officer who is forced to give up his mistress — a beer garden violinist, played by Colbert — when he is claimed as a mate by the unattractive and uncultivated princess of a neighboring country (Miriam Hopkins, in her second film role).
For once, Lubitsch does not make the film’s point of view Chevalier’s (undergoing his own divorce at the time, Chevalier here seems an unusually strident, even hysterical figure) but Colbert’s. Her character’s sacrifice at the film’s finale — she instructs Hopkins in the finer points of choosing lingerie, then slips away, leaving her lover to his new bride — recapitulates a note in Lubitsch’s great silent adaptation of “Lady Windermere’s Fan” (1925) and expands it into a major chord of melancholy and mature resignation.
Because “Lubitsch Musicals” is a project of Eclipse, the budget division of the Criterion Collection, it is not quite as perfect as would be expected. The liner notes are informative but minimal; there is no audio commentary; and a few obvious supplementary items are missing, like the three Chevalier production numbers that Lubitsch directed for the 1930 revue film “Paramount on Parade.” (In the wishful thinking department, it would have added much to include “Broken Lullaby.” A pacifist plea made between “The Smiling Lieutenant” and “One Hour With You,” this is one of Lubitsch’s rare straight dramas and one of his most powerful films. Like so much of the important Paramount product of the 1930s, “Lullaby” has been allowed to drop into obscurity by its current owner, Universal Pictures.)
The set’s prints show some light speckling and scratches, though nothing too serious, given the age of the films. Surprisingly, “The Smiling Lieutenant” is the best transfer here and looks close to perfect — remarkable for a film that was considered lost until the 1980s, when a print was found in the Danish film archives. (Eclipse, $59.95, not rated.)
lunes, 11 de febrero de 2008 20:41
Give the gift of ballet this Valentine's Day!
lunes, 11 de febrero de 2008 08:55
Monday, February 11, 2008 10:55 AM
Hola, soy claudio monteros, te escribo para decirte que este año 2008, abro mi escuela de fitness en quilmes.
Tambien voy a estar dando clases en capital y zona oeste, si estas interesado o queres consultarme algo.
Ingresa a. www.claudiomonteros.com.ar
Ahi esta tada la info de la escuela y de todo lo que estare haciendo este año.
Te pido que si estas interesado, te suscribas al news de mi sitio para que te mande las noticias de donde estare dando clases.
Te mando un abrazo grande.
ABC Producciones abc-producciones.com.ar Sun, 10 Feb 2008 20:53:34 -0300
1º CONVENCION 100% FITNESS
Hola profes, alumnos y amantes del fitness, para comenzar el año te ofrecemos esta la 1º Convención 100% Fitness, con los mejores exponentes del Fitness de nuestro país, acá te adjuntamos un afiche con toda la información y para lo que necesites estamos a tu disposición.
Nos mantenemos en contacto.
ABC PRODUCCIONES Y MARCELO LOPEZ.
Lunes 11 de Febrero del 2008, actualizado 1:05 AM
MEJOR ÁLBUM TROPICAL
Juan Luis Guerra gana otro Grammy americano
Ynmaculada Cruz Hierro - 2/11/2008
EL DISCO “LA LLAVE DE MI CORAZÓN” GANÓ COMO EL MEJOR ÁLBUM TROPICAL
SANTO DOMINGO.- Juan Luis Guerra ganó su segundo premio Grammy americano en la categoría Mejor Álbum Tropical con su disco “La llave de mi corazón”.
El artista dominicano volvió alzarse con un gramófono en la 50 entrega del Grammy para la industria de la música anglosajona.
Con este galardón Juan Luis se convierte en el primer artista dominicano de la música popular en obtener dos Grammy americano, ya que el primero lo ganó con el disco “Bachata Rosa”.
En esta categoría Juan Luis competía con El Gran Combo de Puerto Rico, por “Arroz con Habichuela”; la Spanish Harlem Orchestra, por “United we swing”; Isaac Delgado, por “En Primera Plana”, y Cubanismo, por “Greetings from Havana”.
El anuncio se hizo en una ceremonia no televisada en la que se repartió la mayoría de los 110 premios, y que se realizó justo antes del espectáculo transmitido en vivo desde el Centro Staples de Los Ángeles a través de la cadena CBS.
Al conversar, a través de la línea telefónica, con LISTÍN DIARIO, directamente desde Los Ángeles, dijo sentirse agradecido de Dios por todas las bendiciones que había recibido con “La llave de mi corazón”.
“Me siento muy contento. Viajamos con la ilusión de recibir este premio, y lo logramos”, dijo el artista super emocionado, unos minutos después de haber recibido el premio.
Juan Luis expresó que en el momento de escuchar su nombre, se sintió un poco diferente, “porque se trata de un público que no conoce tan a fondo la bachata, y eso es maravilloso”.
El intérprete de “Las avispas” destacó que con este gramófono este disco ya ha logrado siete premios Grammy, seis que ganó en el Grammy Latino, y este que acaba de recibir en Los Ángeles.
“Siempre he dicho que los premios son un estímulo para todos los artistas, y para mí eso es lo que significa, un estímulo a seguir trabajando; y como todos los otros premios que he ganado lo comparto con el pueblo dominicano”, expresó.
La más premiada
El artista destacó que “La llave de mi corazón” ha sido la producción que más premios ha obtenido en toda la historia de su carrera musical, así lo confirmó el artista al hacer un recorrido rápidamente en su memoria.
“Así es este ha sido el disco con el que más premios he ganado, ya que a parte de los Grammy, obtuve siete categoría a los premios Billboard y cuatro a Los Nuestros”.
Con este disco el artista dominicano también se convirtió en el máximo ganador de los Latin Grammy, y en el artistas que más gramófonos ha obtenido en la historia de esta premiación.
Durante la ceremonia Juan Luis estuvo acompañado de su esposa Nora, y adelantó que se quedará unos días en Los Ángeles para descansar, por lo que su regreso lo tiene programado para el próximo sábado.
En el Casandra
El 10 de marzo la Asociación de Cronistas de Arte (Acroarte) rendirá un homenaje en medio de la ceremonia de los Premios Casandra. Al intérprete de “Que me des tu cariño” le preparan un número musical en donde participará el puertorriqueño Luis Fonsi, y una represetanción de artistas jóvenes del país.
Dentro de los premios Casandra, Juan Luis fue también el más nominado en ocho categorías.
Dentro de los reconocimientos internacionales el dominicano obutuvo este año siete candidaturas a los Latin Billboard, incluyendo a compositor y productor del año.
Además, junto a su grupo 440 es finalista en las categorías de Artista del Año, Álbum Tropical del año de dúo o grupo por “La llave de mi corazón”. También Tema Tropical airplay del año de dúo o grupo por partida triple, con “La llave de mi corazón”, “Que me des tu cariño” y “La travesía”.
Lo Nuestro: En los premios Lo Nuestro Juan Luis obtuvo cuatro nominaciones dentro de la categoría Música Tropical.
Destácándose Álbúm del Año (La llave de mi corazón); Artista Masculino del año, Canción del Año (Que me des tu cariño) y Artista del Año en la cateogoría Tropical Merengue.
En el Casandra: Se destaca Orquestador y/ o Arreglista, Autor de Letas, Artista destacado en el extranjero, Álbum Musical, Canción del Año y Vídeo Clip por “La llave de mi corazón”.listindiario.com/entretenimien ... rammy-americano
- Bailador! Por si no estuviste en Aerolatino el domingo 10feb2008, te comento que el Profe Charly Calatrava usó varios temas de este CD en la clase de ese día. (Ya lo había estrenado el domingo anterior).
The New York Times, February 11, 2008
Dance Review | New York City Ballet
Inspired by America, Then Brought Onto the Stage
By JENNIFER DUNNING
The New York City Ballet’s “American Songs and Dances” is an odd collection of dances. The program, seen on Saturday night at the New York State Theater, should have been much more fun and thought-provoking.
The dancers seem to have settled into Peter Martins’s “Thou Swell,” a celebration of the music of Richard Rodgers, snazzily arranged by Glen Kelly. The overall look was a good deal less fussy, and looks are everything here. The ballet’s series of duets and brief solos unfolds in a stylish, faintly Art Deco cabaret designed by Robin Wagner. Julius Lumsden’s costumes make the men look casually elegant and the lead women look glamorous, though the four corps women do resemble gnats.
The ballet opens magically, with the dancers slipping in from one or another of the set’s multilevel, mirrored crannies to dance the night through to heart-tuggers and rambunctious odes to love, sung with just the right piquancy by Betsy Wolfe and Mike McGowan. Nilas Martins, so good in relaxed, jazzy choreography, has a chance to do his easygoing thing in “Getting to Know You.” His partner throughout, Yvonne Borree, dances like an adorably impetuous kid sister who grows up to the sound of “With a Song in My Heart.”
Other standouts were Sara Mearns, new in her role, who was long, lean and luscious in dances partnered by Tyler Angle. Faye Arthurs’s liquid phrasing in “Blue Moon,” partnered by Charles Askegard, was another special pleasure in a fine cast completed by Darci Kistler and Jared Angle. The orchestra, conducted by Fayçal Karoui, seemed to be having as much fun as the dancers, with musical solos by Alan Moverman (piano), Ron Wasserman (bass) and James Saporito (drums).
Jerome Robbins’s “Ives, Songs” came next, sandwiched between Robbins’s “West Side Story Suite” like a portobello mushroom between slices of iced lemon cake. “Ives” responds to American themes, both musical and social, with typically thorny darkness in songs sung by Philip Cutlip to piano accompaniment by Cameron Grant.
The score seems an odd choice, though it allows Robbins to set up an unconvincing ballet version of “Our Town.” There are little girls in ruffled dresses, stomping boys, World War I soldiers and a few lugubrious adults (Wendy Whelan, Mr. Askegard, Ms. Mearns and Jared Angle). Dena Abergel and Jason Fowler wander through with the quiet, glowing resonance of memories, with a slow-walking Robert La Fosse doing the remembering.
“West Side Story Suite” should have been a fizzy chaser after all this, but it was not. Amar Ramasar made a strong role debut as Bernardo, the leader of the Sharks, in this reworking by Robbins of the Broadway musical for the concert stage. Mr. Ramasar’s chill dignity and innate authority, in his restrained dancing as well as his acting, made Bernardo more menacing than usual and, strangely, almost poignant. The always vivid Georgina Pazcoguin was new as Bernardo’s girlfriend, Anita, spitting the choreography out explosively.
It might have been a lingering lugubriousness from the “Ives,” but the rest of the lead cast — Benjamin Millepied as the sainted Tony; Damian Woetzel as Riff, the leader of the Jets; Ms. Arthurs as Bernardo’s sister Maria; and Gretchen Smith as her friend Rosalia — seemed slightly pallid. But Ms. Pazcoguin, Mr. Woetzel and Ms. Smith sang impressively. Those in the large corps took their unaccustomed roles and ran with them, however, with a nicely tough and tousled Jennifer Tinsley-Williams as living proof that City Ballet dancers can snap fingers with the best of them.
The program continues through Feb. 20 at the New York State Theater, Lincoln Center; (212) 870-5570 or nycballet.com.
Link The New York Sun: daily.nysun.com/Daily/Skins/NY ... n/navigator.asp
domingo, 10 de febrero de 2008 00:31
2ª de FEBRERO EN AZUCAR BELGRANO
Gregorio Rangel -Yurguen Oviedo-Julio "Coqui"
Sábados Cuerdos de Febrero de 2008
Dos Discotecas Independientes
Tenés La Magia en el Restaurante desde las 21hs.
Apertura de Discoteca con Clase Abierta desde las 22hs.
con Gregorio Rangel & Julio "Coqui" de Cuba
Animaciones - 2 Dj's - 3 Pistas
Daniel Domingo - Adrian "Cani" Robledo
TODOS LOS DIAS desde las 19.00 hs.CLASES DE SALSA-MERENGUE-ROCK & ROLL y BACHATA
Avenida Cabildo 2040, Belgrano, Buenos Aires, Argentina
The New York Times, February 9, 2008
Last Dance: A Studio Tears Up Its Floors
By JENNIFER DUNNING
The places where cultural history was made in New York City have largely disappeared, and on Friday another institution was lost. Fazil’s Times Square Studio closed after 73 years as a ramshackle, homey rehearsal center that served as a mecca for everyone from movie stars to struggling tap, flamenco and Middle Eastern dancers.
The rates were cheap. Even penniless artists could afford to rent there. In Studio A-4 — one of 14 rehearsal rooms in the three-floor center on Eighth Avenue, between 46th and 47th Streets in Clinton — dancers for many years paid 25 cents to spend an entire day working in the studio that was affectionately known as “the snake pit.”
“As many as could fit in,” said Fazil Cengiz (pronounced FAY-zil cen-GEEZ), a languid former owner and driver of taxis who bought the center in 1978. “The only rule was that you couldn’t bring a blanket and sleep there.”
viernes, 08 de febrero de 2008 14:44
Save 40% on Sondheim's "Sunday in the Park" with Playbill
Playbill Club Manager
VISIT ROUNDABOUTTHEATRE.ORG and use code SPPBOL2
CALL 212-719-1300 and use code SPPBOL2
BRING a printout of this offer to the Studio 54 box office
at 254 W. 54th St. (btwn Broadway & 8th Ave.)
Box office hours: Tues - Sat 10am - 8pm, Sun & Mon 10am - 6pm
Advance tickets are not available one hour prior to performance.
TUE-SAT at 8PM; WED, SAT & SUN at 2PM
Early Curtain: Feb. 26 - March 7 at 7pm
Roundabout Theatre Company presents the five-time Oliver Award-winning production of SUNDAY IN THE PARK WITH GEORGE, with a score by six-time Tony Award®-winning legend Stephen Sondheim, a book by three-time Tony-winner James Lapine, and direction by Olivier Award-nominee Sam Buntrock. Olivier Award-winners Daniel Evans and Jenna Russell star as George and Dot.
viernes, 08 de febrero de 2008 13:00
Broadway Fan Club - February Newsletter
Spring Broadway Previews
A Catered Affair
Funny, heartbreaking and oh so human, A Catered Affair reveals relationships strained to their limits when a couple must decide whether to spend their life savings on a family business or to launch their only daughter's marriage with a lavish catered affair. Harvey Fierstein's book and John Bucchino's score seize the opportunity to explore the meaning of family and the need for love, both new and reawakened.
Baltimore, 1954. Everyone likes Ike, nobody likes communism, and Wade “Cry-Baby” Walker is the coolest boy in town. He's a bad boy with a good cause—truth, justice, and the pursuit of rock ‘n' roll—and when he falls for a good girl who wants to be bad, her charm school world of bobby sox and barbershop quartets will never be the same. Based on the John Waters film.
Curtain up! Light the lights! Be there as Broadway's leading lady takes on Broadway's greatest role. Patti LuPone makes theatre history in one of the greatest American musicals of all time, written by Arthur Laurents with music by Jule Styne and lyrics by Stephen Sondheim. Mr. Laurents directs this production.
In the Heights
A quintessential New York musical about a vibrant and tight-knit community at the top of the island of Manhattan. The music pulses with the hopes and dreams of three generations as they struggle to forge an identity in a neighborhood on the brink of transition. Written by Quiara Alegria Hudes; music and lyrics by Lin-Manuel Miranda.
With a score that has some of the most tuneful, soulful rock songs and witty, thought-provoking lyrics in recent memory, Passing Strange is the moving and hilarious tale of a young, black bohemian on a journey of escape and exploration. As he leaves the confines of his middle-class, church-reared youth in South Central L. A., the further he travels the more he discovers that the journey within is the one that counts. Written by Stew and Heidi Rodewald.
The landmark musical's first-ever Broadway revival. The curtain rang down on Rodgers & Hammerstein's South Pacific in 1954 after five years of extraordinary acclaim and countless accolades, including nine Tony Awards® and a Pulitzer Prize. The songs include “Some Enchanted Evening,” “Younger than Springtime,” “Bali Ha' i,” “Nothing like a Dame” and “A Wonderful Guy.”
For information on these and other new Broadway shows, as well as long-running productions, visit ILoveNYTheater.com. Don't forget to check TouringBroadway.comfor news on Broadway productions that will be playing in your hometown.
The New York Sun, 08 February 2008, Ad
viernes, 08 de febrero de 2008 07:12
MAMMA MIA! February Newsletter
MAMMA MIA! LAS VEGAS CELEBRATES 5TH ANNIVERSARY
MAMMA MIA! will celebrate it’s 5th anniversary at Mandalay Bay Resort & Casino on 13 February 2008. The show sets the precedent for musicals in Las Vegas as no other Broadway show has ever enjoyed such enduring success on The Strip. MAMMA MIA! recently welcomed its 2 millionth guest at Mandalay Bay Theatre and remains popular among local and tourist audiences alike.
NEW HARRY IN MAMMA MIA! BERLIN
Cusch Jung is now playing the role of Harry in the Berlin production, replacing Detlef Leistenschneider who goes back to Hamburg and his family, Cusch Jung is the laureate of the International Musical Award, Germany and Berlin has been his home for 22 years. Before he came to MAMMA MIA! he appeared in '3 Musketiere' at the „Theater des Westens” in Berlin, and also worked as a director of his own productions of classic musicals in Germany and Switzerland. Cusch Jung was also Sam in the Hamburg production of MAMMA MIA!
MAMMA MIA! CELEBRATES 500TH PERFORMANCE IN MOSCOW
On 29 January 2008, MAMMA MIA! celebrated its 500th performance in Russia. The production was recognised by the Russian Guinness Book of Records as the musical which has played the most number of performances in a straight run within the shortest period of time in Russia, and is noted as an outstanding achievement in the Russian musical industry.
SALVADOR HOSTED FRIENDS WITH BENEFITS CONCERT
MAMMA MIA! Broadway cast member Gerard Salvador hosted the 3rd Annual Friends With Benefits concert at the Metropolitan Room on Monday 28 January 2008 to benefit Broadway Cares/Equity Fights AIDS.
DONNA AND THE DYNAMOS TEST THEIR KNOWLEDGE!
On 26 February 2008, Donna & the Dynamos from Essen's first cast will perform 'Dancing Queen' on the TV quiz show "NRW Duell" on the WDR TV station. The musical themed episode has invited different musical casts as candidates for a quiz game about the state North Rhine Westphalia.
SPORT RELIEF 2008
On Tuesday 29 January 2008, Linzi Hateley (Donna), Joanna Monro (Rosie) and Jane Gurnett (Tanya) joined cast members from other West End shows for a press photocall in front of the Actors' Church in Covent Garden Piazza to raise awareness for this year's Sport Relief appeal. There was a great turn out of press and the tourists in the Piazza got an unexpected treat seeing so many West End stars out in their costumes and wearing runner numbers or Sport Relief socks!
jueves, 07 de febrero de 2008 06:46
Johann Strauss Gala at The Victoria Hall
The Regent Theatre
A host of great Strauss favourites includes
Blue Danube Waltz Tales from the Vienna Woods
Radetzky March Thunder & Lightning Polka
Pizzicato Polka Perpetuum Mobile
Tritsch Tratsch Polka Music of the Spheres
and many many many more
All the romance and excitement of the ballrooms of 19th Century
Vienna is brought to life in this magical show filled with glorious
music, dance and song from the Strauss family.
JOHANN STRAUSS ORCHESTRA
directed from the violin in the traditional Viennese manner by Daniel Rowland
with sparkling soprano Martene Grimson
JOHANN STRAUSS DANCERS
in beautiful costumes of the period
Choreography Christopher Hampson
miércoles, 06 de febrero de 2008 15:31
Spamalot Grail Mail - February
Monty Python's Spamalot
News: New York, London, Vegas, Tour, Australia at:
miércoles, 06 de febrero de 2008 09:44
As low as $46.50 for "In The Heights", a new Broadway musical
Playbill Club Manager
Tue-Sat at 8pm, Sat & Sun at 2pm, Sun at 7pm;
Starting March 5, select Wed matinees at 2pm (please inquire)
Performances begin February 14
Opening Night: March 9
Henri Oguike Dance Company
Cambridge Arts Theatre
Thursday January 31, 2008
There is a sequence in Henri Oguike's latest work, All Around, which looks like nothing any other choreographer has made. The music is Native American, a deep, fibrous chug of percussion woven with decorative chants. In almost exact mimicry of its sound, a pair of dancers begin to tumble across the stage, crouched in each other's laps, a tangle of interlocking limbs. As they roll, they simultaneously manage to flip and fly in each other's grasp, their torsos twisting, their arms and legs flashing so fast they seem to be levitating. It is an extraordinary effect, as if they were being bowled along by an external force. If part of the illusion is created by the dancers' technical excellence, it is also due to the ingenuity and imagination of Oguike's choreography that we literally cannot see how this dazzling duet is achieved.
The companion piece, Touching All, is set to a collage of north African music. This is a sequence of solos, each one flaring briefly into action from a frieze of dancers walking across the back of the stage. While its language is more lucidly sculptural, it, too, carries a similar sense that the movement has emerged from somewhere beyond the dancers' knowledge. This elemental, instinctive quality is one Oguike pushes for a lot at the moment. In Little Red, his dancers respond to Vivaldi's violin music with a ferocity akin to Macbeth's witches. In Green in Blue, they spiral and twitch in almost unwilled response to Iain Ballamy's jazz score.
The problem, however, is that the choreography doesn't gel into a completely compelling evening. Structurally, the newer works are inclined to sag, and All Around feels overlong. The process is fascinating, but it needs an editor's eye.
· At Taliesin Arts Centre, Swansea, on Friday. Box office: 01792 602060. Then touring.
martes, 05 de febrero de 2008 12:00
Save up to 50% on "Chicago" with John Schneider with Playbill
Playbill Club Manager
Come on, babe! Head to CHICAGO this winter. We’re hotter than ever.
martes, 05 de febrero de 2008 13:09
Icon Trisha Brown at The Joyce
The Joyce Theater
The Joyce Theater e-Newsletter
Feb 5, 2008
Opening Tonight: Trisha Brown Dance Company
Also this week: Chunky Move at The Kitchen
Upcoming at The Joyce: Evidence: A Dance Company
This Week at Joyce SoHo: Kim Robards Dance
Next Dance Talks
Update to WIN
JEAN CHARLES DE CASTELBAJAC P-A-P • PRINTEMPS-ÉTÉ 2008
Thunderball (1965): imdb.com/title/tt0059800
Terence Young (1915-1994), Director:http://www.imdb.com/name/nm0950109/
Kevin McClory (1926-200 ), Story: imdb.com/name/nm0565886
Jack Whittingham (1910-1972), Story: imdb.com/name/nm0926525
Ian Fleming (1908-1964), Story: imdb.com/name/nm0950109
Richard Maibaum (1909-1991), Screenplay: imdb.com/name/nm0537363
John Hopkins (1931-1998), Screenplay: imdb.com/name/nm0394200
Sean Connery (1930), James Bond: imdb.com/name/nm0000125
Claudine Auger (1941), Dominique "Dominó" Derval: imdb.com/name/nm0000805
Adolfo Celi (1922-1986), Emilio Largo: imdb.com/name/nm0148041
Luciana Paluzzi (1937 ), Fiona Volpe: imdb.com/name/nm0658885
Rik Van Nutter (1929-2005), Felix Leiter: imdb.com/name/nm0887607
Señora porque la quiero
todo me puede decir,
si gozo de sus amores
aquí estoy a su servir.
Jorge M. Furt
Cancionero Popular Rioplatense: Lírica Gauchesca Tomo II
Alicante : Biblioteca Virtual Miguel de Cervantes, 2003
Edición digital basada en la de Buenos Aires, Imprenta y Casa Editora "Coni", 1925.
cervantesvirtual.com/servlet/S ... 91/p0000006.htm
[1947 (Santiago del Estero).]
National Gallery of Art, 4th and Constitution Avenue NW, Washington, D.C.
(Repetimos pues se publicó con error de identificación en la Newsletter del 06feb2008)
Arte al Dia Internacional, 14 de Junio de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO antoniaguzman.com.ar/index.htm
Exposiciones Personales: Desde el 2 de Febrero en Mountain Shadow Gallery de Tucson, Arizona y, desde el 15 del mismo mes en Naomi Silva Gallery de Atlanta.
Christie's New York , 23 de Octubre de 2007 Christie's Prints & Multiples - October 30-31, New York
$7,000 - $10,000
Prints And Multiples
30 - 31 October 2007
New York, Rockefeller Plaza
Arte al Dia Internacional, 15 de Noviembre de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO pablodimasso.com.ar
Los Angeles Times, 05 February 2008
Hollywood hot spots - George Raft
I must have gone through $10 million during my career. Part of the loot went for gambling, part for horses and part for women. The rest I spent foolishly. imdb.com/name/nm0706368/bio Personal Quotes George Raft (1895-1980)
The New York Times, February 7, 2008
THE NEW YORK SUN, 07 FEBRUARY 2008
Link The New York Times: nytimes.com/2008/02/08/arts/de ... ign/08john.html
The New York Times, February 8, 2008
Basquiat’s 1982 “Palm Springs Jump” sold for $12.7 million.
The New York Times, February 8, 2008
Charles Moffett, a vice chairman of Sotheby’s in America, took the winning $14.6 million telephone bid for “La Loge” (“The Theater Box”), an 1874 Renoir painting of a couple at the Paris Opera. The painting once belonged to Stephen A. Wynn, the Las Vegas casino developer, who paid $12.1 million for it at Christie’s in 1989. (Sigh of Relief >From the Nervous London Auctions, By CAROL VOGEL, Published: February 8, 2008 , The New York Times, Inside Art)
THE NEW YORK SUN, 08 FEBRUARY 2008
THE NEW YORK SUN, 11 FEBRUARY 2008
LOS ANGELES TIMES 12 FEBRUARY 2008
LOS ANGELES TIMES 12 FEBRUARY 2008