"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 26 marzo 2008
Reciben esta Newsletter 453 suscriptores

Avenue Q is the story of Princeton, a bright-eyed college grad who comes to New York City with big dreams and a tiny bank account. He soon discovers that the only neighborhood in his price range is Avenue Q; still, the neighbors seem nice. There's Brian the out-of-work comedian and his therapist fianceé Christmas Eve; Nicky the good-hearted slacker and his roommate Rod -- a Republican investment banker who seems to have some sort of secret; an Internet addict called Trekkie Monster; and a very cute kindergarten teaching assistant named Kate. And would you believe the building's superintendent is Gary Coleman?!? (Yes, that Gary Coleman.) Together, Princeton and and his newfound friends struggle to find jobs, dates, and their ever-elusive purpose in life.
Avenue Q is the story of Princeton, a bright-eyed college grad who comes to New York City with big dreams and a tiny bank account. He soon discovers that the only neighborhood in his price range is Avenue Q; still, the neighbors seem nice. There's Brian the out-of-work comedian and his therapist fianceé Christmas Eve; Nicky the good-hearted slacker and his roommate Rod -- a Republican investment banker who seems to have some sort of secret; an Internet addict called Trekkie Monster; and a very cute kindergarten teaching assistant named Kate. And would you believe the building's superintendent is Gary Coleman?!? (Yes, that Gary Coleman.) Together, Princeton and and his newfound friends struggle to find jobs, dates, and their ever-elusive purpose in life.

Golden Theatre
252 West 45th Street (Between Broadway and 8th Avenue)
New York NY 10036
Running Time:
2 hours and 15 minutes with one 15 minute intermission.
U.S. Tour, Broadway, London: avenueq.com

Show Fotográfico Domingo 30/03; 15,30 h (Cristina Rivera)

lunes, 17 de marzo de 2008 13:51
SHOW FOTOGRAFICO.

Cristina Rivera

Fecha: domingo 30/03 15.30hs.
Lugar: sede San Martín
Modelos: suscriptores de la Newsletter
Objetivo: divertirnos y formar un banco de imágenes para la Newsletter de Geba (creada y dirigida por nuestro querido Augusto Lapeyre)

Los espero a todos, también estamos gestionando una clase especial al aire libre con Charly, Walter y todo profe del club que se quiera sumar para que la fiesta sea completa!!
Cris....

Allí estaremos Cristina ! Le estamos pasando mensaje a Walter Herrera por si estuviera disponible para pilotear fiestón en la Terracita. Charly ha confirmado su disponibilidad 15.30.

Bailador ! Si no estuviste en el Baile de diciembre te esperamos ! (y si estuviste también, jajajá !)

¡¡ Cena y Baile el Sábado 12 de Abril !! (Ariel Lichtig)

domingo, 16 de marzo de 2008 17:16
¡¡Cena y baile el sábado 12 de abril!!

Ariel Lichtig

Síííí.
El concesionario del restaurante de sede San Martín organiza cena con baile el sábado 12 de abril.
Vayan planeando los que quieran pasar una noche animada y divertida entre amigos.
Vamos a planear la música y esperamos contar con videos que acompañen las canciones (aporte de nuestro inestimable proveedor Augusto) si la tecnología nos acompaña.
Así que salseros, merengueros, rockeros, tangueros y románticos vamos a tener una nueva oportunidadde bailar en "casa".
Saludos, Ariel Lichtig

Bien Ariel !, allí estaremos !!!

Duración: 109 minutos

New York City Ballet at Coliseum, London

Dance

New York City Ballet: Programme 3

*** Coliseum, London

Judith Mackrell
Thursday March 20, 2008
The Guardian

[Photograph: Tristram Kenton]
Gaiety, buffoonery and anguish ... Russian Seasons.
Photograph: Tristram Kenton
Gaiety, buffoonery and anguish ... Russian Seasons. [fuente]
guardian.co.uk/stage/2008/mar/20/dance

For their third London programme, NYCB move forward from the glory years of Balanchine and Robbins to showcase four of the choreographers creating their new repertory. Stylistically, the evening makes for a pleasurable mix. Yet, with work that looks back, variously, to a Richard Rodgers musical, to the rituals of Russian orthodoxy and to traditional Russian dance, it is not a programme that signals either a clear future direction for the company, nor a distinctly New York one.

Christopher Wheeldon's Carousel handles its nostalgia very adroitly. The romance of the original musical is distilled into one overarching choreographic metaphor, as lovers Damian Woetzel and Tiler Peck are swept in and out of each other's orbit by a wheeling ensemble of dancers. Wheeldon elaborates his theme with dozens of clever, funny details, conjuring swingboats and fairground horses; best of all is the climactic circle that references the titular carousel. With the women hoisted on to their partners' shoulders and grasping on to poles (the simplest of props), this is an ecstatic little moment of stage magic.

Less sure of its tone is Peter Martins' Zakouski, a series of solos and duets inspired by four Russian composers. Martins is never short of a step, and jumps and turns unfurl in lines of pleasing neoclassical invention. Yet the thigh-slapping Cossack machismo and the cute Russian doll motifs with which he overlays the choreography are an odd choice, which the work never makes compelling.

Odder yet is Alexei Ratmansky's Russian Seasons, set to a score by Leonid Desyatnikov. The choreography, like the music, veers between extremes of jollity and angular dissonance, and its mix of gaiety, buffoonery and anguish feels authentically Russian. Yet while Ratmansky is a seriously interesting dance-maker, shuffling at speed through a rich variety of imagery, on first viewing it is hard to see the ballet's focus - and even harder to see why it should have been created for an American company. The most overtly contemporary work of the evening is Mauro Bigonzetti's In Vento. Set to a new score by Bruno Moretti and staged in stylish shadow, it implies moments of Faustian diabolism, as Benjamin Millepied is framed by a frieze of hellish, writhing dancers, and Teresa Reichlen is a limber, predatory siren. Superficially, this glossily perverse and sexy dancing is very easy for a modern audience to read. But does even Bigonzetti know what is really going on?

· The NYCB season continues until Saturday. Box office: 0871 911 0200.

guardian.co.uk/stage/2008/mar/20/dance

News from Wicked London

martes, 25 de marzo de 2008 06:04
Ozmopolitan News: Desmond Barrit to play 'The Wizard'

Wicked The Musical

News from Wicked London
News from Wicked London
wickedthemusical.co.uk/ozmopolitan

Clases de Tap en el Club Vasco Argentino Gure Echea (Virginia Enghel)

martes, 25 de marzo de 2008 05:14
FLYER

Virginia Enghel

Hola Augusto:
no recuerdo si te envie el flyer,motivo por el cual y por las dudas te lo mando.
...

Virginia

ALBERTO AGÜERO CLASES DE TAP 2008
ALBERTO AGÜERO CLASES DE TAP 2008
alberto-aguero.com.ar

South Pacific at Lincoln Center Theater

martes, 25 de marzo de 2008 00:47
Meet Bartlett Sher, director of Rodgers & Hammerstein's SOUTH PACIFIC at LCT

Lincoln Center Theater

South Pacific at Lincoln Center Theater
South Pacific at Lincoln Center Theater
lct.org/calendar/event_detail. ... _event=14879622

South Pacific and Gypsy back to Broadway this Spring

The New York Times, March 23, 2008
Theater

Two Helpings of Pie From Broadway’s Fridge

By CHARLES ISHERWOOD

nytimes.com/2008/03/23/theater/23ishe.html

[W. Eugene Smith/Time Life Pictures - Getty Images]
Mary Martin and Ezio Pinza in “South Pacific” in 1949. The musical is being revived for the first time in over 50 years.
W. Eugene Smith/Time Life Pictures - Getty Images
Mary Martin and Ezio Pinza in “South Pacific” in 1949. The musical is being revived for the first time in over 50 years. [fuente]
nytimes.com/2008/03/23/theater/23ishe.html

[Friedman-Abeles]
Sandra Church, from left, Ethel Merman and Jack Klugman in the original 1959 production of “Gypsy,” the musical inspired by Gypsy Rose Lee’s memoir.
Friedman-Abeles
Sandra Church, from left, Ethel Merman and Jack Klugman in the original 1959 production of “Gypsy,” the musical inspired by Gypsy Rose Lee’s memoir. [fuente]
nytimes.com/2008/03/23/theater/23ishe.html

[Associated Press]
Richard Rodgers, left, and Oscar Hammerstein II in 1949.
Associated Press
Richard Rodgers, left, and Oscar Hammerstein II in 1949. [fuente]
nytimes.com/2008/03/23/theater/23ishe.html

“SOUTH PACIFIC” and “Gypsy,” which both return to Broadway this spring, originally opened 10 years apart, standing neatly as theatrical bookends of the 1950s. The Rodgers and Hammerstein romance set in the Pacific during World War II had its New York premiere in April 1949, on the cusp of that fabled decade of American prosperity and self-confidence. The brassy musical inspired by Gypsy Rose Lee’s memoir first took a bow in May 1959, as the decade drew to a close and only a few shadows of the more fractious era ahead could be discerned on the horizon.

The near-simultaneous return to Broadway of these two landmark shows is essentially a matter of commerce and coincidence. But the opportunity to see them side by side underscores the distance the American musical traveled in the 10 years between them. The 1960s would begin with another Rodgers and Hammerstein musical, the syrupy “Sound of Music,” triumphing over “Gypsy” at the Tony Awards (with an assist from “Fiorello!,” which shared the Tony Award for best musical). Yet it is “Gypsy,” with its haunted heroine and undertow of anger, that would set the tone for the advances in the form that would follow, as the creators of the best musicals of the final decades of the 20th century stripped the gloss off the form and used it to explore darker territory.

The man who virtually symbolizes the transition is of course Stephen Sondheim, the composer and lyricist who began his career as a protégé of Oscar Hammerstein II and was the lyricist for both “Gypsy” and another forward-looking show of the 1950s, “West Side Story.” The differences between these two masters can be described in any number of ways, but one sure if simple indicator can be found in the opposed opinions of blueberry pie expressed by the heroines of the two revivals opening this spring.

In “South Pacific” the plucky heroine, Ensign Nellie Forbush, thoroughly smitten for the first time, sings happily of her inauguration into the commonplace joy of romance. “I’m as corny as Kansas in August,” she exults. “I’m as normal as blueberry pie.” A touch of winning self-mockery perfumes the moist island air, but Nellie’s attitude to the cornfields of Kansas and the staple of the picnic table is undoubtedly complimentary.

Rose, the ungentle giant who bestrides “Gypsy,” takes a rather different view. At the climax of her first great anthem of self-assertion, “Some People,” Rose hits upon the innocuous dessert as a symbol of all she does not want, the arid life she hopes to escape for the plusher pastures of show business success. “Goodbye to blueberry pie!” she all but shrieks.

Only one of these two celebrated heroines has been a frequent visitor to Broadway. Momma Rose has become a prickly, but reliable old friend. Didn’t she come barging back just five years ago, counterintuitively portrayed by a certain curly-haired kewpie doll named Bernadette Peters? This time she returns in the guise of Patti LuPone, the formidable singing actress who has long seemed destined to play the role. “Gypsy,” which opens on Thursday at the St. James Theater, was also revived in 1974 with Angela Lansbury and in 1989 with Tyne Daly.

By contrast Nellie Forbush has been AWOL from Broadway for half a century. Lincoln Center Theater’s production of “South Pacific,” opening on April 3 at the Vivian Beaumont Theater with the radiant Kelli O’Hara as Nellie, is the musical’s first revival in the country’s pre-eminent theatrical marketplace.

This may seem surprising since, statistically speaking, “South Pacific” was initially the more successful show. Its run of 1,925 performances on Broadway was second only to that of “Oklahoma!” In 1950 “South Pacific” won nine Tony awards and the Pulitzer Prize. “Gypsy” was certainly a success, but it had a more modest run of 702 performances and was blanked at the Tony Awards as the yodeling von Trapps and a singing mayor divvied up the spoils.

The reasons for their diverging fates in revival are complicated and plentiful, and tied up, to some degree, in the vagaries of showbiz circumstance. But what you might call the blueberry pie issue surely played a significant role.

“South Pacific” was a quintessential cultural artifact of its era. Summing up its appeal, Brooks Atkinson of The New York Times called it “lively, warm, fresh and beautiful,” as sunny a string of adjectives as you could hope to find. The musical, set during the war that cemented the country’s status as the world’s moral guardian, celebrates the American spirit and the American enterprise.

Although its heroine must struggle to allow herself to love Émile de Becque, who sired two children by a native woman on the island where the musical is largely set, she ultimately triumphs over her own prejudice. “South Pacific” can stand as a symbol of a time when all could agree on the fundamental virtues that the country strove to represent to the world: a can-do spirit, a belief in self-improvement, the courage to fight for the collective good.

An unshakable optimism is also at the heart of the musical’s belief in the edifying power of romantic love, which glows in every bar of its most beloved songs. Earthly paradise, in the vision of “South Pacific,” is not guaranteed, but with a good heart, the right moral attitude and a little luck, it is eminently achievable.

“South Pacific” can be viewed as the apotheosis of the Broadway musical’s — and Rodgers and Hammerstein’s — idealizing impulse. Musicals in the years of Broadway’s golden age were mostly in the business of affirmation, celebration and escapism. Rodgers and Hammerstein’s greatest shows all carry a dark undercurrent acknowledging the possibility of loss, violence and sin (there is a death in four of the “big five”), but good always beats evil.

“Gypsy” can be seen as a harbinger of the darker things to come, a turning point in the history of the American musical that would lead to its growth in tonal complexity and stylistic eclecticism. (I am speaking of artistically venturesome shows, not the eternally present pop confections like, say, 1960’s “Bye Bye Birdie” or latter-day equivalents like “Hairspray.”) It also prefigures a wary cynicism about the American dream that would gather force as the social unrest of the ’60s took hold.

“Gypsy” implicitly asks where the ferocious drive that fueled the prosperous 1950s may lead. The thirst for fame that burns inside Momma Rose is partly the quasi-existential yearning that haunts any soul hungry for more than the world can give, but it is also born of the all-American glorification of success. If the big brass ring is out there for the grabbing, why shouldn’t I get a crack at it?

The answer, in “Gypsy,” is that the struggle itself could destroy you, or at least alienate everyone you love. If “South Pacific” depicts the creation of a nuclear family — that homey symbol of American normalcy — “Gypsy” describes the slow annihilation of another, at the hands of a mother whose real affection for her children is clouded by a need to see them succeed at any cost.

Romantic love — such an integral part of the big Rodgers and Hammerstein shows of the 1940s — tellingly plays almost no role in “Gypsy.” The musical’s most tender love song is sung to a toy lamb. A duet that Rose sings with her would-be husband is musically charming, but the title, “You’ll Never Get Away >From Me,” sounds more like a threat than an embrace.

“Gypsy,” with a book by Arthur Laurents perfectly welded to the score by Jule Styne and Mr. Sondheim, is wised-up and dry-eyed. And the musical’s conflicted view of all things classically American — success, mom and blueberry pie — has remained in tune with the temper of the changing times, finally achieving a kind of timelessness. Most of the important musicals that would come after the 1950s would evince a similar disillusioned view.

This is in part, of course, because the scores for many of them were written by — say it with me, folks — Stephen Sondheim. His stature has continued to grow as revivals of his musicals have been prolific if not always profitable on Broadway in the past decade, and his influence on the generations of songwriters who followed him has been immeasurable (if perhaps not always healthy). The unabashed romanticism of “South Pacific,” meanwhile, has been a discredited aesthetic viewpoint for most of the past half-century.

At this point the show is a largely unknown theatrical entity, familiar to most through the original cast album or the bloated Hollywood movie version. Its arrival on Broadway stirs the hope that it will speak to audiences anew. For even the most wised-up among us may retain an affection for the soaring strains of belief in the great love songs of Rodgers and Hammerstein. Romanticism and cynicism are flip sides of a philosophical coin.

And late though “South Pacific” is in coming home, its timing might turn out to be ideal. With young American men and women dying in combat on foreign soil, its setting amid a crew of boisterously innocent soldiers may stir the heart in unexpected ways. The economic storm clouds unleashing so much drenching bad news on us may awaken an old-fashioned taste for escapism too. When the world grows heavy with woe, idealized visions of life can be irresistible, even to the rigorously unsentimental.

In fact, while my affection for the blistering glory of Momma Rose is undimmed, a little sweet escapism sounds pretty appealing to me right now. Failing a quick end to the mortgage crisis or a major turn for the better in the spirit-sapping violence in Iraq, we may all have to settle for a big slice of blueberry pie. Can I have some whipped cream on mine, please?

Related

Times Topics: Oscar Hammerstein II
Times Topics: Arthur Laurents
Times Topics: Richard Rodgers
Times Topics: Stephen Sondheim
Review: 'South Pacific' (April 8, 1949) [pdf]
Review: 'Gypsy' (May 22, 1959) [pdf]

Audio: Broadway Bookends

'Some Enchanted Evening' From 'South Pacific' (1949)
Sung by Ezio Pinza 0:36
nytimes.com/2008/03/23/theater/23ishe.html

'Everything's Coming Up Roses' From 'Gypsy' (1959)
Sung by Ethel Merman 0:36
nytimes.com/2008/03/23/theater/23ishe.html

- Bailador ! Excelente ! (y solamente 36 segundos cada uno)

Canciones de Buen Agüero (Rolando Agüero)

sábado, 22 de marzo de 2008 12:26
Si es posible....

Rolando Agüero

"Canciones de Buen Agüero"
"Canciones de Buen Agüero"

Como estás Augusto?
Yo se que vos tenes un tiempo determinado para tus
envíos pero por las dudas te mando este aviso.
Te mando un abrzo y en breve espero estar tapeando
juntos. Roly

TEATRO EL BUHO – ESPACIO CULTURAL

Tacuarí 215 (Esquina Alsina), C.A.B.A.
Tel. 4342-0885

Presenta

“Canciones de Buen Agüero”

Voz: Rolando Agüero
Música: Fernando Tomasenía

Viernes 28 de Marzo de 2008 21hs.

Entrada General: $12.-, Jubilados y Estudiantes: $8.-

Reservas al 4342-0885

Fiesta de Pepe el Cubano (José Alarcón)

sábado, 22 de marzo de 2008 10:51
fiesta de pepe el cubano

José Alarcón

Pepe El Cubano los invita a participar de su Fiesta de cumple años en la Radio Palermo el dia 26 de Marzo de 2008, a las 21 hs.
ravignani 1732 esq honduras
palermo
Derecho de Espectaculo $ 10,00.-
Happy Hour de Mojito, Daikiri, Ron con Cola y Cerveza Isembek porrón dos por uno $ 15,00.-
Ademas tenemos una promoción de Pizza y Cerveza o Gaseosas $ 25,00.-

jose alarcon
pepeelcubano.com

AFTER OFFICE CON SALSA Y HAPPY HOUR

Los jueves a las 20 hs. vení al After Office del RADIOBAR a tomar clases de salsa con Pepe "el cubano".

Después de un día de trabajo y estrés, relajate y divertite bailando al son del Caribe. Vení solo o con amigos y disfrutá del Happy Hour de cerveza y mojitos.

Escuchá el programa de Pepe antes de la clase, los jueves a las 19 hs./ 89.1

José Alarcón
José Alarcón
radiopalermo.com.ar

Royal Ballet

The New York Times,March 21, 2008
Dance Review | Royal Ballet

New to the Glossary: A Pas de Multimedia

[Dee Conway/Royal Ballet]
Sarah Lamb partnered by Edward Watson in “Electric Counterpoint,” choreographed by Christopher Wheeldon.
Dee Conway/Royal Ballet
Sarah Lamb partnered by Edward Watson in “Electric Counterpoint,” choreographed by Christopher Wheeldon. [fuente]
nytimes.com/2008/03/21/arts/dance/21elec.html

By ALASTAIR MACAULAY

LONDON — The choreographer Christopher Wheeldon is always extending himself. So what if you had a problem with his last piece? In his next one he’s doing something completely different. And in this refusal to be pinned down we see much of what is admirable and promising about him.

...

nytimes.com/2008/03/21/arts/dance/21elec.html

[Dee Conway/Royal Ballet]
Marianela Nuñez and Thiago Soares in Suzanne Farrell’s staging of “Tzigane.”
Dee Conway/Royal Ballet
Marianela Nuñez and Thiago Soares in Suzanne Farrell’s staging of “Tzigane.” [fuente]
nytimes.com/2008/03/21/arts/dance/21elec.html

El Baile de la Rosa en Montecarlo

El Periódico.com, Barcelona, 20/3/2008

ALMODÓVAR, BIBIANA FERNÁNDEZ Y ALASKA INSPIRAN LA TRADICIONAL FIESTA

Mónaco dedica el Baile de la Rosa a la movida madrileña

Tarjeta de invitación para el Baile de la Rosa monegasco.
Tarjeta de invitación para el Baile de la Rosa monegasco.
elperiodico.com/default.asp?id ... io_PK=&h=080320

Concurriremos el 12 de Abril (Enrique Carmona)

miércoles, 19 de marzo de 2008 19:40
Newsletter Aerolatino-Geba exclusiva para suscriptores, mie19 marzo 2008

Enrique Carmona

GRANDE ARIEL, ME ALEGRO MUCHO DE TU GESTION SOBRE LA CENA Y BAILE DEL 12 DE ABRIL PROXIMO, CONCURRIREMOS Y RESERVAREMOS LA MESA PARA VARIOS BAILADORES, EN LOS CUALES ME INCLUYO. ESTOY SEGURO QUE VA A SALIR MEJOR QUE LA DEL 28 DE DICIEMBRE, DESDE YA EMPEZAMOS A DIFUNDIRLA. CUANDO PUEDAS INFROMA SOBRE MENUES Y PRECIOS. UN ABRAZO PARA VOS Y AUGUSTO. ENRIQUE CARMONA.-

Al Compás del Tango en Geba Sede San Martín, Palermo, 28dic2007 (durante bloque tanguero)

Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Milongueando en Palermo
Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera] Cena y Baile viernes 28diciembre2007, en Geba San Martín [Foto Cristina Rivera]

Me Podés ver Bailando Rock en Youtube (Tatiana Jazmín Schiel)

miércoles, 19 de marzo de 2008 19:21
Newsletter Aerolatino-Geba exclusiva para suscriptores, mie19 marzo 2008

Tatiana Jazmín Schiel

hola augusto!!! cómo estás? Te cuento que si querés me podés ver bailar rock en youtube. Pone concurso azucar abasto1. Somos la pareja numero 1 estoy con unas calzas negras y una vestidito rosa, te aviso porque no se distingue muy bien.
besote

Grande Tati !

- Bailador! está en youtube.com/watch?v=8Z2GlSZ5_V0 duración 01:22 (Excelente !!!)

http://www.youtube.com/watch?v=8Z2GlSZ5_V0 (video no disponible)

Espectáculos Teatrales en el Consejo de Ciencias Económicas (Sandra G. Mattesco)

miércoles, 19 de marzo de 2008 14:42
Actividades culturales semana 25 de marzo

Comisión de Cultura

Buenas tardes Sr. Augusto Lapeyre,
Le paso la programación de la próxima semana. La misma consistirá en la proyección del film "La Reina" y la presentación de dos obras teatrales.

Martes 25 de marzo - 19:00 hs.
Cine-Debate Coord. Dr. C.P. Luis Cortés:
La Reina
Con James Cromwell, Alex Jennings, Helen Mirren
Dirigida por Stephen Frears

Jueves 27 de marzo- 19:45 hs.
Made in Lanús
De Nelly Fernández Tiscornia
Espectáculo teatral
Con la actuación del Grupo de Teatro del Consejo
Coordinación: Dra. C.P. Beatriz A. Viladessau

Made in Lanús Made in Lanús Made in Lanús Made in Lanús

Viernes 28 de marzo - 19.45 hs
Narcisa Garay, mujer para llorar
De Juan C. Ghiano, Versión Juan Rogra
Espectáculo teatral
Con la actuación del Grupo de Teatro del Consejo
Coordinación: Dra. C.P. Beatriz A. Viladessau

Narcisa Garay, mujer para llorar Narcisa Garay, mujer para llorar Narcisa Garay, mujer para llorar Narcisa Garay, mujer para llorar

Le adjunto una breve gacetilla de cada obra teatral y algunas fotografías.

Muchas gracias, lo saluda atte.

Sandra G. Mattesco
Cultura
5382-9387

Sandra, muchas gracias por la información.

Gypsy at St. James Theatre

miércoles, 19 de marzo de 2008 13:12
Broadway Fan Club - Gypsy

Fanclub

Mamma Mia!, the Film

miércoles, 19 de marzo de 2008 12:52
Watch the new Trailer for MAMMA MIA!

Mamma Mia!

movies.yahoo.com/movie/1809902 ... 9/video/7019352

mamma-mia.com

Opéra de Paris. Saison 2008/2009

miércoles, 19 de marzo de 2008 11:40
TOUTE LA SAISON 2008/2009 SUR WWW.OPERADEPARIS.FR

Www. Operadeparis. Fr

Felices Pascuas (Andrea Ayala)

miércoles, 19 de marzo de 2008 08:47
Has recibido una postal de ANDREA AYALA

Andrea Ayala

Hola AUGUSTO LAPEYRE,

Has recibido una postal de ANDREA AYALA !

Gracias por el mensaje Andrea ! Retribuimos los augurios y te esperamos en Clases de Tap !

Legally Blonde Newsletter

martes, 18 de marzo de 2008 10:24
Legally Blonde Newsletter

Legally Blonde The Musical

The Best Male Talent of 2007' in London, Whoopee !

martes, 18 de marzo de 2008 09:07
MEN - YOUR WHOOPEE NEEDS YOU !

The Whoopee Club

First Heat - Thursday 16th April

LET THE MALE TOURNAMENT OF TEASE 2008 BEGIN !

Opening Night This Thursday
8.30pm - 2am.
March the 20th 2008
The Bethnal Green Working Men's Club
£8 entry

As the UK's first ever male burlesque competition gets ready to strut its stuff
Whoopee invites you to the East Ends most glittering opening night:
'The Best Male Talent of 2007'
The line up is positively bulging at the seams:
Hosted by Fred Bear !
Starring:
The Devil !
Luke Warm !
Russella !
Simon Bear !
Rod Lightning !

This night is to start the competition as well ,so, if you have ever dreamt about becoming a male burlesque performer then now is not the time to be shy -
guest spots will be available for up to 3 members of the audience on the night !
For information or to announce your entry please email Lara :

Whoopee is the UK's leading Artistic Entertainment Agency
thewhoopeeclub.com
thewhoopeeagency.com

Nuevo Show en Velma Café (Emanuel Sota Latino)

martes, 18 de marzo de 2008 06:59
Nuevo show en Velma Cafè

Emanuel Sota Latino

Amigos, quiero contarles que estoy debutando como director de un cafè
concert en donde tambìen participo. Me encantarìa verlos entre el pùblico.
Para el derecho de show hay descuentos 2X1. Sòlo haremos 2 funciones en
Marzo y no se lo pueden perder.

Nos vemos ahi!!

Manu Sota Latino

Nuevo Show en Velma Café (Emanuel Sota Latino)
Nuevo Show en Velma Café (Emanuel Sota Latino)

Astaire & Rogers, 4: Top Hat (1935)

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Top Hat: imdb.com/title/tt0027125

DVD Menus

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dvdbeaver.com/film/DVDReviews1 ... _collection.htm

Subtitle Sample

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Screen Captures

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dvdbeaver.com/film/DVDReviews1 ... _collection.htm

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imdb.com/title/tt0027125/mediaindex

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dvdbeaver.com/film/DVDReviews1 ... _collection.htm

Temas Famosos: "No Strings", "Isn't This a Lovely Day (to Be Caught in the Rain)? ", "Top Hat. White Tie and Tails", "Cheek to Cheek", "The Piccolino".

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Vintage Film Poster

Links

Ghost (1990): imdb.com/title/tt0099653
Jerry Zucker, Director (1950): imdb.com/name/nm0958387
Bruce Joel Rubin, Writer (1943): imdb.com/name/nm0748022
Patrick Swayze (1952): imdb.com/name/nm0000664
Demi Moore (1962): imdb.com/name/nm0000193
Whoopi Goldberg (1955): imdb.com/name/nm0000155

El Logotipo de Hoy

Avenue Q
Avenue Q
avenueq.com

avenueq.com/downloads.html

Coplita

Si la vidita mía
fuera de azúcar,
la tendría en mi boca,
chupa que chupa.

Fuente:
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
[1961 (Córdoba y Buenos Aires).]

Imágenes de Salida

National Gallery of Art, 4th and Constitution Avenue NW, Washington, D.C.

Henri de Toulouse-Lautrec
French, 1864 - 1901
Fashionable People at Les Ambassadeurs (Aux Ambassadeurs: Gens Chic), 1893
Collection of Mr. and Mrs. Paul Mellon
1995.47.67
Henri de Toulouse-Lautrec
French, 1864 - 1901
Fashionable People at Les Ambassadeurs (Aux Ambassadeurs: Gens Chic), 1893
Collection of Mr. and Mrs. Paul Mellon
1995.47.67 [fuente]
nga.gov/cgi-bin/pimage?92169_0_0

Arte al Dia Internacional, 14 de Junio de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO antoniaguzman.com.ar/index.htm

Antonia Guzmán
The Escape/La Huida
2007
40 x 55 inches
painting, acrylic on canvas
Antonia Guzmán
The Escape/La Huida
2007
40 x 55 inches
painting, acrylic on canvas

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.

The New York Times, 07 March 2008, Color As Field: American Painting

[Photo: Museum of Modern Art, courtesy American Federation of Arts]
Mr. Olitski’s buoyant, goofily sexy “Cleopatra Flesh” of 1964 sums up the soft power that these artists could elicit from brilliant color, scale and judicious amounts of pristine raw canvas. A huge blue motherly curve nearly encircles a large black planet while luring smaller red planet into the fold, calling to mind a abstracted stuffed toy.
It is a perfect, exhilarating example of stain painting, a technique that involved a few rapid skilled but unrehearsed gestures and no chance for revision. “Cleopatra’s Flesh” is an act of joyful derring-do.
Photo: Museum of Modern Art, courtesy American Federation of Arts
Mr. Olitski’s buoyant, goofily sexy “Cleopatra Flesh” of 1964 sums up the soft power that these artists could elicit from brilliant color, scale and judicious amounts of pristine raw canvas. A huge blue motherly curve nearly encircles a large black planet while luring smaller red planet into the fold, calling to mind a abstracted stuffed toy.
It is a perfect, exhilarating example of stain painting, a technique that involved a few rapid skilled but unrehearsed gestures and no chance for revision. “Cleopatra’s Flesh” is an act of joyful derring-do. [fuente]
nytimes.com/slideshow/2008/03/ ... 307-COLO_3.html

“Color as Field: American Painting, 1950-1975” is at the Smithsonian American Art Museum, Eighth and F Streets, NW, Washington, (202) 633-7970, through May 26.

THE NEW YORK TIMES, 14 FEBRUARY 2008
Poussin and Nature: Arcadian Visions

[Photo: Musée Fabre, Montpellier Agglomération]
Nicolas Poussin (1594-1665): "Landscape with a Nymph and a Sleeping Satyr"
If Poussin borrowed the flesh from Titian and the forms from the antique sculptures that cluttered Rome, he experienced the landscapes firsthand on rural hikes outside the city. Examples of landscape drawings that emerged from them, some polished, others notational, are in the show — they could easily be in a show of their own — though distinguishing exactly which are by Poussin and which by his various emulators is a scholarly problem. Enough to say there are fewer Poussin drawings today than there were a couple of decades ago.
Photo: Musée Fabre, Montpellier Agglomération
Nicolas Poussin (1594-1665): "Landscape with a Nymph and a Sleeping Satyr"
If Poussin borrowed the flesh from Titian and the forms from the antique sculptures that cluttered Rome, he experienced the landscapes firsthand on rural hikes outside the city. Examples of landscape drawings that emerged from them, some polished, others notational, are in the show — they could easily be in a show of their own — though distinguishing exactly which are by Poussin and which by his various emulators is a scholarly problem. Enough to say there are fewer Poussin drawings today than there were a couple of decades ago. [fuente]
nytimes.com/slideshow/2008/02/ ... 215-POUS_5.html

miércoles, 19 de marzo de 2008 10:05
[ArteAlDia] Invitación Arteaméricas

[ArteAlDia] Invitación Arteaméricas
ArteAlDia Invitación Arteaméricas [fuente]
usa.artealdia.com/content/view/full/63921

THE NEW YORK SUN 20 MARCH 2008

[WA S H BU R N G A L L E RY]
COLLAGES
SHAPE OF THINGS Born in 1889 in Hoboken, N.J., Anne Ryan didn’t begin creating art until she was in her 50s; she started on her collages soon thereafter. Washburn Gallery celebrates Ryan’s legacy in “Shapes of Materials, 1948–1954,” which features untitled collages made from found materials and paper. Selections from the exhibit include “Untitled (no. 438)” (1948–54), above. Through Thursday, April 17, Tuesday–Saturday, 10 a.m.–6 p.m., Washburn Gallery, 20 W. 57th St., 8th floor, at Fifth Avenue, 212-397-6780,
WA S H BU R N G A L L E RY
COLLAGES
SHAPE OF THINGS Born in 1889 in Hoboken, N.J., Anne Ryan didn’t begin creating art until she was in her 50s; she started on her collages soon thereafter. Washburn Gallery celebrates Ryan’s legacy in “Shapes of Materials, 1948–1954,” which features untitled collages made from found materials and paper. Selections from the exhibit include “Untitled (no. 438)” (1948–54), above. Through Thursday, April 17, Tuesday–Saturday, 10 a.m.–6 p.m., Washburn Gallery, 20 W. 57th St., 8th floor, at Fifth Avenue, 212-397-6780, [fuente]

Christie's, Sale 5306, Scottish Art, 16 Apr 2008, London, South Kensington

John Duncan Fergusson (1874-1961)
The Beach at Juan-les-Pins
signed, inscribed and dated 'J.D. FERGUSSON/JUAN. 1923.' (on the reverse)
oil on canvas
21 x 17 in. (53.3 x 43.2 cm.)
/ Estimate:
100,000 - 150,000 British pounds
John Duncan Fergusson (1874-1961)
The Beach at Juan-les-Pins
signed, inscribed and dated 'J.D. FERGUSSON/JUAN. 1923.' (on the reverse)
oil on canvas
21 x 17 in. (53.3 x 43.2 cm.)
/ Estimate:
100,000 - 150,000 British pounds
christies.com/LotFinder/lfsear ... bjectId=5054863

THE NEW YORK SUN, 24 MARCH 2008
Israel ‘Cachao’ Lopez, 89, Pioneer of Mambo

[RA M O N ES P I N O S A /A P]
MUSICAL FATHER’ Israel ‘Cachao’ Lopez performs during the Cassandra awards in Santo Domingo, earlier this month.
RA M O N ES P I N O S A /A P
MUSICAL FATHER’ Israel ‘Cachao’ Lopez performs during the Cassandra awards in Santo Domingo, earlier this month. [fuente]

THE NEW YORK SUN, 25 MARCH 2008

[M AT T H EW M A R KS]
GRAPHIC An exhibit of Jasper Johns’s drawings, including ‘Untitled’ (2006), above, shows the artist’s softer side.
M AT T H EW M A R KS
GRAPHIC An exhibit of Jasper Johns’s drawings, including ‘Untitled’ (2006), above, shows the artist’s softer side. [fuente]

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