"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 09 abril 2008
Reciben esta Newsletter 454 suscriptores

CHICAGO THE MUSICAL
CHICAGO THE MUSICAL

Broadway, London, US Tour, UK Tour: chicagothemusical.com

Sol, Ritmo y Fotos !!! (Cristina Rivera)

lunes, 07 de abril de 2008 11:51
SOL, RITMO Y FOTOS!!!

Cristina Rivera

Hola Agus:
Que placer haber captado con mi cámara la alegría que siempre genera
Charly con sus clases junto a los bailadores de GEBA, no faltó nada,
hasta el sol se hizo presente con todo, en un inmejorable marco como
la terracita de San Martín, aquella misma donde se realizaban, años
atrás, bailes los domingos después de las actividades deportivas, a
las 6 de la tarde........no me perdía ninguno!! tenía apenas 15
años. Sugerencia para los dirigentes de GEBA: Vover con la
organización de esos bailes...........
Gracias Charly, Walter Augusto, Claudia. El cariño de siempre para
toda la familia GEBA.
Cris......

PD: En otro mail van todas las fotos.

Día Mundial de la Salud con Sonrisas (Adriana Murúa)

lunes, 07 de abril de 2008 10:08
7 de Abril "Dìa Mundial de la Salud"

Adriana Murúa

Qurridos Alumnos:

Les mando este mail con el objetivo de seguir generando conciencia sobre la importancia de la Act. Fìsica para poder llevar un vida sana.
El adjunto es para compartir una buena carcajada.
Enjoy it!!

Adriana

Excelente Adriana ! Muchas gracias por el aporte !

Bailador ! Viene en adjunto con coloridas ilustraciones. Se lo podés pedir a Adriana. Mientras tanto podés leer el divertido texto (sin las ilustraciones) en:
ar.answers.yahoo.com/question/ ... 2AACMlB3&show=7

Atlanta Hip-Hop Ballet

The New York Times, April 6, 2008
Dance

Pirouettes and Street Cred: Atlanta’s Hip-Hop Ballet

[David Walter Banks for The New York Times]
Big Boi and members of the Atlanta Ballet Company preparing for “big,” to be performed Thursday.
David Walter Banks for The New York Times
Big Boi and members of the Atlanta Ballet Company preparing for “big,” to be performed Thursday. [fuente]
nytimes.com/2008/04/06/arts/dance/06laro.html

By CLAUDIA LA ROCCO, ATLANTA

THE rapper Antwan Patton was sitting in the sleek black Courvoisier Lounge tucked into the back of his recording studio here. Mr. Patton, better known as Big Boi, one-half of the progressive hip-hop duo OutKast, was taking a break from finishing his debut solo album, due out this summer. But he wasn’t talking music. He was talking ballet, zeroing in on its image problem.

Video
Big Boi and the Atlanta Ballet
Video
Big Boi and the Atlanta Ballet
video.on.nytimes.com/?fr_story ... a76fbbc326fa083

...

nytimes.com/2008/04/06/arts/dance/06laro.html

Link: atlantaballet.com

[David Walter Banks for The New York Times]
Big Boi and members of the Atlanta Ballet Company preparing for “big,” to be performed Thursday. Video
Big Boi and the Atlanta Ballet [David Walter Banks for The New York Times]
Big Boi with members of the Atlanta Ballet Company. THE AFTER PARTY
APRIL 10, 2008
THE FOX THEATRE

  1. [David Walter Banks for The New York Times]
    Big Boi and members of the Atlanta Ballet Company preparing for “big,” to be performed Thursday.: nytimes.com/2008/04/06/arts/dance/06laro.html
  2. Video
    Big Boi and the Atlanta Ballet: video.on.nytimes.com/?fr_story ... a76fbbc326fa083
  3. [David Walter Banks for The New York Times]
    Big Boi with members of the Atlanta Ballet Company.: nytimes.com/2008/04/06/arts/dance/06laro.html
  4. THE AFTER PARTY
    APRIL 10, 2008
    THE FOX THEATRE: trgarts.com/eticket/o/AB/p/run ... ?__module__=417

Fiestón (Claudia Tarazona)

domingo, 06 de abril de 2008 18:04
fiestón

Claudia Tarazona

Hola Augus

Qué tarde hermosa en la terracita!!!! a todo ritmo latino y a todo sol!!!
Como por arte de magia, o "arte de la música", el parlante empezó a funcionar. Será la buena onda de este grupo de bailadores que logró que arrancara el parlante, amigos?
Se suma gente nueva, Charly nos hace mover el esqueleto y las emociones .... con el tango del final.

Compartimos domingo a domingo una alegría que nos llena las pilas para la semana.

La fotógrafa merece un párrafo aparte: Cris Rivera, genia de la cámara, y de la pachanga, no dudó en acercarse con sus lentes y zoom y tomar lo mejor de cada uno para armar un album inolvidable de caras felices. ¡Gracias Cris por tu onda!
Y a ustedes, mis queridos amigos, una vez más... los quiero mucho!!
C

Grande Claudia, coincidimos plenamente !!! Un enorme agradecimiento a Walter Herrera, Charly Calatraba, Cristina Rivera y a todos los nuevos integrantes de este grupo fantástico de Aerolatino Geba !

- Bailador ! Si deseás contratar al Estudio Cristina Rivera para fotografiar tu fiesta o evento deportivo podés hacerlo vía:

Cristina Rivera
cristinarivera.com.ar

Las fotos del Show Agüero Tap en el Astral en: alberto-aguero.com.ar/es/y-todo-es-tap.html

Autumn Jazz los Miercoles 9 y 16 de abril Velma Café (Emanuel Sota Latino)

domingo, 06 de abril de 2008 16:46
VELMA CAFE - SABOR A JAZZ presenta "AUTUMN JAZZ"

Emanuel Sota Latino

Hola Augusto, soy Manu Sota Latino, estuve cantando en el show de Alberto Aguero el pasado 10 de Diciembre. Quisiera invitarlos a todos al nuevo show que estoy dirigiendo y en el que tambièn canto.
Te mando un abrazo y te veo ahi...

Manu.

Amigos,

Quisiera invitarlos a un concierto vocal de jazz que estoy dirigiendo y también canto en Palermo hace algunos meses.
La cita es los dias miércoles 9 y 16 de Abril en Velma Café, Gorriti 5520 / 30, Palermo Hollywood y las reservas se pueden hacer al 4772-4690.
Es un restaurant con precios accesibles y el derecho de show es de $15. Si se arma un grupo par hay descuento 2X1. Sólo tienen que avisarme.

Los espero,

Emanuel

Gracias por mantenernos informados, Manu !

Autumn Jazz los Miercoles 9 y 16 de abril Velma Café (Emanuel Sota Latino)
Autumn Jazz los Miercoles 9 y 16 de abril Velma Café (Emanuel Sota Latino)

Spamalot al Teatre Victòria de Barcelona a partir del 9 de septiembre

El Periódico.com, Barcelona, 6/4/2008

LLEGA A ESPAÑA UN MONTAJE QUE TRIUNFA EN BROADWAY Y LONDRES

Tricicle dirigirá en BCN el musical 'Spamalot', de Monty Python

"Es muy divertido. Somos admiradores del humor transgresor y absurdo de los británicos", dice el trío

Los productores de 'Grease' traen el espectáculo basado en 'Los caballeros de la mesa cuadrada'

El rey Arturo y sus caballeros, en el montaje de Spamalot.
El rey Arturo y sus caballeros, en el montaje de Spamalot.
elperiodico.com/default.asp?id ... K=1026&h=080406

IMMA FERNÁNDEZ, BARCELONA

Monty Python's Spamalot, el musical que bajo el sello de los míticos cómicos británicos triunfa en Broadway y Londres, llegará el 9 de septiembre al Teatre Victòria en una adaptación al castellano dirigida por Tricicle y con producción de Filmax Stage, artífices de Grease, el mayor éxito del género en la cartelera barcelonesa.

Inspirada en la película Los caballeros de la mesa cuadrada y sus locos seguidores, el montaje parodia las andanzas del rey Arturo y sus caballeros en busca del Santo Grial. Por el camino, y en anacrónicos saltos del medievo a Las Vegas y Broadway que les permiten transformar el mítico Camelot en un casino, aparecen vacas, franceses, showgirls, la dama del lago, el conejo asesino...

"Es una obra muy divertida; ya fuimos a verla antes de que nos propusieran el proyecto, y estamos muy contentos de hacerlo", explica Joan Gràcia, uno de los integrantes de Tricicle, que se declaran admiradores de la irreverente comicidad de los Monty Python. "Nos gusta mucho su humor transgresor y rompedor; su ingenio para pasar de la realidad al absurdo". A su juicio, el musical es superior al filme que, en 1975, se mofó con agudo surrealismo de la leyenda artúrica. "Tiene mucha más imaginación; el espacio escénico permite disparar la creatividad y los recursos humorísticos. Hay elementos puramente teatrales, de los musicales de Broadway y pinceladas del mundo judío".

Será la primera vez que, aparte de sus propios espectáculos, los tres miembros de Tricicle --Joan Gràcia, Carles Sans y Paco Mir-- dirigen juntos una obra. "Tardaremos más tiempo porque se triplican las sugerencias, pero el resultado es más rico y creativo", opinan. Los elegidos para la ambiciosa misión, llevar a escena la primera producción no anglosajona de Monty Python's Spamalot, deberán afilar sus armas: "Tendremos que adaptar algunos chistes británicos a nuestro humor para que los espectadores los entiendan", apuntan.

MÚSICA MUY VARIADA

No será un montaje clónico del original, creado en el 2004 por Eric Idle, uno de los Monty Python que, según informa el productor ejecutivo, Joan Lluís Goas, está "encantado" con su estreno en España y les ha permitido ciertas licencias. El título --Spamalot-- juega con una de las frases de la película: "We eat ham, jam and spam a lot" (comemos jamón, mermelada y spam, que es un embutido barato y se ha colado en la terminología informática con el significado de bombardeo publicitario masivo).

La variada partitura (disco, jazz, swing, claqué, lírica...) incluye piezas de Los caballeros de la mesa cuadrada y La vida de Brian (el clásico Always look on the bright side of life que interpretaba un coro de crucificados) y otras nuevas. Idle escribió el libreto, las canciones y la música, en colaboración con John du Prez, compositor de películas como El sentido de la vida y Un pez llamado Wanda. La voz en off del protagonista de este hilarante filme, el Monty Python John Cleese, aparece en el montaje en inglés en el papel de Dios.

Aún no hay nombres para la producción en castellano, de cuya coreografía se encargará Francesc Abós, ayudante en Grease de Coco Comín (fichada por OT). En mayo se iniciará el casting abierto para elegir un reparto muy coral: ocho actores y 12 bailarines, además de 12 músicos. A excepción de los intérpretes del rey Arturo y la dama del lago, el resto del elenco asumirá múltiples personajes, como hacían los Monty Python en la película. "Deberán saber cantar, interpretar y bailar, por este orden", subraya Gràcia, partidario de las pruebas que volverán a llenar de colas el Paral.lel, como sucedió con los aspirantes a Sandy y Danny Zuko. "A veces descubres joyas: jóvenes talentos con muchas ganas y energía; más que otros consagrados. Sucede como en el Barça, si todos tuvieran la ilusión de Bojan..."

PRESUPUESTO RÉCORD

Los caballeros del premiado Spamalot (logró el Tony al mejor musical en el 2005) se han expandido por el mundo anglosajón con montajes en Londres, Las Vegas, Nueva York, Australia y una de gira por EEUU. "Fue elegido el mejor espectáculo de Las Vegas del 2007, superando a los de Cirque du Soleil", destaca Goas, que desvela las cifras: "Es la producción más ambiciosa que se ha hecho en Catalunya: 2,4 millones de euros, mientras que Grease costó 1,5 millones".

El presidente de Strombroli Entertainment, que se ha unido a Filmax para este show, confía en la apuesta: "Tiene los ingredientes clave de los éxitos de Broadway: una historia de amor, buena música y ritmo y un final feliz. Es muy brillante, mágico y para toda la familia. Queremos batir el récord de Grease, para el que tuvimos que comprar 400 sillas de niños, que llenaban las sesiones de tarde". Su intención es estrenar cada año un montaje de gran formato en Barcelona y que la fiebre del musical siga latiendo en la ciudad. El próximo tendrá color blaugrana.

http://www.elperiodico.com/...

Link: montypythonsspamalot.com

Ritmos (Romina Samelnik)

Infogym domingo, 06 de abril de 2008 09:57
Romina Samelnik te invita..!!!!

Romina Samelnik

Ritmos (Romina Samelnik)
Ritmos (Romina Samelnik)
rominasamelnik.com.ar

rominasamelnik.com.ar

“Petrushka” at the Clark Studio Theater

The New York Times, April 5, 2008
THEATER REVIEW | 'PETRUSHKA'

Hard-Hearted Dancers as Stravinsky’s Puppets

theater.nytimes.com/2008/04/05 ... ews/05petr.html

By RACHEL SALTZ

[Richard Termine]
The Ballerina in “Petrushka.”
Richard Termine
The Ballerina in “Petrushka.” [fuente]
theater.nytimes.com/2008/04/05 ... ews/05petr.html

Basil Twist understands a thing or two about the uses of enchantment. “Puppets are magic,” he says in the notes to “Petrushka,” his wondrous, visually opulent puppet version of the Stravinsky-Fokine ballet at the Clark Studio Theater at Lincoln Center. And he proceeds to show us why: puppets can fly or dance on their hands or float in midair, effortlessly ignoring the laws of gravity governing our too solid flesh.

First performed in 2001, this “Petrushka” also involves a conceptual sleight of hand. In the ballet dancers play puppets that come to life. In Mr. Twist’s version, puppets play puppets, and when they come to life, they dance. It works perfectly, plunging us directly into the story’s imaginative universe.

It’s a spectacle but a deliberately miniaturized one. The characters, pared down to just three — the sad, striving Petrushka; the Ballerina he loves; and the Moor she seduces — inhabit a small black box of a world, circumscribed by a filigreed gilt frame.

Stravinsky’s score, with its bright, stop-and-start melodies and dark undercurrents, has been downsized too. Adapted for two pianos, it’s played by Julia and Irina Elkina, identical twins whose pianos are neatly fitted together like yin and yang. Mr. Twist probably couldn’t resist the visual pun of twinning, an image that might put you in mind of Petrushka’s problem of identity: do I have a self if I’m made of wood and glue?

In Mr. Twist’s animist “Petrushka” the answer is yes; everything seems alive and in motion. Drums and stringed instruments appear and disappear out of the darkness. Sheer fabrics billow, and chickens scoot across the stage, linked like ducks in a shooting gallery. Even the onion-domed buildings are on the move.

And then there’s the dancing. Petrushka, in his puffy white shirt and harlequin pants, flops around like a loose-limbed rag doll. The muscled Moor, with nipple rings and gold eyes that pick up the light, moves with languorous ease when not practicing his kung fu-ish scimitar moves. And the tutued Ballerina, with her neatly articulated limbs, does, well, ballerina things, hovering over Petrushka’s head in an endless grand jeté or turning her body into a pencil — look, Ma, no hips! — in 180-degree vertical splits.

“Petrushka,” part of “New Visions: Stravinsky Onstage” in the Great Performers series, uses nine puppeteers, and you can sometimes hear them moving around. It’s homey and in keeping with the production’s low-tech, handmade quality, which evokes other spectacles of wonder, like magic lantern shows and silent movies by Méliès, in which heads can separate from bodies, and trains can run without tracks.

At one point large, disembodied hands take a turn in the spotlight, forming odd patterns and birdlike shapes. The effect resembles the kind of elemental animation that made early movie audiences gasp. Beautiful, sometimes surreal and ungraspable, Mr. Twist’s images work the same magic today.

“Petrushka” continues through April 13 at the Clark Studio Theater, 165 West 65th Street, Lincoln Center; (212) 721-6500, lincolncenter.org.

[Richard Termine]
The title character in “Petrushka.”
Richard Termine
The title character in “Petrushka.” [fuente]
theater.nytimes.com/2008/04/05 ... ews/05petr.html

[Richard Termine for The New York Times]
The Moor in “Petrushka.”
Richard Termine for The New York Times
The Moor in “Petrushka.” [fuente]
theater.nytimes.com/2008/04/05 ... ews/05petr.html

Guardaremos Energías (Enrique Carmona)

viernes, 04 de abril de 2008 14:00
Se pinchó el baile...

Enrique Carmona

OK, GUARDAREMOS ENERGIAS PARA OTRA OCASION. UN ABRAZO. ENRIQUE CARMONA

Milongueando en Palermo
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

Jacob's Pilow Dance Festival

viernes, 04 de abril de 2008 13:05
Tickets on Sale April 7th, Win Free Garth Fagan Dance Tickets and More

Jacob's Pillow Dance Festival

Jacob's Pillo e-club
Your e-connection to all things Pillow
Jacob's Pillo e-club
Your e-connection to all things Pillow
jacobspillow.org/home/news.asp

jacobspillow.org/home/news.asp

Psicotango en el Abasto

jueves, 03 de abril de 2008 20:21
[Tango y Cultura Popular (TyCP)] Nro. 91

Ricardo Schoua

PSICOTANGO
Piedra angular de la tangoterapia
PSICOTANGO
Piedra angular de la tangoterapia [fuente]
psicotango.com.ar/home.htm

¡ENCUENTROS A TRAVES DEL TANGO!

TODOS LOS JUEVES A LAS 20 HRS.

-¿Querés saber de que se trata?
- Vení, sin compromiso, el jueves que vos elijas a partir de las 20hrs…
¡Te esperamos!
Porque:
- Un grupo danzando juega, improvisa, crea, comparte vivencias.
- Recuperando los secretos del ritual nos unimos al Alma del Tango. ver + psicotango.com.ar/actividades_proximas.htm

¿DONDE? EN EL ABASTO
Práctica y teoría: Almas danzando Tango
Coordinadores: Psicólogos Mónica Peri / Ignacio Lavalle Cobo - Grupo Dinzel
Para más información e inscripción:TE : 011-48675793

Se presentó nuestro libro: "TANGO, una danza interior" de Ignacio Lavalle Cobo

Cerramos el círculo ritual, festejando!! y estuvo bueno!! Gracias por compartir esa noche con nosotros!!
Fecha: Lunes 26 de Noviembre.

"El Ritual Tanguero se puede equiparar con un acto de liturgia..."
ver+ psicotango.com.ar/libros.htm

DIFUSIÓN

REVISTA Voyage-Voyage - Edición 07/08-2007
"TANGO -DANZAR LA VIDA"
En todo el mundo el tango le da a las almas un toque de vida, de sensualidad, de femineidad…
Porque?? Porque es más que una danza, es un cauce para estar mejor, terapia explorativa de lo intimo, una palanca que nos impulsa a descubrir nuestros deseos interiores...ver+ psicotango.com.ar/difusion.htm

ARTÍCULO por Mónica Peri
EL TANGO ES UN PERVERSO????

Che tango che
Qui m'a rossé…
Qui m'a drogué...
Qui m'a vicié...
Qui m'deshabillé !
Ástor Piazzola

Decir que el Tango es un objeto sexual no parece disparatado.
Empezar a pensar en que existe una supervaloración sexual psicológica de este objeto amado que se extiende inevitablemente a todo lo que con él se halla asociado, sería parafrasear al mismísimo Freud cuando escribía allá por el 1905 , sobre las aberraciones sexuales, en sus Tres Ensayos para una Teoría Sexual.
ver+ psicotango.com.ar/articulos.htm

psicotango.com.ar

South Pacific at Lincoln Center Theater

The New York Times, April 4, 2008
THEATER REVIEW | ‘SOUTH PACIFIC’

Optimist Awash in the Tropics

By BEN BRANTLEY

[Sara Krulwich/The New York Times]
Danny Burstein as Luther Billis, center, with Kelli O’Hara and the cast of “South Pacific.”
Sara Krulwich/The New York Times
Danny Burstein as Luther Billis, center, with Kelli O’Hara and the cast of “South Pacific.” [fuente]
nytimes.com/imagepages/2008/04 ... aci3.ready.html

Multimedia

[Sara Krulwich/The New York Times]
Paulo Szot and Kelli O'Hara in "South Pacific."
Sara Krulwich/The New York Times
Paulo Szot and Kelli O'Hara in "South Pacific." [fuente]
nytimes.com/imagepages/2008/04 ... aci1.ready.html

Love blossoms fast and early in Bartlett Sher’s rapturous revival of Rodgers and Hammerstein’s “South Pacific,” which opened Thursday at the Vivian Beaumont Theater at Lincoln Center. And while you may think, “But this is so sudden,” you don’t doubt for a second that it’s the real thing.

I’m talking partly about the chemistry between the production’s revelatory stars, Kelli O’Hara and Paulo Szot, in the opening scene of this tale from 1949 of men and women unmoored by war. But I’m also talking about the chemistry between a show and its audience.

For this “South Pacific” recreates the unabashed, unquestioning romance that American theatergoers had with the American book musical in the mid-20th century, before the genre got all self-conscious about itself. There’s not an ounce of we-know-better-now irony in Mr. Sher’s staging. Yet the show feels too vital to be a museum piece, too sensually fluid to be square.

I could feel the people around me leaning in toward the stage, as if it were a source of warmth on a raw, damp day. And that warmth isn’t the synthetic fire of can-do cheer and wholesomeness associated (not always correctly) with Rodgers and Hammerstein. It’s the fire of daily life, with all its crosscurrents and ambiguities, underscored and clarified by music.

During the past couple of decades directors have often felt the need to approach the Rodgers and Hammerstein classics with either a can of black paint or misted-up rose-colored glasses. (This has been especially true in London, with the National Theater’s celebrated darkness-plumbing productions of “Carousel” and “Oklahoma!,” and the current sugar-glazed cash-cow of a revival of “The Sound of Music” in the West End.) Mr. Sher, who heralded the return of full-blown lyricism to musicals with his exquisite production of Adam Guettel and Craig Lucas’s “Light in the Piazza” several years ago, puts his trust unconditionally in the original material.

It’s as if a vintage photograph had been restored not with fuzzy, hand-colored prettiness but with you-are-there clarity. Though Michael Yeargan’s perspective-stretching beachscape of a set isn’t photo-realist, you somehow accept it as more real than real, just as the score performed by the sumptuously full orchestra (with musical direction by Ted Sperling) feels from the beginning like thought made effortlessly audible.

Of all the Rodgers and Hammerstein hits “South Pacific” has in recent years seemed the least fit for revival, despite its glorious score. The show’s book, by Hammerstein and Joshua Logan, was inspired by James A. Michener’s “Tales of the South Pacific.” Set during World War II on two Pacific islands, where American sailors were stationed, it is Rodgers and Hammerstein’s most topical work, addressing a war that had ended only four years earlier.

It is also the show in which the creators wear their liberal consciences most visibly. In following two love stories, both between people of different cultures, “South Pacific” made an overt plea for racial tolerance. Few things in showbiz date more quickly than progressive politics.

It made sense that theater iconoclasts, including the Wooster Group (with its wry spoof “North Atlantic”) and Anne Bogart (with a notorious deconstruction set in a mental ward), would see “South Pacific” as a natural demolition target. Even Trevor Nunn’s generally generic restaging of the show for the National Theater had a gritty, sweaty style that brought out the frightened racism in the show’s heroine.

That’s Ensign Nellie Forbush, the Navy nurse from Little Rock whose romance with Emile de Becque, a French plantation owner, runs aground when she learns he had children with a Polynesian woman. The part was created by Mary Martin, playing opposite the opera star Ezio Pinza, and her avowed “cock-eyed optimism” became an emblem for postwar American hope and resilience.

Ms. O’Hara, who played very different incarnations of American womanhood in “Piazza” and the 2006 revival of “The Pajama Game,” doesn’t stint on Nellie’s all-American eagerness. But in a superbly shaded portrait she gives the character a troubled, apprehensive guardedness as well. This self-described hick’s Arkansas accent comes from the country club, not the mountains. And it’s all too easy to imagine her returning to a world of white gloves and cautious good deeds.

Yet Nellie is receptive not just to the serious charms of Emile (the seriously charming Mr. Szot) but to those of the lush landscape in which she finds herself. Ms. O’Hara, whose lovely soprano is never merely lovely here, creates a study in ambivalence that is both subtly layered and popping with energy.

Even when she’s singing that she’s in love with a wonderful guy, she seems to be wrestling with complicated feelings that have surprised her. The same rich sincerity pervades the deep-reaching baritone of Mr. Szot, best known here for his work with the New York City Opera. When he delivers “Some Enchanted Evening” or “This Nearly Was Mine,” it’s not as a swoon-making blockbuster (though of course it is), but as a measured and honest consideration of love.

This reflective aspect infuses every number; nothing is performed as a clap-for-me showstopper. Mr. Sher and Christopher Gattelli, who did the musical staging, have reinvigorated the concept of the organic musical, in which song feels as natural as breathing.

Even crowd-rousers like “Nothin’ Like a Dame,” sung by the chorus of Seabees (led by Danny Burstein, exuberant and infectious as the wily Luther Billis), are made to feel ordinary, as if part of a daily routine. When the entrepreneurial islander Bloody Mary (the Hawaiian actress Loretta Ables Sayre in a terrific New York debut), sings the familiar “Bali Ha’i” and “Happy Talk,” they feel new because they’re rendered as systematic acts of seduction.

You’re always conscious of the calculation in Bloody Mary’s eyes as she tries to secure Lieutenant Cable (Matthew Morrison) as a husband for her daughter, Liat (Li Jun Li, heartbreakingly fragile). Like Ms. O’Hara, Mr. Morrison (who played opposite her in “Piazza”) keeps us aware of just where his Ivy League marine comes from and how disoriented he is in a land of new and shifting rules.

The alluring and divisive shadows and light of the islands are beautifully accented by Mr. Yeargan’s adroit use of slatted screens to define interior spaces that can never entirely shut out the bright world beyond. (The impeccable lighting is by Donald Holder.)

I know we’re not supposed to expect perfection in this imperfect world, but I’m darned if I can find one serious flaw in this production. (Yes, the second act remains weaker than the first, but Mr. Sher almost makes you forget that.) All of the supporting performances, including those of the ensemble, feel precisely individualized, right down to how they wear Catherine Zuber’s carefully researched period costumes.

Notice, by the way, how Mr. Sher implicitly underscores the theme of racism by quietly having the few African-American sailors in the company keep apart from the others. And the production never strains to evoke parallels between the then and now of the United States at war in an alien land.

Above all, though, what impresses about this “South Pacific” is how deeply, fallibly and poignantly human every character seems. Nearly 60 years ago Brooks Atkinson, writing in The New York Times, described the show as “a tenderly beautiful idyll of genuine people inexplicably tossed together in a strange corner of the world.”

I think a lot of us had forgotten that’s what “South Pacific” is really about. In making the past feel unconditionally present, this production restores a glorious gallery of genuine people who were only waiting to be resurrected.

RODGERS & HAMMERSTEIN’S SOUTH PACIFIC

Music by Richard Rodgers; lyrics by Oscar Hammerstein II; book by Mr. Hammerstein and Joshua Logan, adapted from “Tales of the South Pacific” by James A. Michener; directed by Bartlett Sher; musical staging by Christopher Gattelli; music director, Ted Sperling; sets by Michael Yeargan; costumes by Catherine Zuber; lighting by Donald Holder; sound by Scott Lehrer; orchestrations by Robert Russell Bennett; dance and incidental music arrangements by Trude Rittmann; production stage manager, Michael Brunner; associate producer, Ira Weitzman; general manager, Adam Siegel; production manager, Jeff Hamlin. Presented by Lincoln Center Theater under the direction of André Bishop and Bernard Gersten in association with Bob Boyett. At the Vivian Beaumont Theater, Lincoln Center; (212) 239-6200. Through June 22. Running time: 2 hours 50 minutes.

WITH: Kelli O’Hara (Ensign Nellie Forbush), Paulo Szot (Emile de Becque), Matthew Morrison (Lt. Joseph Cable), Danny Burstein (Luther Billis), Loretta Ables Sayre (Bloody Mary), Sean Cullen (Cmdr. William Harbison), Victor Hawks (Stewpot), Luka Kain (Jerome), Li Jun Li (Liat), Laurissa Romain (Ngana), Skipp Sudduth (Capt. George Brackett) and Noah Weisberg (Professor).

Related

Theater: Two Helpings of Pie From Broadway’s Fridge (March 23, 2008)
Review: 'South Pacific' (April 8, 1949) [pdf]

theater2.nytimes.com/2008/04/0 ... ews/04paci.html

Link The New York Sun 04 April 2008: daily.nysun.com/Daily/Skins/NY ... n/navigator.asp Front Page

Festival de Tango Sitges

jueves, 03 de abril de 2008 20:21
[Tango y Cultura Popular (TyCP)] Nro. 91

Ricardo Schoua

tangoyculturapopular.blogspot.com

XV Festival Internacional de Tango Sitges 2008
tangositges.com

DEL 16 AL 20 DE JULIO, 2008

Festival de Tango Sitges
Festival de Tango Sitges [fuente]
tangositges.com

Sitges se encuentra a 36 Km. al sur de Barcelona junto al mar Mediterráneo, protegida por el macizo montañoso del Garraf que le proporciona un microclima excepcional.
Sitges se encuentra a 36 Km. al sur de Barcelona junto al mar Mediterráneo, protegida por el macizo montañoso del Garraf que le proporciona un microclima excepcional. [fuente]
tangositges.com

Este mes de julio, nuevamente, tangueros llegados de todo el mundo, disfrutarán en Sitges del compás del tango en el cálido ambiente del mediterráneo.

El Festival de Tango de Sitges se ha convertido en la cita veraniega del tango por excelencia.

Este año contaremos como siempre con Profesores y Bailarines de gran calidad artística, que compartirán con nosotros sus conocimientos del Tango Danza, y nos deleitarán en los espectáculos programados.

Contaremos también, como ya viene siendo habitual en nuestro Festival, con una gran Orquesta de Tango venida desde Buenos Aires. Bailaremos con música en vivo bajo la atenta mirada de las estrellas.

Los ingredientes están listos, la organización trabaja intensamente para que todo esté dispuesto, pero en nuestro Festival lo más importante será siempre tu presencia.

Pilar Fernández
Directora Artística del Festival

Fernando López del Amo
Director General

tangositges.com

- Especial para Bailadores de Geba hoy en Barcelona. Son 30 minutos de tren.

Northwest Professional Dance Project

jueves, 03 de abril de 2008 14:25
NWPDP Spring News

Boxoffice Nwpdp. Com

SPRING NEWS FROM THE NORTHWEST PROFESSIONAL DANCE PROJECT

Greetings again from NWPDP! Spring is here and we have sprung into action to make our 2008 season our biggest and best yet.

...

Tickets: nwpdp.com
2008 Project Guest Artist roster: nwpdp.com/artists.html
Ballet Classes: nwpdp.com/classes.html

NW Professional Dance Project [Photo by Blaine Covert]
NW Professional Dance Project Photo by Blaine Covert [fuente]
nwpdp.com

NORTHWEST PROFESSIONAL DANCE PROJECT
NWPDP | PO Box 42488 | Portland Oregon 97242 | Phone 503.421.7434 | Email | Web nwpdp.com

Xanadu on Broadway

jueves, 03 de abril de 2008 09:54
See "Xanadu" this spring for $56.50 with Playbill.com

Playbill Club Manager

Xanadu on Broadway
Xanadu on Broadway
xanaduonbroadway.com

For more information, visit
XanaduOnBroadway.com

Kirov Ballet at City Center

The New York Times, April 3, 2008
Dance Review

Ballet’s Classical History, the Kirov Edition

[Andrea Mohin/The New York Times]
The Russian company, above featuring Diana Vishneva partnered by Andrian Fadeev in the Grand Pas of Marius Petipa’s “Paquita,” has begun its three-week season at City Center.
Andrea Mohin/The New York Times
The Russian company, above featuring Diana Vishneva partnered by Andrian Fadeev in the Grand Pas of Marius Petipa’s “Paquita,” has begun its three-week season at City Center. [fuente]
nytimes.com/2008/04/03/arts/dance/03ball.html

By ALASTAIR MACAULAY

The best way to learn dance history is in the theater. And the three-week Kirov Ballet season that opened at City Center on Tuesday night looks on paper like a major course in the history of ballet classicism. You could know nothing about dance and learn from this season much about the forms of ballet and how they have changed. Audiences perusing the lineups will assume the season’s focus will be on choreography. It has started with the first of two Petipa anthologies and will include a Fokine, a Balanchine and a Forsythe program.

...

This Petipa program will be performed again Thursday; the Kirov season runs through April 20 at City Center, 131 West 55th Street, Manhattan; (212) 581-1212 or citycenter.org.

nytimes.com/2008/04/03/arts/dance/03ball.html

Related

Kirov’s Travel Plans Exclude the Director (April 1, 2008)

Times Topics: Kirov Ballet

Link The New York Sun 03 April 2008: daily.nysun.com/Daily/Skins/NY ... n/navigator.asp Page 24

The New York Sun 03 April 2008

[COURTESY OF THE MARIIN SKY THEATER]
TRADITIONAL PAIRING Uliana Lopatkina and Daniil Koruntsev in ‘Raymonda.’
COURTESY OF THE MARIIN SKY THEATER
TRADITIONAL PAIRING Uliana Lopatkina and Daniil Koruntsev in ‘Raymonda.’ [fuente]

April 7, 2008

[Andrea Mohin/The New York Times]
Anton Korsakov, Ekaterina Osmolkina and members of the Kirov’s corps de ballet in the Fokine ballet “Chopiniana”
Andrea Mohin/The New York Times
Anton Korsakov, Ekaterina Osmolkina and members of the Kirov’s corps de ballet in the Fokine ballet “Chopiniana” [fuente]

Cuentos Temporada 2008 (María Alicia, La Negra Brunero)

miércoles, 02 de abril de 2008 19:48
Newsletter Aerolatino-Geba exclusiva para suscriptores, mie 02 abril 2008

María Alicia, la Negra Brunero

Querido Augusto, te adjunto el volante de mi próximo espectáculo. Te agradeceré que lo reenvíes.
Te espero. Estreno el domingo

Gracias por mantenernos informados querida Negra Brunero !

negrabrunero.com.ar

Jospeh and the Amazing Technicolor Dreamcoat

miércoles, 02 de abril de 2008 17:51
Don't miss Joseph at The Regent Theatre

The Regent Theatre

Jospeh and the Amazing Technicolor Dreamcoat
Jospeh and the Amazing Technicolor Dreamcoat
theambassadors.com/tickets/sto ... 683/joseph.html

Nieta de Chaplin en el Irvine Barclay Theatre

miércoles, 02 de abril de 2008 13:38
Barclay: An evening of surprise for just $15

Elist

Aurelia's Oratorio - Barclay E-list offer

presented by Irvine Barclay Theatre

Thursday, April 3rd, 2008
Friday, April 4th, 2008

$15 balcony tickets for E-list members!

starring Aurelia Thierree
directed by Victoria Chaplin Thierree
with Julio Monge

A West Coast Premiere!

Step into a surreal theatrical world, where disbelief is suspended and nothing is what it seems. A smash hit in London and at the Spoleto Festival, Aurelia’s Oratorio is a magical whirl of visual illusions and trickery. Inspired by the magic of the music hall, variety and circus, the show's star, Aurélia Thierrée, continues the Chaplin dynasty in a show created and directed by her mother Victoria Chaplin Thierrée (creator of Cirque Invisible). Actress, illusionist, and dancer, Aurélia takes us into an unforgettable realm of fun and fantasy, in a whimsical and yet sophisticated evening of theatre.

"Fluid, sensual, stylish – sublime." - The Times, London

Tickets: $15.00
reg [$32]

thebarclay.org/custom/events/e ... sp?eventID=1041

April Tap Happenings (American Tap Dance Foundation)

miércoles, 02 de abril de 2008 12:10
April Tap Happenings

American Tap Dance Foundation

April Tap Happenings (American Tap Dance Foundation)
April Tap Happenings (American Tap Dance Foundation)
atdf.org/tapcity.html

Good Form

GOOD FORM

An exercise that'll work several muscle groups

By Karen Voight, Special to The Times, Los Angeles Times March 24, 2008

articles.latimes.com/2008/mar/ ... ealth/he-form24

Spice up your weight-training routine by working various muscle groups with a single exercise, like this one. Just remember to move slowly so that you don't rely on momentum to move your arms through the full range of motion.

Click here for more Good Form columns from Karen Voight.

Step 1 Hold a dumbbell in each hand and stand with your right leg in front of your left leg. Bend your right knee, maintaining a straight back. Starting with your arms down, lean forward with your upper body and bend your arms, bringing your hands near your ears. Extend your arms fully until they are overhead. Pause.
Step 1 Hold a dumbbell in each hand and stand with your right leg in front of your left leg. Bend your right knee, maintaining a straight back. Starting with your arms down, lean forward with your upper body and bend your arms, bringing your hands near your ears. Extend your arms fully until they are overhead. Pause. [fuente]
articles.latimes.com/2008/mar/ ... ealth/he-form24

Step 2 Stay in this forward lean-lunge position as you slowly lower your straight arms toward the floor and then lift them up to the back as far as you can. Concentrate on pulling your navel toward the spine to support your back muscles throughout the exercise. Repeat three times, step together and repeat with your left leg in front.
Step 2 Stay in this forward lean-lunge position as you slowly lower your straight arms toward the floor and then lift them up to the back as far as you can. Concentrate on pulling your navel toward the spine to support your back muscles throughout the exercise. Repeat three times, step together and repeat with your left leg in front. [fuente]
articles.latimes.com/2008/mar/ ... ealth/he-form24

The National Ballet of Canada

miércoles, 02 de abril de 2008 04:46
The National Ballet of Canada - Ballet News - April 2008

National Ballet

The National Ballet of Canada
Ballet News
The National Ballet of Canada
Ballet News
national.ballet.ca

national.ballet.ca

The Merry Widow Cinderella Trailer Suscribe! Mad Hot II
The hottest event in town On Pointe:
The Rise of the Ballet Shoe

Lindy By The Sea Newsletter

martes, 01 de abril de 2008 13:39
Newsletter

Rusty And Her Rhythm Pals

Lindy By The Sea Newsletter
Lindy By The Sea Newsletter
rustyfrank.com/newsletter/08-04-01.asp

Glory Days A New American Musical

martes, 01 de abril de 2008 08:55
Save up to 40% on the new Broadway musical "Glory Days" with Playbill.com

Playbill Club Manager

Glory Days A New American Musical
Glory Days A New American Musical
glorydaysbroadway.com

Glory Days A New American Musical
Glory Days A New American Musical
glorydaysbroadway.com

SAVE UP TO 40% ON
"A radiant look at growing up, fresh
and authentic. A beaming source of energy."
-Peter Marks, The Washington Post

What happens when two 23-year-old writers create a show about four 20-year-old guys? Find out when GLORY DAYS lands on Broadway April 22nd.

Nick Blaemire & James Gardiner took their own coming-of-age experiences and turned them into a heartfelt show depicting the sometimes painful, often hilarious rites of passage that transform boys into men.

Save up to $40 now through May 24th and see it first.
$55 all seats!
(Reg. $97.50)
Mon., Wed. & Thurs. at 8, Sun. at 3 & 7
$60 all seats!
(Reg. $97.50)
Fri. at 8, Sat. at 2 & 8
ONLINE: Visit Broadwayoffers.com and use code GDPBE56.
PHONE: Call 212-947-8844 and mention code GDPBE56.
IN PERSON: Bring a printout of this offer to Circle in the Square Theatre, W. 50th St. bet. Broadway and 8th Ave.

GloryDaysBroadway.com

Angelina Workshops at the Peacock Theatre

martes, 01 de abril de 2008 10:06
Angelina Workshops at the Peacock Theatre

English National Ballet

Angelina Workshops at the Peacock Theatre
Angelina Workshops at the Peacock Theatre
ballet.org.uk/angelina

Fiesta Happy Feet (Enrique Varela)

miércoles, 08 de marzo de 2000 07:27
Novedades Happy Feet /// Fiesta de swing el 12 de abril presentando a la Louisiana Jazz Band!

miércoles, 02 de abril de 2008 02:34
Novedades Happy Feet /// Fiesta de swing el 12 de abril presentando a la Louisiana Jazz Band!

Enrique Varela

PARA LOS QUE QUIERAN MOVER EL ESQUELETO !!!!

ABRIL 2008 /// swing en buenos aires
///FIESTA HAPPY FEET///
///SÁBADO 12 DE ABRIL - 22 HS - SARMIENTO 1272///
PARA BAILAR LINDY HOP SIN PARAR EN UNA NOCHE A PURO SWING!

con la presencia exclusiva de...
*LOUISIANA JAZZ BAND*
JAZZ TRADICIONAL DE LOS AÑOS '20 DESDE 1962
+
LORENA MOSELE Y RAFAEL MENDARO///
LINDY HOP performance /// SHOW DE BAILE
+
*dj invitado /// MAXI PRADO*
+
tanda especial··· JIMMY LUNCEFORD

"CULTURAL BUEN AYRE", SARMIENTO 1272, CAPITAL FEDERAL.
El horario de comienzo de la fiesta es a las 22 hs. y finaliza a las 5:00 hs.
Para reservar mesa enviar un mail con el asunto "Reserva de mesa" a info@happy-feet.com.ar.
Las reservas se mantendrán hasta que comience a tocar la orquesta.
La orquesta comezará a tocar a las 22:30 hs. puntual y se puede cenar en el salón.

El valor de la entrada es de $20.

¡Los esperamos!

Happy Feet
Keep on swingin'!
happy-feet.com.ar

¿Qué es el swing?

El swing (o lindy hop) es un estilo de baile de origen afroamericano nacido en los años '20 en Harlem, Nueva York, que se bailaba al ritmo de las big bands de la época en los salones de baile. Tuvo su auge entre finales de los años '20 y principio de los años '40. Luego de ese período su popularidad disminuyó hasta que en los años '80 un grupo de jóvenes entusiastas del jazz y del baile inició una etapa de renacimiento del swing que se desarrolla desde entonces alrededor del mundo.

En Buenos Aires hay alrededor de 200 bailarines de swing que, inspirados en el jazz, en la contagiosa energia del baile y el estilo de la época, dan vida a una movida increíble que crece cada día más.

Videos!
youtube.com/watch?v=SHcBYGN-3uM
youtube.com/watch?v=uUwZr9dIGqo
youtube.com/watch?v=kKPw9_BZgSE
youtube.com/watch?v=_G7MpPL-U64
Louisiana Jazz Band!
usuarios.sion.com/jbenito/jazz/ljb.htm

Astaire & Rogers, 6: Swing Time (1936)

imagen

imagen

Swing Time: imdb.com/title/tt0028333

Posters

imagen imagen

DVD Menus

imagen imagen imagen imagen imagen imagen

Subtitle Sample

imagen

Screen Captures

imagen

imagen

imagen

Photos

imagen imagenimagen imagenimagen imagen imagen

imdb.com/media/rm3557334272/tt0028333

Vintage Film Poster

Ocean's 11
1960, Warner Bros., U.S. three-sheet -- 81x41in. (206x102cm.), linen-backed, (A-)
Ocean's 11
1960, Warner Bros., U.S. three-sheet -- 81x41in. (206x102cm.), linen-backed, (A-) [fuente]
christies.com/LotFinder/lot_de ... bjectID=5013952

Price Realized
£3,000 ($6,177)
Estimate
£2,000 - £3,000 ($4,118 - $6,177)
Sale Information
Sale 5236
Vintage Film Posters
20 November 2007
London, South Kensington

El Logotipo de Hoy

[Al Hirshfeld]
"Chicago"
(June 8, 1975) Chita Rivera, Jerry Orbach and Gwen Verdon in a Bob Fosse routine from "Chicago."
Al Hirshfeld
"Chicago"
(June 8, 1975) Chita Rivera, Jerry Orbach and Gwen Verdon in a Bob Fosse routine from "Chicago." [fuente]
theater.nytimes.com/ref/theate ... /detail_22.html

Coplita

De lejos te estoy queriendo,
de cerca con más razón,
el rato que no te veo
se me parte el corazón.

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
[1963 (Catamarca y Córdoba).).]

Imágenes de Salida

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

Antonia Guzmán
Opposite Travelers /Viajeros Opuestos
2007
101 x 81 inches
painting, acrylic on canvas
Antonia Guzmán
Opposite Travelers /Viajeros Opuestos
2007
101 x 81 inches
painting, acrylic on canvas

Obra que está expuesta en Atlanta

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

[Photo: © Adolph and Esther Gottlieb Foundation/Licensed by VAGA, New York, NY]
“Sentinel” (1951) by Adolph Gottlieb
The show’s 38 canvases represent 17 painters, including a selection of works by Abstract Expressionist precursors titled “Origins of Color Field.” The elders tend to look as light and jazzy as their juniors; in fact, Adolph Gottlieb, Hans Hoffman and Robert Motherwell, all present, were ultimately as much a part of Color Field as Abstract Expressionism.
Photo: © Adolph and Esther Gottlieb Foundation/Licensed by VAGA, New York, NY
“Sentinel” (1951) by Adolph Gottlieb
The show’s 38 canvases represent 17 painters, including a selection of works by Abstract Expressionist precursors titled “Origins of Color Field.” The elders tend to look as light and jazzy as their juniors; in fact, Adolph Gottlieb, Hans Hoffman and Robert Motherwell, all present, were ultimately as much a part of Color Field as Abstract Expressionism. [fuente]
nytimes.com/slideshow/2008/03/ ... 307-COLO_5.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.

Arte al Dia Internacional, 15 de Noviembre de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO pablodimasso.com.ar

Pablo Di Masso
PAREJA SENTIMENTAL
2006
21 x 30 cm
Pablo Di Masso
PAREJA SENTIMENTAL
2006
21 x 30 cm
pablodimasso.com.ar

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

[Photo: Musée du Louvre]
Nicolas Poussin (1594-1665): "Landscape with Orpheus and Eurydice"
In “Landscape With Orpheus and Eurydice,” depicting the marriage of the doomed couple, the figures in the wedding party suggest a generic ballet ensemble, all flying gowns and antigravitational grace. But why does that building on the horizon look familiar? Because it appears to be the Castel Sant’Angelo, a Roman landmark in Poussin’s day and our own. The other novelty here is that it seems to be going up in smoke. The Eternal City, it seems, isn’t so eternal after all.
Photo: Musée du Louvre
Nicolas Poussin (1594-1665): "Landscape with Orpheus and Eurydice"
In “Landscape With Orpheus and Eurydice,” depicting the marriage of the doomed couple, the figures in the wedding party suggest a generic ballet ensemble, all flying gowns and antigravitational grace. But why does that building on the horizon look familiar? Because it appears to be the Castel Sant’Angelo, a Roman landmark in Poussin’s day and our own. The other novelty here is that it seems to be going up in smoke. The Eternal City, it seems, isn’t so eternal after all. [fuente]
nytimes.com/slideshow/2008/02/ ... 215-POUS_7.html

THE NEW YORK TIMES, 27 MARCH 2008
Heinrich Zille (1858-1929)

[Photo: Images provided by Academy of Arts Berlin]
"Four Women in a Changing Room," by Heinrich Zille
“If you’re not German, the name probably rings no bells. But here, where thousands turned out for his funeral in 1929, the famous and the luckless, and where a small museum is now devoted solely to him, it’s a different story.”
Photo: Images provided by Academy of Arts Berlin
"Four Women in a Changing Room," by Heinrich Zille
“If you’re not German, the name probably rings no bells. But here, where thousands turned out for his funeral in 1929, the famous and the luckless, and where a small museum is now devoted solely to him, it’s a different story.” [fuente]
nytimes.com/2008/03/27/arts/de ... gn/27zille.html

NYTimes.com Ad-Mail 27 de Marzo de 2008

Hotel Del Coronado San Diego, recently completed a $150 million renovation
Hotel Del Coronado San Diego, recently completed a $150 million renovation [fuente]
hoteldel.com/Photo-Gallery.aspx

El Periódico de Catalunya, 02 marzo 2008

Las cuatro protagonistas de 'Sexo en Nueva York', en una imagen promocional de la serie.
Las cuatro protagonistas de 'Sexo en Nueva York', en una imagen promocional de la serie. [fuente]
elperiodico.com/default.asp?id ... io_PK=&h=080402

THE NEW YORK SUN, 02 APRIL 2008

[JEFFZEL EVAN SKY/GETTY]
OPENING DAY AT YANKEE STADIUM Chien-Ming Wang throws the first Yankees pitch of the 2008 season, the last to be played at Yankee Stadium. The Yankees defeated the Blue Jays, 3-2, making a winner of their new manager, Joe Girardi. Wang threw seven innings and was the winning pitcher.
JEFFZEL EVAN SKY/GETTY
OPENING DAY AT YANKEE STADIUM Chien-Ming Wang throws the first Yankees pitch of the 2008 season, the last to be played at Yankee Stadium. The Yankees defeated the Blue Jays, 3-2, making a winner of their new manager, Joe Girardi. Wang threw seven innings and was the winning pitcher. [fuente]

THE NEW YORK SUN, 02 APRIL 2008

[C H R I ST I E’ S]
HARD EDGE The sale of Post-War and Contemporary art at Christie’s — which included Al Held’s ‘Pisa I’ (1983), a detail of which is above — set records and signaled a strong market ahead. For yesterday’s top results, please see page 13.
C H R I ST I E’ S
HARD EDGE The sale of Post-War and Contemporary art at Christie’s — which included Al Held’s ‘Pisa I’ (1983), a detail of which is above — set records and signaled a strong market ahead. For yesterday’s top results, please see page 13. [fuente]

THE NEW YORK SUN, 02 APRIL 2008

Christie's Post-War And Contemporary Art Sale
Christie's Post-War And Contemporary Art Sale [fuente]

Le Figaro, 03/04/2008 - La lettre d'info du figaro
Bienvenue chez les people
Petit guide d’apprentissage ès stars pour vous habituer à leurs mœurs particulières. Ou comment savoir reconnaître un vrai people.

Los Angeles, 29 mars. Robe Missoni + pochette fluo Christian Louboutin = un pétillant mix choisi par Cameron Diaz pour les Kids’ Choice Awards.
Los Angeles, 29 mars. Robe Missoni + pochette fluo Christian Louboutin = un pétillant mix choisi par Cameron Diaz pour les Kids’ Choice Awards. [fuente]
madame.lefigaro.fr/popshow/tap ... uge/15454/53842

THE NEW YORK SUN, 03 APRIL 2008

[SOTHEBY’S]
CLEAR SIGNAL Robert Cottingham’s ‘ART’ (1991), a detail of which is above, goes for $109,000 at the Sotheby’s mid-season sale of Contemporary art. For more results, please see page 23.
SOTHEBY’S
CLEAR SIGNAL Robert Cottingham’s ‘ART’ (1991), a detail of which is above, goes for $109,000 at the Sotheby’s mid-season sale of Contemporary art. For more results, please see page 23. [fuente]

THE NEW YORK SUN, 03 APRIL 2008
Popping Up in Brooklyn

Takashi Murakami, ‘Flower Ball (3D)’ (2002)
Takashi Murakami, ‘Flower Ball (3D)’ (2002) [fuente]

THE NEW YORK SUN, 03 APRIL 2008

Top 10 Lots at Sotheby's Sale of Contemporary Art
Top 10 Lots at Sotheby's Sale of Contemporary Art [fuente]

THE NEW YORK SUN, 04 APRIL 2008

[KONRAD FIEDLER]
BLOOMING OF A SEASON Joyce Edwards, left, Yvonne Douglas, and Zennie Desilva enjoy the magnolia trees in full bloom at the Brooklyn Botanic Garden yesterday. The garden’s Magnolia Plaza is celebrating its 75th anniversary this year.
KONRAD FIEDLER
BLOOMING OF A SEASON Joyce Edwards, left, Yvonne Douglas, and Zennie Desilva enjoy the magnolia trees in full bloom at the Brooklyn Botanic Garden yesterday. The garden’s Magnolia Plaza is celebrating its 75th anniversary this year. [fuente]

LOS ANGELES TIMES, 07 APRIL 2007
Charlton Heston, 1923-2008

EPIC: Heston as Moses in Cecil B. DeMille's 1956 epic, "The Ten Commandments."
EPIC: Heston as Moses in Cecil B. DeMille's 1956 epic, "The Ten Commandments." [fuente]

TheatreDance.comChau!, nos vemos en Geba !