"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 30 julio 2008
Reciben esta Newsletter 484 suscriptores

"Alegría", en Buenos Aires hasta el 27 de julio de 2008<br>Santiago de Chile, 14 de agosto al 21 de septiembre 2008
"Alegría", en Buenos Aires hasta el 27 de julio de 2008
Santiago de Chile, 14 de agosto al 21 de septiembre 2008

Human dreams taking flight, borne by the hopes of a new millennium. The pendulum movement of the cradle emphasizes that time continues and never stops passing. The benefits outweigh the risks, for the adventure is the reward. Three high bars set more than 40 feet above the stage form the aerial playground for daring acrobats to fly to and from the arms of mighty catchers, suspended by their knees on a cradle swing. The astounding act, performed by Russian acrobats culminates in a death-defying plunge into the net.
Performed by: Ilya Baranov, Oleksandr Bogulya, Valery Choukhlov, Mykhaylo Kalachov, Serguei Kritsyne, Alexey Novozhilov, Renat Murtazov, Alexandre Karassev.

cirquedusoleil.com/CirqueDuSol ... s/high_bars.htm

Humberto Barrios Cantó a Piazzola (Silvia Portillo)

domingo, 27 de julio de 2008 17:46
rta. del espectaculo DE PIAZZOLLA

Silvia Portillo

QUERIDO AUGUSTO:
QUIERO AGRADECERTE INFINITAMENTE TU GESTION EN LA DIFUSION DEL ESPECTACULO DE HUMBERTO, TUVIERON QUE AGREGAR SILLAS EN LOS PASILLOS , PERO LAMENTABLEMENTE UNAS CUARENTA PERSONAS (NOS COMENTARON LA GENTE QUE ESTABA A CARGO DE LAS ENTRADAS) NO PUDIERON ENTRAR.
EL PUBLICO NOS EXPRESO SU SATISFACCION, AGRADECIO EL MOMENTO PASADO, REALMENTE FUE UNA EXPERIENCIA INOLVIDABLE.
VINO GENTE QUE POR DISTINTOS MOTIVOS ESTABA EN NUESTRO PAIS, Y QUE VIO POR INTERNET EL ANUNCIO Y LE INTERESO ACERCARSE, DE COLOMBIA , MEXICO,CHILE. MANIFESTARON SU GUSTO POR PIAZZOLLA Y FELICITARON A HUMBERTO POR EL REPERTORIO, SU TALENTO ARTISTICO, EL DESAFIO DE INTERPRETAR LA POESIA NADA FACIL DE FERRER CON MELODIAS TAN POCO CONVENCIONALES, Y SUS PALABRAS ACERCA DE LA VIDA DE ESTE GENIO ARGENTINO QUE NOS REPRESENTA EN EL MUNDO.
AGRADECEMOS A NUESTRO QUERIDO MAESTRO ALBERTO AGUERO, A RAQUEL, A VIRGINIA QUE HIZO POSIBLE QUE ESTUVIERAN CON NOSOTROS PARA COMPARTIR UNA NOCHE QUE PERMANECERA EN NUESTRO CORAZON Y EN EL RECUERDO DE POR VIDA.
POR SUPUESTO A TODOS NUESTROS COMPAÑEROS FIELES, ENTREGANDONOS SU CORAZON, Y MIL DISCULPAS A AQUELLOS QUE NO PUDIERON ENTRAR, YA HABRA OTRA OPORTUNIDAD....

GRACIAS, GRACIAS, GRACIAS!!!!!
SILVIA Y HUMBERTO

Gracias por el mensaje Silvia Felicitaciones Humberto !

Seminario de Danza Integradora (Claudia Tarazona)

sábado, 26 de julio de 2008 05:37
Seminario Danza Integradora

Claudia Tarazona

Hola Augus
podés agregarlo en la newsletter próxima?
gracias!!!!!!!!!
C

Muchas gracias por la info Claudia !

Danza/ 2008

SEMINARIOS DE DANZA INTEGRADORA

El Departamento de Artes de Movimiento del IUNA ya abrió la inscripción para el primer seminario de Danza integradora, dirigido a docentes, profesionales, bailarines y estudiantes avanzados en el área del arte, la educación y la salud. La Danza Integradora es una modalidad de la danza que incorpora y hace realidad el concepto de inclusión y diversidad. Propone el trabajo conjunto de personas con y sin discapacidad, considerando los límites físicos o mentales como puertas a descubrir nuevas posibilidades. Así, se promueve un Arte Sin Barreras y una danza sin exclusiones, a partir de una convicicón: Todos Podemos Bailar y disfrutar el cuerpo que tenemos, contribuyendo a derribar los prejuicios que existen sobre la discapacidad y aprendiendo sobre la integración de las diferencias.

Seminario I
Jueves 21 de agosto; de 17:30 a 21:30 hrs.
Viernes 22 de agosto; de 17:30 a 21:30 hrs.
Sábado 23 de agosto, de 9 a 18 hrs.

Seminario II
Jueves 11 de de diciembre; de 17:30 a 21:30hrs.
Viernes 12 de diciembre, de 17:30 a 21:30hrs.
Sábado 13 de diciembre, de 9 a 18 hrs.

Fechas de inscripción del primer seminario:
Del lunes 14 al viernes 25 de julio y del lunes 11 al miércoles 20 de agosto
(La institución permanecerá cerrada del 28 de julio al 9 de agosto)
Lugar: Sánchez de Loria 443 1er piso Oficina de Alumnos y Secretaría Académica
Informes y consultas sobre aranceles: 4956-0168/0075 Int 211 o 209

+info: danzaintegradora.com.ar
danzaintegradoratodospodemosba ... ar.blogspot.com

Coordinación:
Susana González Gonz:
Directora Grupo Alma, Docente titular de Danza Integradora, directora del proyecto Todos Podemos Bailar.
Olga Rosa Nicosia:
Kinesióloga, Docente titular de Sensopercepción, codirectora del proyecto Todos Podemos Bailar.

Sobre los seminarios
Destinatarios: profesionales y docentes del área del arte, la educación y la salud, bailarines y estudiantes interesados en trabajar con grupos integrados.
Objetivo general:
Cambiar la mirada en la formación docente y artística, sensibilizar y crear conciencia de la importancia de educar a través de la danza hacia un cambio de paradigma que incluya la diversidad, favoreciendo la integración y la comprensión del valor del cuerpo en la experiencia vital de la comunicación humana.

Cada seminario tendrá un encuadre teórico-práctico:

  • Observación y análisis de Videos
  • Participación en un Taller Comunitario
  • Observación de un ensayo del Grupo Artístico
  • Exposición y elaboración teórica
  • Reflexión y Evaluación

El Instituto Universitario Nacional del Arte
Fue creado con el objetivo de jerarquizar la formación en el área artística en distintas disciplinas, dándoles un nivel universitario que aunara la teoría y la práctica como elementos fundamentales de una formación integral para artistas. En este marco, el Departamento de Artes del Movimiento es la Unidad Académica dedicada a las disciplinas referidas al movimiento, que ofrece títulos oficiales de mayor alcance en estas especialidad

Link: danzaintegradora.com.ar

Excursión Caminada por los Teatros de NYC

Bailadora ! Bailador ! Aquí va el planito para la excursión de tus sueños !

Excursión Caminada por los Teatros de NYC
Excursión Caminada por los Teatros de NYC [fuente]
ilovenewyorktheatre.com/show.php?show=155

Link I Love N.Y. Theatre: ilovenewyorktheatre.com/show.php?show=155

Tango en el Museo y en Tivoli (Ariel Lichtig)

viernes, 25 de julio de 2008 12:25
Tango en el Museo y en Tivoli]

sábado, 08 de julio de 2000 10:15
Tango en el Museo y en Tivoli

domingo, 13 de julio de 2008 17:49
Tango en el Museo y en Tivoli

sábado, 12 de julio de 2008 15:34
Tango en el Museo y en Tivoli

Ariel Lichtig

El Día de la Independencia (9 de julio) compartimos un hermoso cierre de la muestra fotográfica de Cristina Rivera en el Museo Renault.

Sus sensuales fotografías lucían hacia el salón mientras Carlos Borquez con una compañera y dos parejas más (una de ellas reciente Campeona Metropolitana de tango en dos especialidades) nos deleitaban con las variantes de nuestra música ciudadana.

Y antes, durante y depués, disfrutabamos en las distintas mesas de la compañía de viejos y nuevos amigos de las distintas actividades del club (tango, aerolatino, yoga, etc), junto a conocidos artistas y otros asistentes.

Como cierre nos invitaron a la pista a bailar con los artistas y entre nosotros, con lo cual nos fuimos a casa con un cierre del feriado a todo show.

Aprovecho a contarte que en un reciente viaje de trabajo a Estocolmo nos llevaron a una pista de tango que unos argentinos organizan todos los viernes en un parque de diversiones llamado Tivoli y una vez más pudimos constatar la fuerza y atracción que el tango ejerce en el mundo.

¡Chau News! ¡Hasta la próxima! Ariel Lichtig

Muchas gracias por el aporte Ariel ! (y por repetir el envío hasta que mensaje y fotos fueran recibidos!!!)

Bailador ! Mensaje remitido por Ariel en tiempo y forma. ¡ Cosas del Ciberespacio !

Dara Torres and Other Elite Athletes

The New York Sun 25 July 2008, T E L E V I S I O N

How the Best Beat the Rest

[TR EASURE HD]
WONDER WOMAN Dara Torres in training.
TR EASURE HD
WONDER WOMAN Dara Torres in training. [fuente]

[TR EASURE HD]
WONDER WOMAN Dara Torres in training.
TR EASURE HD
WONDER WOMAN Dara Torres in training. [fuente]

[By Eliot J. Schechter for USA TODAY]
Four-time Olympian Dara Torres, 39, says 3 1/2-month-old Tessa loves being in the water.
By Eliot J. Schechter for USA TODAY
Four-time Olympian Dara Torres, 39, says 3 1/2-month-old Tessa loves being in the water. [fuente]
usatoday.com/sports/olympics/s ... ng-torres_x.htm

American swimmer Dara Torres stretches during the team's first practice in Sydney. Physiologists say elite swimmers have bodies that are particularly suited to their sport - but there's more to winning a medal than biomechanics.
American swimmer Dara Torres stretches during the team's first practice in Sydney. Physiologists say elite swimmers have bodies that are particularly suited to their sport - but there's more to winning a medal than biomechanics. [fuente]
today.msnbc.msn.com/id/3077325

Dara Torres and Drs. Ben Calvo and HJ Kim Dara Torres with Tina Shaban, (l) and Pam Baker ( rt) of the Patient and Family Resource Center
Dara Torres and Drs. Ben Calvo and HJ Kim Dara Torres with Tina Shaban, (l) and Pam Baker ( rt) of the Patient and Family Resource Center [fuente]
cancer.med.unc.edu/news/2004/torres

By BRENDAN BERNHARD

With “the Games of the XXIX Olympiad” (as Bob Costas would say) looming ever larger on the horizon, a new documentary, “Elite Athletes,” provides a welcome measure of insight into what it takes to become the kind of athletic powerhouse soon to cavort ’neath Beijing’s temporarily de-polluted skies.

The documentary makes its premiere on Friday at 8 p.m. on the cable channel Treasure HD and over the Internet (on which much of the Olympics will be shown, so you may as well get used to it), at TreasureHd. com.

Due to a sometimes confusing number of coaches and trainers mouthing off rapidly about different sports, this one-hour documentary occasionally feels like a cross between a science class and a motivational seminar as the viewer struggles to keep up. Nonetheless, “Elite Athletes” — the first in a series of documentaries entitled “How the Best Is Done” — does do that relatively rare thing, which is to take you behind the scenes and show the extraordinarily complex science behind the production of topdrawer athletes in dozens, if not hundreds, of sports.

An example of that “science” would be the swimsuits that will be on display at this year’s Olympics, in what should amount to an extended advertorial for Speedo. Since the company introduced its body-length LZR Racer hydrodynamic swimming costume in February, 48 world records have been broken, with all but four of them coming from athletes wearing the new suits. Constructed of water-repellent fabric and combined with silicone panels and ultrasonically welded seams to reduce “drag,” they help move people from one end of the pool to the other faster than at any time in history.

One person certain to be wearing her Speedos is 41-year-old American phenom Dara Torres, who recently broke two American records in the 50-meter sprint despite having given birth two years ago. Along with American fencing champion Tim Morehouse, she gets top billing here, with Treasure HD’s publicity material promising that both will “reveal the training regimens, tips and secrets” that have made them worldclass athletes.

Mr. Morehouse, a modest fellow, credits his success almost entirely to dedication rather than talent. But perhaps the dichotomy is false. As the tennis champion Ivan Lendl once said, the ability to work extremely hard is itself a talent. Either way, the program makes it clear that to become a professional athlete, you must be willing to practice the same actions over and over again to an extent most people would find simply intolerable, for reasons that range from aching limbs to mind-numbing boredom. Ms. Torres, the subject of widespread admiration, publicity, and suspicion — can a 41-year-old really swim fast enough to beat girls less than half her age without the aid of performance-enhancing drugs? — is evidently saving the tastiest parts of her reputedly revolutionary training routine for an anticipated post-Olympics fitness video, though we do see her performing a number of exercises on those blue balance balls seen in Pilates studios (balance balls and medicine balls seem to be the height of fashion right now, judging from this film), in combination with substantial hand weights. Aside from the information that, due to age, she spends exercises less — but in a more concentrated form — there’s not much insight here for the curious fitness buff. The oldest swimmer to qualify for the Olympics, Ms. Torres is briefly interviewed poolside, and her most telling comment is that she simply loves being in water. She broke her first world record at age 14, and her coach says she has never been out of shape in her life. One would like to believe her success is 100% legitimate, but the documentary fails even to acknowledge the darker, chemical side of sport — particularly as it pertains to the Olympics. We are told that due to the advance of technology and science, “the limits of the human body keep getting pushed,” but anyone following the Tour de France, for example, with its repeated and sordid drug busts, would take a pretty dim view of that squeaky-clean interpretation of “science.” There’s no reason why a film like this should pick on Ms. Torres simply because of her age, but not to at least address the topic can only seem evasive.

The most fascinating thing to emerge from “Elite Athletes” is how totalizing training has become. We get an inside look at the IMG Academies, the world’s largest multisport training institution, where up-and-coming stars are even instructed in role-playing and the use of facial expressions to release tension and win over reporters and fans. The array of sport-specific exercises designed for those going into tennis, golf, basketball, soccer, football, boxing, etc., is something to behold, as is the attention paid to mental conditioning, “nerve,” and the ability to think, relax, and execute under pressure.

“From a neural standpoint, we all talk to ourselves,” IMG director Trevor Moawad says, explaining the concept of mental conditioning. “Some people estimate that it’s anywhere from 800 to 1,400 words a minute at the subconscious level, and what we tell ourselves creates a three-dimensional picture — that’s a fact — and those three-dimensional pictures affect our emotional state. And our emotional state, no matter who you are, affects how we perform.”

Perhaps this is motivational speaker boilerplate (not being a devotee of the genre, I wouldn’t know), but if you think about it, for example, in terms of this month’s epic Wimbledon final, and the verbal flickers and shadows that must have passed through the minds of Rafael Nadal and Roger Federer in the crucial, dying minutes of the match, it’s quite fascinating. I would guess that what was in each player’s mind during the concluding five minutes probably decided the outcome.

Since I’ve rather neglected Mr. Morehouse, the fencer, let me just say that I once met a world champion fencer of Eastern European extraction at a party in London when I was 15. He was a huge, imposing man with a heavy black mustache, and he gazed down at me as if I were a human flea. To whatever I said, he replied with a contemptuous “Hmm,” thrusting forward his jaw while he did so, as if he had never heard anything so ridiculous in his life. There was no doubt he considered himself well above the run of ordinary mortals. After watching “Elite Athletes,” I’m inclined to think he might have been right about that.

daily.nysun.com/Daily/Skins/NY ... n/navigator.asp Page 14

"Man on Wire", Documentary Prizes 2008 at Sundance Film Festival

The New York Sun, 25 July 2008, M OV I ES

On a Tightrope Between the Twin Towers

[JEAN - LOUIS BLONDEAU/POLARIS IMAGES]
NO TURNING BACK
Philippe Petit halfway between Tower I and Tower II on August 7, 1974.
JEAN - LOUIS BLONDEAU/POLARIS IMAGES
NO TURNING BACK
Philippe Petit halfway between Tower I and Tower II on August 7, 1974. [fuente]

By S. JAMES SNYDER

‘Man on Wire” is an upsidedown documentary, so riveting in its setup and exposition that the climax arrives almost as an afterthought. The man of the title — the famed French tightrope walker Philippe Petit — is ultimately less interesting than the drama surrounding his wire, a tightrope strung between the newly completed World Trade Center towers in August 1974. And rather than tease the audience through to a rousing finale, the director, James Marsh (“Wisconsin Death Trip”), seems to embrace the pure drama of the concept — the methodical, grueling, and illegal preparations that went into making Mr. Petit’s artistic daydream a reality.

Much like the documentary “The Gates,” which made its premiere at last year’s Tribeca Film Festival and captured not only the magic of an orange-clad Central Park but the daunting yearby-year fight that pitted artists Christo and Jeanne-Claude against their critics in a very public political brawl, “Man on Wire” matches the spectacle with the behind-the-scenes struggle. Just as New York City was initially hesitant to put up all those orange panels, so was the security at the World Trade Center unlikely to grant Mr. Petit approval to ascend the structures and walk between them without a safety net. So he tackled that problem in inspired fashion: He didn’t bother asking for permission.

Mr. Petit is an eccentric personality, and the movie is as much about his telling of this “true story” as it is about the reality of the moment. Recounting the feat in first-person detail, he embellishes and augments the facts as any great storyteller would, and we see the way his wide-eyed idealism about ascending these new towers (the first tenants moved in during late 1970) quickly transitioned into pragmatic cynicism. Standing proud at 110 stories, presiding over New York as the nation’s tallest buildings, the WTC was surrounded by intense security, and Mr. Petit knew that gaining access to the roof would be no easy task. So he and his colleagues shifted gears, imagining the mission as if it were a bank heist.

Needing entry to both buildings, and a way to haul a considerable load of equipment to each roof, Mr. Petit and his co-conspirators started casing the buildings. They surveyed the security of the lobbies, researched the required credentials to gain access to the elevator banks, and then went about renting a van and opting for a plan that would breach the WTC defenses from underneath, in the parking garage. On the night of the break-in, they came within a few inches of being discovered by security guards on one of the building’s top floors, which was still under construction, and had to deal with unexpected gusts of wind that grew more violent as the evening wore on.

All the components of a riveting heist film are here. There’s a welllaid plan that runs afoul, conflicts among the criminals that blow up mid-heist, and unexpected complications that heighten the drama. The fact that it’s all true only makes it more exciting — so exciting, in fact, that we almost forget the simple majesty of what Mr. Petit set out do in the first place. As Mr. Marsh weaves together black-and-white re-enactments with first-person recollections, still photos, and archival footage of Mr. Petit’s reconnaissance missions to the World Trade Center, the nitty-gritty of the break-in interacts playfully and effectively with the poetry of the mission. It’s no surprise that “Man on Wire” took home both major documentary prizes at this year’s Sundance Film Festival — the award from the jury for its skillful craft, and the award from the audience for its sheer thrills.

“Man on Wire” is a marvel of pacing and personality, and also an emotional celebration of a structure we have spent the past seven years mourning. Yes, it’s a thrilling story of a crime being planned, executed, and altered at the last second. It’s an absorbing story of art and imagination, about an artist committed to a dream and willing to risk everything in a bid to realize it. But it’s also about the source of Mr. Petit’s obsessions, a film that makes it okay for us once again to think about the towers not just as places of death and devastation, but as sources of wonder and astonishment.

The more rapid his narration becomes, the more we see the degree to which Mr. Petit loves his fame, his smile growing wider as the film’s plot grows thicker. But with the commitment and perseverance on display here, it’s also obvious that the World Trade Center walk was more than just a job for him. Unfolding so high in the sky that many onlookers couldn’t make out his shape 110 stories up, Mr. Petit’s plan went well beyond attracting an audience. There’s a bittersweet denouement to the tale that suggests this was the unparalleled high point of his career — and perhaps even his life. As his momentary dance in the clouds comes to a conclusion, things start to fall apart around him, and it will be hard for audiences not to experience a similar letdown.

In “Man on Wire,” the towers are more than just steel and glass. They mean something spiritual to Mr. Petit — and so they did to the city in which they stood. During his euphoric, 45-minute stroll between them, we fondly recall all they stood for. As he comes down in handcuffs, we reckon once again with what’s been lost.

daily.nysun.com/Daily/Skins/NY ... n/navigator.asp Page 12

Ser. Un Regalito (Héctor [Titi] Orlando)

jueves, 24 de julio de 2008 11:51
Ser. Un regalito

Héctor (Titi) Orlando

Augusto.
Te en mando esto porque me creo
que es muy bueno .
Espero que todos lo reciban.
Un gran abrazo.
Titi

Gracias por el aporte Titi !

Bailador ! Titi Orlando nos envía en adjunto "Eres alguien de mucha suerte" que también podés ver en: slideshare.net/jcfdezmx/eres-a ... a-suerte-461106

Dibujos Obstinados de Pablo Di Masso Hasta el 4 de Agosto en el Museo Metropolitano, Castex 3217

jueves, 24 de julio de 2008 12:46
Newsletter semanal artealdia.com

Arte Al Dia Internacional

24-07-08 | artealdia.com

Muestras que abren
...

22/07 - PABLO DI MASSO Dibujos obstinados - MUSEO METROPOLITANO | Info

PABLO DI MASSO
Dibujos obstinados

22/07/2008 - 04/08/2008
MUSEO METROPOLITANO
Castex 3217

ver obras argentina.artealdia.com.ar/pablodimasso

..

museomet.org.ar

Dibujos Obstinados de Pablo Di Masso Hasta el 4 de Agosto en el Museo Metropolitano, Castex 3217 Museo Metropolitano [Alessandro Sousa] Museo Metropolitano [Alessandro Sousa]

  1. Dibujos Obstinados de Pablo Di Masso Hasta el 4 de Agosto en el Museo Metropolitano, Castex 3217: argentina.artealdia.com.ar/pablodimasso
  2. Museo Metropolitano [Alessandro Sousa]: farm3.static.flickr.com/2312/2 ... 5ba1288.jpg?v=0
  3. Museo Metropolitano [Alessandro Sousa]: farm3.static.flickr.com/2413/2 ... _ebe48d392a.jpg

Bailador ! Me pareció que los duendes que conocieron a luros, uriburus y anchorenas hubiesen abandonado sus escondrijos y bailaran danzas alegres frente a los super coloridos dibujos obstinados de Pablo Di Masso.

El Movimiento me Puede (Liliana Toscano)

miércoles, 23 de julio de 2008 19:21
SOY LI...

Liliana Toscano

HOLA AUGUSTO, ME ENCANTA TODO LO QUE ME LLEGA, QUISIERA ESTAR HACIENDO TODOS ESAS COREOGRAFÌAS QUE VEO.....SIENTO QUE EN MI INTERIOR EL MOVIMIENTO ME PUEDE, ME MUEVE EL ALMA......NI ME IMAGINE QUE ESTABA CON MI MSJ POR EL DÌA DEL AMIGO....PERO ES MUY RICO EL CONTENIDO DE LO ENVIADO...GRACIAS ......UN BESO NOS VEMOS EL SÀBADO CON ALGUNA DE TUS CAMISAS DE PALMERAS Y DE PÀJAROS .....SON UNA FOTO.....UN BESO LI DE TAP.

Grande Li ! Bienvenidos tus comentarios !

El Dúo Ad Libitum, Hoy Miercoles 30 Julio, en La Biblioteca Café (Lucía Patricia Petrucci)

miércoles, 23 de julio de 2008 09:02
Ad Libitum

Lucía Patricia Petrucci

Ad Libitum "de poco un todo"
Ad Libitum "de poco un todo"
ad-libitum.com.ar

Ad Libitum presenta
"De Poco un Todo"
30 de julio
La Biblioteca Café - M.T. de Alvear 1155

Ad Libitum, el dúo formado por Patricia Calviño - teclado y voz - y Fernando Acosta y Lara - guitarra y voz - presentan su espectáculo "De Poco un Todo".

El dúo recrea melodías de hoy y de siempre transitando los mas variados estilos como el tango, folklore, jazz y comedia musical, y hasta un mini homenaje a cantantes destacadas como Mina y Edith Piaf y temas propios, siempre respetando el espíritu original de cada estilo musical.

"De Poco un Todo" promete hacer sentir al público una experiencia llena de emociones de diversos matices.

Ad Libitum se presentará el día 30 de julio a las 21 hs. en La Biblioteca Café - M.T. de Alvear 1155. Capital Federal.
El valor de la entrada es de $20, para reservas comunicarse al 4811-0673.

Para más información consultar: labibliotecacafe.com.ar

Good Form: Thigh-Muscle Stretch Works

lunes, 21 de julio de 2008 09:52
The Health Report

L. A. Times Health

The Health Report
Monday, July 21, 2008

Good Form: Thigh-muscle stretch works best if body stays in alignment

t's very easy to cheat when performing some of the more popular stretches. But without proper form, we can end up wasting our time or worse -- creating undue stress on our joints. When done correctly, this is an excellent way to stretch the muscles in the front of the thigh.

[Charles Bush/May 1, 2007]
Step 1 Stand with both feet together, then shift your body weight over your left leg and bend your right knee. Reach your left arm in front of you, or place it directly on a sturdy surface to help you balance.
Charles Bush/May 1, 2007
Step 1 Stand with both feet together, then shift your body weight over your left leg and bend your right knee. Reach your left arm in front of you, or place it directly on a sturdy surface to help you balance. [fuente]
latimes.com/features/health/ne ... 0,6975467.photo

[Charles Bush/May 1, 2007]
Step 2 Bend forward and reach down to grasp your right foot with your right hand. Be sure to hold around the arch or the shoelace area of your foot (not the toes). Stand upright and point your right knee straight toward the floor; be sure your knee does not point out to the side. For a deeper stretch, tuck your hips under your torso and pull your heel closer toward your buttocks. Release and repeat on the other leg.
Charles Bush/May 1, 2007
Step 2 Bend forward and reach down to grasp your right foot with your right hand. Be sure to hold around the arch or the shoelace area of your foot (not the toes). Stand upright and point your right knee straight toward the floor; be sure your knee does not point out to the side. For a deeper stretch, tuck your hips under your torso and pull your heel closer toward your buttocks. Release and repeat on the other leg. [fuente]
latimes.com/features/health/ne ... 0,3366389.photo

latimes.com/features/health/ne ... 0,1518980.story

Día del Amigo (Claudia Tarazona)

martes, 22 de julio de 2008 17:18
día del amigo

Claudia Tarazona

Hola a todos!!!

Qué día del amigo, amigos!!!!!!!!! cómo lo festejamos? BAILANDO, no podía ser de otra manera.

Arrancó la tarde a todo sol con Charly y un mambo. Tenemos que agradecer especialmente a Charly que entre ensayos y otros compromisos artísticos se hizo el rato para estar con nosotros!!! Aplausos para Charly!!

Siguió el equipo de GALA, liderado por Daniel Ibañez. Arrancó Rodrigo con reggaeton a todo ritmo, y a pesar del frío entramos en calor.

Siguieron las tres profes con un Vamos a la playa redivertido.... que clavo la sombrilla, que le pongo bronceador al guardavida, que me saco la arena.....

Y el broche de oro, Daniel con su simpatía nos hizo divertir y bailar de todo, hasta cuarteto. Los muchachos subieron al "escenario" y por semejante hazaña de bailar frente al público se ganaron un CD.

Caramelos para el final, para endulzar la tarde, y celebrar la amistad!!!!
Besos para todos
Claudia

Excelente Claudia ! Muchas gracias por el aporte !
Muchas gracias a Inés Araujo por el aporte fotográfico

Día del amigo 2008

Bailador ! Agrego, que en el fiestón del día anterior, 13h, viernes 18jul, en la Sala de Armas de Aldao, el Gran Profe Walter Herrera organizó un programa especial.

Gimnasia con movimientos de Box con un Profe especialista.

Luego vinieron los ritmos y ante la mirada circunspecta de los grandes de la esgrima de todos los tiempos, bailamos con la dirección de Rodrigo Lagos y coro de las Profes María Bustamante y Laura Corbacho, más amigote salsero de Geba Aldao (boga de lun a vie) y Moi, el tema "Cómete un Chicle" .-)

http://www.youtube.com/watch?v=WUc-v01Q4R8 (video no disponible)

El final con el ritmo, precisión y alegría de Profe Daniel Ibañez.
Como te digo, ¡ un fiestón !

West Side Story to Return in February 2009

The New York Times, July 17, 2008

[Fred Fehl]
Larry Kert and Carol Lawrence starred in the original Broadway production of "West Side Story."
Fred Fehl
Larry Kert and Carol Lawrence starred in the original Broadway production of "West Side Story." [fuente]
nytimes.com/2008/07/17/theater/17bway.html

[Al Hirschfeld]
West Side Story"
(Sept. 22, 1957) Larry Kert and Carol Lawrence, center, played the star-crossed lovers in "West Side Story."
The cast also included Ken LeRoy, left, and Mickey Calin, as switch-blade street fighters, and Chita Rivera (with earings).
Al Hirschfeld
West Side Story"
(Sept. 22, 1957) Larry Kert and Carol Lawrence, center, played the star-crossed lovers in "West Side Story."
The cast also included Ken LeRoy, left, and Mickey Calin, as switch-blade street fighters, and Chita Rivera (with earings). [fuente]
theater.nytimes.com/ref/theate ... detail_108.html

Donna McKechnie, Chita Rivera, Carol Lawrence at Opening Night of Girl's Room
Sunday, December 2, 2007; Posted: 12:23 PM - by BWW
Donna McKechnie, Chita Rivera, Carol Lawrence at Opening Night of Girl's Room
Sunday, December 2, 2007; Posted: 12:23 PM - by BWW [fuente]
baltimore.broadwayworld.com/vi ... cfm?colid=23412

Jets? Yes! Sharks? ¡Sí! in Bilingual ‘West Side’

By JULIE BOSMAN

More than 50 years after the musical “West Side Story” had its original Broadway premiere, it is set to return in February in a darker, grittier, bilingual revival, the show’s producers said on Wednesday.

In an element that its director, Arthur Laurents, said would heighten the passion and authenticity of the show, much of the dialogue — both spoken and sung — will be in Spanish.

“They will speak Spanish where they would naturally,” Mr. Laurents said in a telephone interview from his home in Quogue, N.Y., adding that supertitles would be used to aid the audience. “The scenes with the Spanish are wildly exciting because they are much less inhibited. I don’t think many eyes are going to stray to the translation.”

Mr. Laurents, the author of the book for “West Side Story” and the director of the current Broadway revival of “Gypsy,” whose book he also wrote, has vowed to make this revival a more realistic version of the original, a teenage-gang-romance musical modeled after “Romeo and Juliet” and set on the West Side of Manhattan in the 1950s. With music by Leonard Bernstein and lyrics by Stephen Sondheim, it was first staged on Broadway, to great critical success, in 1957. Writing in The New York Times, Brooks Atkinson called it “a profoundly moving show that is as ugly as the city jungles and also pathetic, tender and forgiving.”

After playing for 732 performances, “West Side Story” was turned into a film starring Natalie Wood and Richard Beymer in 1961, and later revived in 1964 and 1980.

Mr. Laurents still rankles at the mention of the 1980 revival, which he called bland, and the film version, about which he said: “Bogus accents, bogus dialect, bogus costumes. I think it’s also terribly acted.”

Earlier interpretations left the teenage characters appearing too innocent, Mr. Laurents said. “You don’t treat these kids as little darlings, but as what they are,” he said. “They’re all killers, Jets and Sharks. And the piece is really about how love is destroyed by a world of violence and bigotry.”

The idea for a 21st-century revival first came up nearly five years ago, said Kevin McCollum, a producer along with Jeffrey Seller and James L. Nederlander, but after several discussions, it was set aside. “It just wasn’t the right timing,” he said.

Then two years ago Mr. Laurents called. “He got me to the apartment and said, ‘I’ve got it,’ ” Mr. McCollum said. “He really wanted to play with the idea of authenticating the language, and that got us really excited.” (Mr. McCollum and Mr. Seller also produced “In the Heights,” a musical set in Washington Heights and peppered with Spanish phrases.)

Mr. Laurents, who turned 91 on Monday, traced the origin of the new revival to his companion of 52 years, Tom Hatcher, who died in 2006.

Mr. Hatcher was a fluent Spanish speaker, and on a visit to Bogotá, Colombia, saw a staging of “West Side Story” in Spanish.

In that version, Mr. Hatcher reported back to Mr. Laurents, the language had transformed the show: the Sharks were the heroes and the Jets were the villains.

That sparked the idea of incorporating Spanish into a modern revival. “I thought it would be terrific if we could equalize the two gangs somehow,” Mr. Laurents said. “But I had a lot of trouble because I was depending on Tom, who is fluent. And then he died.”

Not long afterward, two of Mr. Laurents’s friends in Buenos Aires told him that they had a “West Side Story” script entirely in Spanish, on which Mr. Hatcher had made handwritten notations. “It was like he was telling me, ‘You must do it,’ ” Mr. Laurents said.

So with the help of a translator, Mr. Laurents began adding Spanish to the original script.

The result is what he calls “bilingual sexual spats” between the characters Anita and Bernardo, and some of the Stephen Sondheim lyrics translated into Spanish. Other elements, like the original choreography by Jerome Robbins, remain unchanged.

Casting for the show has begun and should be completed by mid-September, Mr. McCollum said. The show will play for a four-week engagement at the National Theater in Washington beginning in December.

Mr. Laurents said he intended to cast Hispanic actors in the roles of the Puerto Rican Sharks and particularly the lead role of Maria.

“I’m not about to go slap some dark makeup on her,” Mr. Laurents said. “I think it’s important to have a Latina in the role for a very simple reason — I think they know what it feels like to be an outsider. If they’ve got Puerto Rican blood, they know what prejudice is. If they’ve got any kind of Hispanic blood, they know what prejudice is.”

nytimes.com/2008/07/17/theater/17bway.html

http://www.youtube.com/watch?v=aLHeLU2dGBg (video no disponible)

- Bailador ! No hay error. Chita Rivera y Carol Lawrence, en plena actividad, 50 años después de haber estrenado West Side Story. (Donna McKechnie actuó en 1961 y luego hizo el papel femenino principal, Cassie, en "A Chorus Line" .)

Vintage Film Poster

The Wizard Of Oz Le Magicien D'Oz
1939, M.G.M., Belgian -- 21x14in. (52x35.5cm.), (A) unfolded
The Wizard Of Oz Le Magicien D'Oz
1939, M.G.M., Belgian -- 21x14in. (52x35.5cm.), (A) unfolded [fuente]
christies.com/LotFinder/lot_de ... bjectID=5013893

Price Realized
£625 ($1,287)
Estimate
£600 - £800 ($1,235 - $1,647)
Sale Information
Sale 5236
Vintage Film Posters
20 November 2007
London, South Kensington

El Logotipo de Hoy

Coplita

Soy ajeno de estos pagos,
y ajeno de este lugar,
dígame dónde es su rancho
para irla a visitar.

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.
http://www.cervantesvirtual.com/servlet/SirveObras/13550507656922508754491/p0000006.htm
[1999 (Buenos Aires)]

Imágenes de Salida

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

Henri de Toulouse-Lautrec
French, 1864 - 1901
Le Fou, 1895
lithograph in black on velin paper
image: 22 1/2 x 17 13/16 in. (57.1 x 45.3 cm)
Rosenwald Collection
1952.8.391
Henri de Toulouse-Lautrec
French, 1864 - 1901
Le Fou, 1895
lithograph in black on velin paper
image: 22 1/2 x 17 13/16 in. (57.1 x 45.3 cm)
Rosenwald Collection
1952.8.391 [fuente]
nga.gov/cgi-bin/pimage?88494_0_0

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

Thematic Series 1/Seria Tematica 1
2008
13.5 x 10.75 inches
painting, watercolor on handmade paper
Thematic Series 1/Seria Tematica 1
2008
13.5 x 10.75 inches
painting, watercolor on handmade paper

Christie's, 24 July 2008

JOAN MIRO
La femme des sables (D. 500)
etching, aquatint and carborundum in colors, 1969, on Arches, signed in pencil, numbered 55/75 (there were also a few artist's proofs), the full sheet, pale light-, mat and time staining, minor surface soiling and rippling, handling creases, a few short tears and rubbed areas at the sheet edges, otherwise in good condition, framed
S. 40¼ x 26¼ in. (1022 x 667 mm.)
JOAN MIRO
La femme des sables (D. 500)
etching, aquatint and carborundum in colors, 1969, on Arches, signed in pencil, numbered 55/75 (there were also a few artist's proofs), the full sheet, pale light-, mat and time staining, minor surface soiling and rippling, handling creases, a few short tears and rubbed areas at the sheet edges, otherwise in good condition, framed
S. 40¼ x 26¼ in. (1022 x 667 mm.) [fuente]
christies.com/LotFinder/lot_de ... bjectID=5062982

Price Realized
$23,750
Estimate
$15,000 - $25,000
Sale Information
Sale 1990
Prints And Multiples
29 - 30 April 2008
New York, Rockefeller Plaza

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

Pablo Di Masso
SEXLIFE
2008
21 x 29.7 cm
Pablo Di Masso
SEXLIFE
2008
21 x 29.7 cm
pablodimasso.com.ar

Hasta el 4 de agosto 2008, "Dibujos Obstinados" en el Museo Metropolitano, Castex 3217, Buenos Aires

Le Figaro.fr 30 de Mayo de 2008 La lettre d'info du figaro
Enquêtes. Lacoste, les dents de la mode

THE NEW YORK TIMES, 18 JUNE 2008
Remembering Cyd Charisse

[Photo: Rubin Museum of Art, via Everett Collection]
She was the Scottish Fiona in "Brigadoon," the 1954 musical with Gene Kelly.
Photo: Rubin Museum of Art, via Everett Collection
She was the Scottish Fiona in "Brigadoon," the 1954 musical with Gene Kelly. [fuente]
nytimes.com/slideshow/2008/06/ ... CHARISSE_5.html

LOS ANGELES TIMES, 23 JULY 2008

[Museum of Latin American Art]
"Woman With Long Hair, I" from 1938, is among the works in "Wifredo Lam in North America" at the Museum of Latin American Art.
Wifredo Lam's delirious fusion paintings explore spiritual issues.
Museum of Latin American Art
"Woman With Long Hair, I" from 1938, is among the works in "Wifredo Lam in North America" at the Museum of Latin American Art.
Wifredo Lam's delirious fusion paintings explore spiritual issues. [fuente]
latimes.com/entertainment/news ... ,0,908395.story

THE NEW YORK SUN, 23 JULY 2008

[CHRISTIE’S IMAGES/CORBIS]
MEN OF LA MANCHA Honoré Daumier’s ‘Don Quixote and Sancho Panza,’ c. 1865–70.
CHRISTIE’S IMAGES/CORBIS
MEN OF LA MANCHA Honoré Daumier’s ‘Don Quixote and Sancho Panza,’ c. 1865–70.

THE NEW YORK SUN, 24 JULY 2008

[G A R Y S N Y D E R P R O J E C T S P A C E]
Laurie Fendrich, ‘Dart Mouth’ (2007).
Until August 1 (250 E. 26th St., between Seventh and Eighth avenues, 212-929-1351).
G A R Y S N Y D E R P R O J E C T S P A C E
Laurie Fendrich, ‘Dart Mouth’ (2007).
Until August 1 (250 E. 26th St., between Seventh and Eighth avenues, 212-929-1351).

Until August 1 (250 E. 26th St., between Seventh and Eighth avenues, 212-929-1351).

THE NEW YORK SUN, 24 JULY 2008

[PATRICK HERTZOG/AFP/GETTY]
ALPINE CLIMB The pack rides at the Col du Galibier yesterday during the 17th stage of the Tour de France.
PATRICK HERTZOG/AFP/GETTY
ALPINE CLIMB The pack rides at the Col du Galibier yesterday during the 17th stage of the Tour de France.

THE NEW YORK SUN, 25 JULY 2008

[BONNIBENRUBI GALLERY/YANCEYRICHARDSON GALLERY]
GOOD TIMES “The Good Life,” an exhibit at the Yancey Richardson Gallery, explores the concept of fine living from myriad perspectives. Photographers including Diane Arbus, Alex Prager, Tina Barney, Larry Sultan, Slim Aarons, and Massimo Vitali depict pleasure seekers, American socialites, aristocrats surrounded by the symbols and trappings of old money, and 20-somethings enjoying the comforts of suburban domesticity in 1960s California. Mr. Vitali’s “Benicassim 2, Spain” (2007), above, captures beachgoers in a Spanish resort town notable for its popularity with tourists. Through Friday, August 22, Monday–Friday, 10 a.m.–6 p.m., Yancey Richardson Gallery, 535 W. 22nd St., between Tenth and Eleventh avenues, 646-230-9610, free.
BONNIBENRUBI GALLERY/YANCEYRICHARDSON GALLERY
GOOD TIMES “The Good Life,” an exhibit at the Yancey Richardson Gallery, explores the concept of fine living from myriad perspectives. Photographers including Diane Arbus, Alex Prager, Tina Barney, Larry Sultan, Slim Aarons, and Massimo Vitali depict pleasure seekers, American socialites, aristocrats surrounded by the symbols and trappings of old money, and 20-somethings enjoying the comforts of suburban domesticity in 1960s California. Mr. Vitali’s “Benicassim 2, Spain” (2007), above, captures beachgoers in a Spanish resort town notable for its popularity with tourists. Through Friday, August 22, Monday–Friday, 10 a.m.–6 p.m., Yancey Richardson Gallery, 535 W. 22nd St., between Tenth and Eleventh avenues, 646-230-9610, free.

THE BOSTON GLOBE, 28 JULY 2008
The Celtics Dancers finals 2008

[Evan Richman/Globe Staff]
Last night was the final auditions following earlier tryouts that involved more than 200 women who wanted to wear a Celtics dancing uniform.
This was the third annual Celtics Dance team tryouts. Only 39 of those 200 actually made it to the finals.
Evan Richman/Globe Staff
Last night was the final auditions following earlier tryouts that involved more than 200 women who wanted to wear a Celtics dancing uniform.
This was the third annual Celtics Dance team tryouts. Only 39 of those 200 actually made it to the finals. [fuente]
boston.com/thingstodo/nightlif ... ers_finals_2008

THE NEW YORK SUN, 28 JULY 2008

[CHRISTIE’S]
Detail of Romare Bearden’s ‘Conjunction’ (1979).
CHRISTIE’S
Detail of Romare Bearden’s ‘Conjunction’ (1979).

THE NEW YORK SUN, 28 JULY 2008

[J O E L S A G E T/A F P/ G E T T Y]
TOUR WINNER Wearing the yellow jersey, Carlos Sastre rides down the Champs-Elysees in Paris yesterday.
J O E L S A G E T/A F P/ G E T T Y
TOUR WINNER Wearing the yellow jersey, Carlos Sastre rides down the Champs-Elysees in Paris yesterday.

Tuesday, 29 July 2008 iaaf.org World Athletics Tour

[Nicola Cicciarello]
Yelena Isinbayeva clears 5.04m in Monaco
Nicola Cicciarello
Yelena Isinbayeva clears 5.04m in Monaco [fuente]
iaaf.org/GP08/news/kind=100/newsid=46371.html

TheatreDance.comChau!, nos vemos en Geba !