- Un Par de Cositas para Compartir (Claudia Tarazona)
- Cantame una Historia, 23 y 30 Noviembre (Claudia Tarazona)
- Salió Fabulosa ! Hay que Repetir la Fiesta en Diciembre 2008 (Enrique Carmona)
- Master Class de Ritmos Terracita Sábado 15 Noviembre 2008 (Walter Herrera)
- Actividades Danza Integradora (Claudia Tarazona)
- Tap City 2008
- Volver al Sur; New Generation Dance Company
- Never Too Old to Tap ?
- On the Town Nov 19-23 at City Center Main Stage
- Techno-Alchemy at the Opera
- Glimpses of the Moon!, A Jazz Age Musical
- El Lenguaje de Bob Fosse, Seminario (Karina Roldán)
- ¿Birdsax? Charlie Parker dice que Sí (Pablo Di Masso)
- Fiesta Temática, Sábado 15 Noviembre, 23.00, en Los Dos Chinos (Candy Taboada)
- Salsa en Geba con Adrián "El Cani" Robledo (Gloria Jaacks)
- Paris en la Newsletter (Mónica Bégué)
- Défilé John Galliano P-A-P, Printemps-été, 2009, Prêt-à-porter
- Vintage Film Poster
- El Logotipo de Hoy
- Imágenes de Salida
SQLSTATE[HY000]: General error: 5 database is locked
The New York Times, November 10, 2008
Dance Review | Parallel Exit
Never Too Old to Tap? Three Aging Hoofers Decide to Find Out
By ROSLYN SULCAS
The Joyce SoHo seems like a slightly odd place for “Time Step,” a three-man tap show by the company Parallel Exit, which specializes in works inspired by the films of Buster Keaton and Charlie Chaplin.
The theater’s black-box space provides a perfectly good setting for the low-tech, straightforward staging of “Time Step,” which completed a four-day run Sunday. But the show itself has a crowd-pleasing, populist quality that could probably fill more commercial spaces and draw broader audiences, most particularly the under-12 demographic.
That’s not to say that “Time Step” is unsophisticated or plays down to its audience. But although all three men (Brent McBeth, Ryan Kasprzak and Derek Roland) are skillful tappers, the essence of the show is the kind of wordless yet lucid physical comedy that offers theatrical communication of the most accessible kind.
“Time Step” tells the tale of three formerly famous, elderly hoofers (the Dapper Tap Trio) who live together in cheerful penury until an eviction notice arrives. They decide to enter a talent competition (“Cash prize!”) and after a few attempts to motivate one another, they resolutely begin a period of training and present their number.
The director, Mark Lonergan, shapes the story, silent-movie fashion, through a series of succinct vignettes. The men are first seen in their heyday, each tapping briefly in a spotlight as “1948” is projected on a screen behind them. Then the numbers whir to 2008 and the men are seated, dressed in caps and cardigans, walker and canes at hand.
Their morning habits (drinking coffee, eating cereal, doing a crossword) turn into an ingeniously percussive routine. (Who knew that a cereal box could produce such excellent backup rhythms?) By the time they have confronted bills and discovered the talent-competition notice, we have a good sense of their individual personalities (weepy, resolute, the maverick).
It’s a tribute to the fine acting and physical characterization that each man provides that when another flashback to 1948 offers a vaudevillelike tap routine, we have a genuine sense of seeing the years fall away. Mr. McBeth, Mr. Kasprzak and Mr. Roland (who are credited with the show’s choreography) manage to make their elderly selves funnier and more interesting than the young Dapper Tap Trio, and by the end we care about their fate, which isn’t quite what we might have imagined.
Mr. Lonergan manages this all with dexterous timing, a light touch and minimal stage effects. It’s a reminder of how eloquently the body can speak and of how little it takes to create entertainment.
viernes, 07 de noviembre de 2008 10:17
See Encores' ON THE TOWN for as little as $20!
Playbill Club Manager
Music by Leonard Bernstein
Book and Lyrics by Betty Comden and Adolph Green
Based on an idea by Jerome Robbins
Starring Justin Bohon, Christian Borle,
Michael Cumpsty, Jessica Lee Goldyn, Leslie Kritzer,
Andrea Martin, Julyana Soelistyo,
Jennifer Laura Thompson, Tony Yazbeck
Directed by John Rando
On The Town, set in wartime 1944 and inspired by Jerome Robbins’ ballet, “Fancy Free,” is the story of three sailors’ adventurous 24-hour leave in New York City. Their fabulous day-long journey is spurred by a search for sailor Gabey’s dream girl, “Miss Turnstiles.” Along the way, each sailor falls in love with a woman, and with New York City itself. Songs include “New York, New York,” “Some Other Time,” and “I Can Cook Too.”
This production is part of Bernstein: The Best of All Possible Worlds, a partnership with Carnegie Hall and the New York Philharmonic. For more information, visit bernsteinfestival.org.
NYCity Center: nycitycenter.org/tickets/produ ... paign=OnTheTown
On the Town, the Film (1949): imdb.com/title/tt0041716
Un Día en Nueva York, Wikipedia: es.wikipedia.org/wiki/Un_día_en_Nueva_York
http://www.youtube.com/watch?v=cVvRnKhXBY0 (video no disponible)
http://www.youtube.com/watch?v=6v7QfCxuvLo (video no disponible)
The New York Times, November 7, 2008
By DANIEL J. WAKIN
A watery reflection ripples beneath a boat gliding along the stage. Soldiers march over a field of grass. The blades rustle. Fire flutters above the face of a soprano singing of the burning flame of love.
Scenes From the Opera
Scenes from Berlioz's "Damnation de Faust"at the Metropolitan Opera. Video courtesy of the Metropolitan Opera.
jueves, 06 de noviembre de 2008 17:32
NYMF Alums in Glimpses of the Moon!
A Jazz Age Musical based on the novel by Edith Wharton
Book and Lyrics by Tajlei Levis, Music by John Mercurio
Choreography by Denis Jones
Directed by Marc Bruni
Mondays at 8pm
The Oak Room of the Algonquin Hotel
59 West 44th Street, NYC
jueves, 06 de noviembre de 2008 20:25
Domingo 9/11:Seminario Intensivo "El lenguaje de FOSSE" (agradezco su difusión!)
"El lenguaje de Bob Fosse"
Seminario dictado por
bailarina, coreógrafa, docente y directora de la compañía "vis-à-vis"
// Domingos 2, 9, 16, 23 y 30 de Noviembre, de 14:30 a 16:30 hs
// Open Gallo // Gallo 241 //
15-4161-9031 o vía mail:
jueves, 06 de noviembre de 2008 09:48
Re: Solicitar Permiso
Charlie Parker dice que sí. Es una cuestión suya y, tal vez, de Clint Eastwood.
Muchas gracias Pablo !
- Charlie Parker & Dizzy Gillespie - Bird and Diz (1950) music-on-the-rocks.blogspot.co ... e-bird-and.html
- Charlie Parker on Dial 7517raremusiccds.com/servlet/t ... Story-on/Detail
- Charlie Parker "Bird Blows" by BRUNI Sablanbrunijazzart.com/library/artis ... ,Bird Blows.htm
- The Essential Charlie Parker 1999 zonadejazz.com/2010/02/16/the- ... lie-parker-1992
- Charlie Parker contraformas.com/personajes.htm
- Clint Eastwood = Cowboy creativityexplored.org/art/onl ... eastwood_cowboy
- Clint Eastwood - Hollywood Superstar Caricatura por Al Hirschfeld georgejgoodstadt.com/goodstadt/hf.dca?nf=19
- Caricatura Clint Eastwood por Sebastian Cast castdibujos.blogspot.com/2008/ ... t-eastwood.html
- clint eastwood caricature artuproar.com/uploads/38098/cl ... caricature.html
- Clint Eastwood By elvisjedi media.photobucket.com/image/cl ... stwood.jpg?o=27
miércoles, 05 de noviembre de 2008 23:04
Augusto te pido que lo publicas, en el "Newsletter" Aerolatino-Geba, va a ser una fiesta , unica e irrepetible.
Va a ver show, clases de baile de rock, shows, sorteos y todo los ingredientes que tiene que tener una fiesta para ser INOLVIDABLE..
sino lo difundis los socios de GEBA no te lo van a perdonar. ja.ja.ja
Gracias por mantenernos informados Candy !
miércoles, 05 de noviembre de 2008 13:35
Newsletter Aerolatino-Geba, exclusiva para suscriptores, mié 05 noviembre 2008
Finalmente he logrado algunas fotos de la clase de Salsa con el profesor Adrián "el Cani" Robledo, sábados a partir de 18.15 horas, sede San Martín .
Nos gustaría verlas en el próximo newsletter!.
Te mando una foto mía, para que sepas quien soy, agregala si te gusta.
Hasta el sábado, cariños. Gloria Jaacks.
Bien Gloria ! Muchas gracias por el aporte !
miércoles, 05 de noviembre de 2008 11:28
Newsletter Aerolatino-Geba, exclusiva para suscriptores, mié 05 noviembre 2008
Cada semana espero con ansiedad la llegada del News por la calidad, variedad y actualidad de sus presentaciones. Esta en particular me maravilló por la recorrida que tiene por los mejores sitios de Paris. Un verdadero lujo poder recorrer así esta "Ciudad luz".
Muchas gracias y cariños
De acuerdo Mónica. Tenemos amigos expertos en Paris que nos regalan sus conocimientos.
- Terminal 2F del Aeropuerto Charles de Gaulle (CDG - París)
[David Guerrero 2005]: david-guerrero.com/galerias/ch ... des/cdg-08.html
- PASARELA "Simone de Beauvoir" - PARIS- Dietmar Feichtinger: urbanscraper.blogspot.com/2007 ... r-paris_06.html
- Piscina flotante Joséphine Baker: parisciudaddelaluz.blogspot.co ... hine-baker.html
- JARDINES VERTICALES
Fachada del Museo del Muelle Branly – París: artelena.wordpress.com/2008/06 ... ines-verticales
- La Maison de l'Amérique latine, PARIS: culturel.mal217.org/fr/Pratique-2350.htm
- GUÍA COMPLETA DE PARÍS, Horacio de Dios: dediosonline.com/espanol/p-987-9445-01-5.html
- PARIS: dediosonline.com/espanol/p-987-9445-01-5.html
The New York Times, November 5, 2008
Broadway’s Rough Road Ahead
By PATRICIA COHEN
The second-act rendition of “Let’s Hang On,” in “Jersey Boys,” might be Broadway’s anthem at the moment. Nearly every show had its audience shrink last week, with 14 productions experiencing more than a 10 percent drop in ticket sales. So musicals and plays are trying to hang on until the holidays bring an influx of cheer-seeking visitors to New York, looking to be entertained. After the new year they will try to hang on again, through January and February, traditionally two of the industry’s slowest months.
“Jersey Boys” itself, the winner of the 2006 Tony Award for best musical, has so far proved hardy, along with a handful of other musicals, which include “Wicked,” “Mamma Mia!” and “South Pacific.” The long-running granddads on Broadway — “Chicago,” “Phantom of the Opera” and “The Lion King” — are also managing to keep at least three-quarters of their seats full (sometimes with the help of discounted tickets).
But that is not the case for other award-winning hits. Three musicals, “Hairspray,” “Monty Python’s Spamalot,” and “Spring Awakening,” have already announced that they are closing in January.
A handful of others have been struggling to fill seats. This past week — with Halloween falling on a Friday night and the New York City marathon on Sunday — had an unusually large dip in attendance. Jason Robert Brown’s musical about adolescent angst, “13,” and “A Tale of Two Cities,” which was ravaged by critics, filled fewer than half of their seats for the week that ended on Sunday. On Tuesday night, citing the economy, the producers of "A Tale of Two Cities" announced that the musical would close on Nov. 16.
“August: Osage County,” this year’s Tony winner for best play; the musical spoof “Alfred Hitchcock’s The 39 Steps”; the British farce “Boeing-Boeing”; and the long-running musical “Avenue Q” did not rise much above the 50 percent mark, with the last two shows losing more than 17 percent of their audiences from the previous week.
Disney’s “Mary Poppins” and “The Little Mermaid,” meanwhile, hovered around 60 percent of their capacity, although such family musicals are expected to pick up during the holiday season, and Disney’s deep pockets mean that it has more of a cushion to keep shows afloat. (Mel Brooks’ “Young Frankenstein” has declined to make its numbers available for more than a year now.)
Straight plays traditionally tend to have a tougher time than musicals. A couple of limited engagements, like the Royal Court Theater’s production of “The Seagull” with Kristin Scott Thomas (finishing on Dec. 21), and “All My Sons,” with Katie Holmes, John Lithgow, Patrick Wilson and Dianne Wiest (closing on Jan. 11), are still doing brisk business. But while “Sons,” a star-laden Arthur Miller production, is playing to nearly sold-out crowds, “Equus,” with Daniel Radcliffe and Richard Griffiths (which closes in early February), barely made it past the 60 percent mark last week.
The distressing figures bolstered the Broadway Cassandras who have been predicting that there will be dark theaters come spring. A couple of new musicals, including “9 to 5: The Musical” and “Blithe Spirit,” have already booked theaters. And Jane Fonda is returning to Broadway in the winter of 2009 to appear in Moisés Kaufman’s “33 Variations,” a drama about Beethoven’s obsessive reworking of a rather pedestrian waltz that came to be known as the Diabelli Variations. Ms. Fonda will play a contemporary musicologist who is suffering from a terminal illness and trying to unlock the mystery behind Beethoven’s obsession.
Other theaters designed for straight plays may have more trouble getting bookings. “It’s reasonable to assume there’ll be a few empty theaters in the spring,” said Emanuel Azenberg, a veteran Broadway producer who is planning to revive Neil Simon’s “Brighton Beach Memoirs” and “Broadway Bound” next fall.
Sometimes producers and theater owners turn to short-run shows when there’s no long-term prospect in sight. Like holiday guests, limited engagements often make themselves at home on and around Broadway in November and December. Two nonholiday solo shows that have been in the works for a while include “Liza’s at the Palace,” with Liza Minnelli, set for a run in December, before “West Side Story” moves into the Palace Theater in February. Then Will Ferrell’s “You’re Welcome America: A Final Night with George W. Bush” begins previews at the Cort Theater in January.
Mr. Ferrell’s show is a perfect fit for the season. It runs during Broadway’s deadest period (January through mid-March), it has a built-in audience fan base, and it’s cheap to stage.
“One-person shows are a producer’s dream if they work,” said Rocco Landesman, president of Jujamcyn Theaters, which owns five Broadway theaters. “They’re very seductive. It’s cheaper, and if you can fill the house, you can make a lot of money.”
But he warned that limited engagements are not a viable long-term business model. “A short run is preferable to no run,” he explained, “but you have to be concerned about the landscape when you have to keep filling in gaps because you have dark time.” Jujamcyn has no short runs or solo shows planned at the moment, Mr. Landesman said. The company’s St. James Theater is currently home to “Gypsy,” starring Patti LuPone. Last week the theater was about 60 percent full, but Mr. Landesman said he expected the show to stay put at least through the end of Ms. LuPone’s contract in March.
Gerald Schoenfeld, chairman of the Shubert Organization, the largest landlord on Broadway, agreed that short runs were an uncertain stop-gap measure between the opening of one show and another’s closing.
“They’re good if they fit, they’re good if they have a sure-fire star,” like Billy Crystal, who won a Tony in 2005 in the newly minted special theatrical event category, Mr. Schoenfeld said, but otherwise, “it’s an uncertain proposition.”
“39 Steps” is scheduled to move out of the Cort to make room for Mr. Ferrell and into the Helen Hayes on Jan. 20, where the holiday run of “Slava’s Snowshow” is soon to take up residence.
At the Nederlander-owned Marquis Theater, “The Soul of Shaolin,” a martial arts extravaganza from China, will move in on Jan. 13 for a brief run, after “Irving Berlin’s White Christmas,” based on the 1954 classic film, moves out. “Shaolin” was performed at the 2008 Beijing Olympics. It will stay at the Marquis until Jan. 31. “Shaolin” is part of a new partnership between the Nederlanders and the Eastern Shanghai Cultural Film and Television Group that is called China on Broadway. The idea is to produce theatrical projects that can play on Broadway and travel around the world.
At the moment Mr. Landesman and Mr. Schoenfeld, at least publicly, are striking an optimistic tone. “Right now it’s clogged,” Mr. Schoenfeld said of Broadway. “There’s no shortage of shows.” Indeed, there are more shows than there are available theaters.
“I feel pretty good,” Mr. Landesman said. “We’re always worried that could change and possibly change quickly. But right now, I’m cautiously optimistic, and I’m hopeful we’ll ride this out.”
Theater Review | 'Jersey Boys': From Blue-Collar Boys to Doo-Wop Sensation: A Band's Rise and Fall (November 7, 2005)
Theater Review | ‘South Pacific’: Optimist Awash in the Tropics (April 4, 2008)
Theater Review | 'Equus': In the Darkness of the Stable (September 26, 2008)
Theater Review | 'A Tale of Two Cities’: Revolution (and Love) on Their Minds (September 19, 2008)
Theater Review | '13': Stranger in Strange Land: The Acne Years (October 6, 2008)
miércoles, 24 de septiembre de 2008 01:07
La lettre d'info du figaro
Le Figaro. Fr
Toute la collection: madame.lefigaro.fr/mode/defile ... iano/collection
Coming Soon Link: johngalliano.com
John Galliano: madame.lefigaro.fr/popshow/def ... mes/26808/69972
£300 - £500 ($539 - $898)
Vintage Film Posters
17 September 2008
London, South Kensington
Mire, negra, si me quiere,
soy capaz de ir a buscar
la virtud de la sirena
que está en el fondo del mar.
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/p0000007.htm
[2102 (Santiago del Estero)]
$800,000 - $1,200,000
The Modern Age: The Hillman Family Collection
5 November 2008
New York, Rockefeller Plaza
THE NEW YORK TIMES, 30 OCTOBER 2008
Miró at the Modern
The exhibition illustrates, step by step, exactly how Miró stalked and attacked painting — zapped its conventions, messed up its history, spoiled its market value.
Crisp, clear and chronological, the show reads like a combination of espionage yarn and psychological thriller.
“Joan Miró: Painting and Anti-Painting 1927-1937” opens on Sunday and remains through Jan. 12 at the Museum of Modern Art; (212) 708-9400, moma.org.
Arte al Dia Internacional, 15 de Noviembre de 2007 Newsletter semanal artealdia.com
EL SITIO RECOMENDADO pablodimasso.com.ar
THE NEW YORK TIMES, 19 SEPTEMBER 2008
Van Gogh at the Modern
Van Gogh painted “Night Cafe” over three sleepless nights. He was conscious that it both had the “ambience of a hellish furnace,” as he wrote to his brother, Theo, and that it used “six or seven reds from blood-red to delicate pink, contrasting with the same number of pale or dark greens,” as he wrote to his sister Wil, both on Sept. 9, 1888.
“Van Gogh and the Colors of the Night” continues through Jan. 5 at the Museum of Modern Art, 11 West 53rd Street, Manhattan, (212) 708-9400, moma.org. (Except for members and their guests, timed entry is required, with tickets available at the entrance at no extra charge.)
THE NEW YORK TIMES, 28 SEPTEMBER 2008, Travel
A Weekend in Brighton, England
THE NEW YORK TIMES 02 OCTOBER 2008
Paris/New York at Museum of the City of New York
In the beginning an eye-boggling 1935 advertisement for the French luxury liner Normandie, a floating Art Deco exposition in its own right, rivets your attention.
The ship has sailed into Times Square, alongside the monumental ziggurat of the Paramount Building. It is years ahead of the 2004 global-warming catastrophe movie “The Day After Tomorrow,” in which an ocean liner drifts up Fifth Avenue as far as the New York Public Library.
“Paris/New York: Design Fashion Culture, 1925-1940” is at the Museum of the City of New York, 1220 Fifth Avenue at 103rd Street, (212) 534-1672, mcny.org, through Feb. 22.
Related Article: French Taste Meets American Moxie nytimes.com/2008/10/03/arts/de ... ign/03pari.html
Museum of the City of New York: http://www.nytimes.com/slideshow/2008/10/03/arts/1003-PARI_6.html
THE NEW YORK TIMES, 29 OCTOBER 2008
American Ballet Theater at City Center
Arte al Dia Online, 06 de Noviembre de 2008 Newsletter semanal artealdia.com
WEB DESTACADA dianachorne.com.ar/index.htm
THE NEW YORK TIMES, 10 NOVEMBER 2008
Taking Africa With Her to the World
'Pata Pata' by Miriam Makeba, from the 2004 Heads Up album, Reflections 03:23 nytimes.com/2008/11/11/arts/music/11appr.html