"Newsletter" Aerolatino-Geba
(Aerolatino y todas las Danzas que se practican en Geba)
exclusiva para suscriptores, mié 26 noviembre 2008
Reciben esta Newsletter 498 suscriptores

[Foto Marcelo Dubini]<br>"El circo de Alberto Agüero" (1985-1990).
[Foto Marcelo Dubini]
"El circo de Alberto Agüero" (1985-1990).

El Show de Alberto Agüero 2008, Sinfonía en Tap, se presentará en el Teatro del Globo, Marcelo T. de Alvear 1155, 2 únicas funciones, 20.15 y 22.00.

Entradas en venta: Platea: $35, Superpullman: $30, Pullman $25

Club del Tejar
Sábados de 14 a 19:30hs
Domingos de 14:30 a 19:30hs

Nuñez 3802
Avda. Balbín (Ex Avda. del Tejar) al 3500
Capital Federal
deltejarclub.com.ar

Club Gure Echea
Martes 25, Miércoles 26 y Jueves 27 de noviembre de 19:30 a 21hs

Perón 2143
Entre Junín y Uriburu
Capital Federal
Subte A Estación Pasco, Subte B Estación Pasteur

Música para ir entrando en clima de show: alberto-aguero.com.ar
The Entertainer, 3:35, Scott Joplin, W.S. Trachtman, © 1996 by Warren Trachtman y otros temas

Sinfonía en Tap (Alejandro Lapeyre)

lunes, 24 de noviembre de 2008 21:55
Sinfonía en Tap

Alejandro Lapeyre

Aviso a los lectores de la Newsletter, cultores y/o fanáticos del tap que en el sitio web de Alberto Agüero podrán encontrar la información actualizada incluyendo el registro de días, horas, minutos y segundos faltantes para que se levante el telón.

alberto-aguero.com.ar

Sinfonía en Tap
Sinfonía en Tap
alberto-aguero.com.ar

Galas de Cultura Geba en Aldao, Viernes 24 Noviembre 2008 (Enrique Carmona)

lunes, 24 de noviembre de 2008 20:01
GALAS DE CULTURA 2008

Enrique Carmona

Foto Cristina Rivera de su serie "Alma de Bandoneón"
Foto Cristina Rivera de su serie "Alma de Bandoneón" [fuente]
cristinarivera.com.ar

ESTIMADO AUGUSTO: ESTE VIERNES 28 DE NOVIEMBRE SE REALIZAN LAS "GALAS DE CULTURA" EN EL TEATRO MARIO SOFICCI DE LA SEDE R.C.ALDAO
COMENZARA A LAS 20.30 HS. Y PARTICIPARAN ENTRE OTROS "TANGO BORQUEZ" Y "TANGO MICHELI". LA ENTRADA ES LIBRE Y GRATUITA. TE AGRADECERÉ QUE LO PUBLIQUES EN EL NEWSLETTER PARA QUE CONCURRAN TODOS NUESTROS AMIGOS AMANTES DE LA DANZA DEL 2X4 Y DE LAS OTRAS.-SALUDOS.- ENRIQUE CARMONA.-

Euro Convention a Beneficio de Mauro Monastra (Claudio Monteros)

lunes, 24 de noviembre de 2008 19:26
Euro * convention a Beneficio de Mauro Monastra

Claudio Monteros

Euro Convention a Beneficio de Mauro Monastra
Euro Convention a Beneficio de Mauro Monastra

Hola como estás?
Te espero para ser protagonista de ésta historia.
Ayudar a otros, mientras hacemos lo que nos gusta.
No faltes, Mauro y su familia nos necesitan.

Un beso
Claudio

Muchas gracias Claudio por tu iniciativa de difundir este proyecto y por participar junto a otros grandes profesores amigos! Tenemos un gran recuerdo de Mauro Monastra y nuestro aprecio y reconocimiento es permanente !

- Bailador! Sigue el programa y la tocante carta del querido Mauro. También indica como podemos participar.

Hacé click en la imagen para agrandarla :)

imagen imagen
Mauro Monastra

imagen Claudio Monteros Daniel Ibañez imagen imagen imagen imagen imagen

Adrián Andreani, Claudio Monteros, Daniel Ibañez, Marcelo Levin, Romina Samelnik, Michi Ciaburri, Pablo Ferrigno, Ulises Puigrós

Recuerdo que el 10 de Diciembre Tenemos el Show (Horacio de Dios)

lunes, 24 de noviembre de 2008 16:54
Newsletter Aerolatino-Geba, exclusiva para suscriptores, mié 19 noviembre 2008

Horacio de Dios

Hace algunos dias que no nos vemos en GEBA porque estuve de viaje.
Recuerdo que el 10 de diciembre tenemos el show.
Confirmame la fecha, hora y lugar porque quedamos en principio que iba
(solo) al primer show.
Y quiero pagar.
Un fuerte abrazo

1. Bien Horacio !
2. Sí, correcto ! 10dic2008, 20:15, Teatro del Globo ( alberto-aguero.com.ar )
3. Como usted quiera cabaiero ! (pero seguirás siendo mi invitado, un invitado que paga su entrada, jajajá !)
4. Te la dejaré en Geba
Un fuerte abrazo
Augusto

Ad Libitum en Calle Corrientes (Lucía Patricia Petrucci)

lunes, 24 de noviembre de 2008 11:25
AD LIBITUM

Lucía Patricia Petrucci

Ad Libitum presenta:

"De Poco un Todo"

sábado 29 de noviembre
El Vesuvio - Resto-Cultural
Avda. Corrientes 1187 C.A.B.A.

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, Edith Piaf y melodías inolvidables de películas, 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 sábado 29 de noviembre a las 21 hs. en El Vesuvio Resto-Bar - Avda. Corrientes 1187 Capital Federal.

Para reservas comunicarse al 5235-3322.

Para más información consultar: restoelvesubio.com.ar
Agradecemos su difusión

Payamédicos: Payamarcha del Amor y la Alegría 2008 (Claudia Tarazona)

lunes, 24 de noviembre de 2008 06:14
Payamédicos: Payamarcha del Amor y la Alegría 2008

Claudia Tarazona

PAYAMARCHA DEL AMOR Y LA ALEGRIA

Amor y Humor para un mundo mejor
Amor y Humor para un mundo mejor

Sábado 29 de Noviembre a las 17 hs. De la Facultad de Medicina a Plaza Francia.

Invitamos a todos los amigos a ponerse una nariz y marchar con nosotros no para reclamar lo que nos falta sino para desplegar lo que podemos.

La Payamarcha se realiza simultaneamente en todos los puntos del país donde hay Payamédicos: Buenos Aires, La Plata, Bahía Blanca, Neuquén, Rosario, Salta y Chaco. La foto de este mail corresponde a la última Payamarcha en Salta.

Recorrido: Concentramos en la Facultad de Medicina de la UBA a las 17 hs,(Paraguay y Junín) si traen vestuario pueden cambiarse en la facultad, sino, nosotros proveemos narices, si no te animás a ponertela igual podés acompañarnos. Cruzamos en diagonal la plaza Houssay, tomamos Córdoba hasta Callao de allí seguimos hasta Las Heras, Junín y así llegamos a Plaza Francia.

Porfi: difundir esta payainformación.

Aquí les adjuntamos el Payamanifiesto:

PAYAMANIFIESTO

Una marcha con buena Onda. Marchamos porque nos interesa mostrar una práctica y una manera de vincularnos con los otros, que queremos propagar como una risa contagiosa, como una melodía pegadiza.

No marchamos en contra de nadie sino a favor de todos Sin intención de protestar por algo ni reclamar nada, solo celebrar la vida e intentar tentar, de risa a los demás.

No vamos a acostumbrarnos a las terribles imágenes del mundo actual.

No queremos ver más pobreza, más violencia, más tristeza.

Para construir una sociedad mas justa en el futuro, antes de cualquier disquisición ideológica, religiosa o política, debemos ser mejores personas hoy.

Lo peor, lo salvaje del ser humano, lo vemos todos los días, nosotros apostamos a que prospere lo maravilloso, que crezca la sensibilidad, que broten las pasiones alegres, que proliferen los lazos tiernos, el amor al prójimo, y al que no es tan prójimo también.

Los payamédicos lo practicamos todos los días en los hospitales donde forjamos una medicina mas humana, donde trazamos arco iris de colores en las paredes grises y armonías alegres sobre el “silencio hospital”. Sabemos que hay muchos otros “minoritarios” diseminados por el mundo que, anónimos desde sus lugares, todos los días desparraman amor y su expresión social: La solidaridad.

Tal vez parezcamos locos, pero no somos los únicos.
CON AMOR SE PUEDE CAMBIAR EL MUNDO

Cursos intensivos de un mes, Febrero 2009.
Payamédicos Práctico: lunes, miércoles y viernes en dos turnos, de 17 a 20 o de 20 a 23 hs.
Payamédicos Teórico: martes y jueves de 17 a 20 hs.
Informes:

Video de Miriam Makeba (Ariel Lichtig)

sábado, 22 de noviembre de 2008 08:38
Miriam Makeba

Ariel Lichtig

Hola News.

Te envío este videito de Miriam Makeba, que tal vez sea del 2006, pero refleja una persona de la que sólo conocí el Pata-Pata. Y parece que había mucho más.

Ariel

Trinidad & Tobago

Miriam Makeba rindió homenaje al triste recuerdo de los esclavos

Miriam Makeba
PATA PATA
Miriam Makeba
PATA PATA [fuente]

Mostramos el video de Miriam Makeba en la reciente celebración del Festival de la Emancipación de la Esclavitud de Puerto España.“Mamá Africa”, como le llaman cariñosamente sus millones de fans en el mundo, tuvo una acogida inolvidable en Trinidad. En el siguiente video, además de verla cantando y bailando su legendario tema “Pata Pata”, se ven fragmentos de la rueda de prensa ofrecida por el Comité Organizador del Festival de la Emancipación en el Hotel Marriott de Puerto España, con intervenciones de Hazel Simonette, Roxanne Colthrust e Indiana Monteverde. Video: Idea original, cámara y edición: Raúl Sojo.

trinitobago.com Video del Mes, Duración: 06:02

http://www.youtube.com/watch?v=dGRoEIhA3Ck (video no disponible)

Grupo Alma Distinguido (Claudia Tarazona)

viernes, 21 de noviembre de 2008 21:26
Compartir una nominación

Claudia Tarazona

Hola Augus
Sabés que el miércoles le dan un premio a Susana, te acordás la coreógrafa del GRUPO ALMA que nos visitó en GEBA?
aquí va el aviso y la invitación a la entrega de premios. Además de Susi han premiado a otra gente que hace cosas positivas.
C

Gracias por la información Claudia !

- Felicitaciones la Profe Susana González Gonz que alguna vez nos visitara en la clase de Charly y nos acompañara en la danza de aquel día.

Queridos colegas, amigos y alumnos.

Estoy feliz de haber sido nominada para este premio, un reconocimiento a una labor que vengo realizando desde hace más de quince años, reforzando el derecho de todos a la danza , el arte y la cultura para elevar la dignidad humana y mejorar la calidad de vida de todas las personas
Por ser todos los que han apoyado este proyecto, parte de mi crecimiento, los invito a compartir este momento.

NOMINADO PREMIO SE HACE CAMINO AL ANDAR
EDICIÓN 2008

NOMINADOS PREMIO SE HACE CAMINO AL ANDAR
EDICIÓN 2008
Rubro: Capacidades Diferentes

Susana González Gonz – Grupo Alma- Proyecto Todos Podemos Bailar
Karina Vimonte - Somos lo que hacemos – Programa radial
Sergio Macyszyn – Panchería Discapanch
Adrian Lazz – ADISA

Susana Gonzalez Gonz
Directora Grupo Alma Cia. Danza Integradora
& Proyecto Todos Podemos Bailar
IUNA Dto. Artes del Movimiento
54-011-42088936/15-36182884
danzaintegradora.com.ar
Buenos Aires - Argentina

El Caso del Guitarrero es Interesante (Pablo Di Masso)

jueves, 20 de noviembre de 2008 10:32
Re: Solicitar Permiso

Pablo Di Masso

Pablo Di Masso
GUITARREANDO
2006
70 x 100 cm
Pablo Di Masso
GUITARREANDO
2006
70 x 100 cm
pablodimasso.com.ar

Caro Augusto,

el caso del guitarrero, que no guitarrista, es interesante y me alegro que hayas reparado en él. Un día de otoño, tras el primer mate, se le ocurrió una melodía. Atrajo la guitarra y la sintió caliente entre los dedos. Una sorpresa mínima para un tipo acostumbrado a las corcheas. En cuando dispuso los dedos, como arañas domesticadas, para escuchar la melodía que había criado súbitamente en su cabeza ocurrió algo que le dejó helado. Guitarra caliente y carne helada. Fueron las cuerdas las que escogieron los dedos para ir diseñando rasguido a rasguido, punteo a punteo, la misma melodía que había fantaseado un minuto antes, sólo que ahora había sido definitivamente perfeccionada sin que él tuviera la menor intervención en el suceso. Desde ese momento pasó del asombro pampeano a una sincera lucidez metafísica y acto seguido no volvió a sonreír. Sigue tocando como antes, como siempre, pero sabe que es la guitarra la que hace florecer sus imaginerías melódicas. Y se siente desposeído... aunque vende más discos que nunca. Y, ya se sabe, las guitarras no exigen derechos de autor. Para él, sin embargo, el dinero es lo de menos. Sólo desea recuperar la identidad de sus dedos. Un abrazo. Pablo.

Muchas gracias Pablo !
Conocemos la diferencia ! En Geba nos autoproclamamos bailadores, no bailarines .-)
Interesante el caso. Me parece haber escuchado que algo similar le ocurría a este muchacho Nerón con la lira, aunque no quedan registros de la calidad de sus obras.

On the Town, the Bernstein musical at City Center

The New York Times, November 21, 2008
THEATER REVIEW | 'ON THE TOWN'

Drop Me Off at Broadway, 1944

[Sara Krulwich/The New York Times]
Justin Bohon and Leslie Krizter in the Encores! production of the Bernstein musical at City Center.
Sara Krulwich/The New York Times
Justin Bohon and Leslie Krizter in the Encores! production of the Bernstein musical at City Center. [fuente]
theater2.nytimes.com/2008/11/2 ... ews/21town.html

By CHARLES ISHERWOOD

The fleet’s in this weekend, at least on 55th Street, where a radiant production of “On the Town” has docked at City Center through Sunday. Hop aboard the celestial subway train of Leonard Bernstein’s piping, pumping, altogether transporting music — this was the first of his handful of Broadway shows — and you’ll be whisked back to a time when New York, New York, was a wonderland of pleasure, romance and hot fun. Especially if you were a sailor with 24 hours to fill and found comely company to join you.

What’s that? New York is still a wonderland of pleasure and hot fun? Maybe you haven’t been reading the headlines. A certain global financial crisis has folks looking for fire sales, not to mention anticipating the hard times and mean streets to come. Never mind that now. Let’s forget Wall Street and even Main Street for an evening, and spend a few hours on the Broadway of 1944 with a genial cast of singing sailors hitting the city like fireworks.

The Encores! production, directed by John Rando, is the contribution of this musicals-in-concert series to the citywide commemoration of Bernstein’s 90th birthday, spearheaded by Carnegie Hall and the New York Philharmonic. The Encores! mission has always been to celebrate Broadway with the utmost integrity, and in this case the company honors Bernstein by performing all of the music in the score.

...

theater2.nytimes.com/2008/11/2 ... ews/21town.html

[Sara Krulwich/The New York Times]
From left, Christian Borle, Tony Yazbeck and Justin Bohon in the Encores! production of “On the Town.” Footloose in New York, the sailors try to track down Miss Turnstiles for June.
Sara Krulwich/The New York Times
From left, Christian Borle, Tony Yazbeck and Justin Bohon in the Encores! production of “On the Town.” Footloose in New York, the sailors try to track down Miss Turnstiles for June. [fuente]
theater2.nytimes.com/2008/11/2 ... ews/21town.html

“My Vaudeville Man!” at the York Theatre

The New York Times, November 19, 2008
THEATER REVIEW | 'MY VAUDEVILLE MAN!'

Back When Vaudeville Was King, and Tapping Could Aspire to Royalty

By CLAUDIA LA ROCCO

[Carol Rosegg]
Shonn Wiley and Karen Murphy in “My Vaudeville Man!”
Carol Rosegg
Shonn Wiley and Karen Murphy in “My Vaudeville Man!” [fuente]
theater.nytimes.com/2008/11/19 ... ews/19vaud.html

MY VAUDEVILLE MAN!
A new musical
MY VAUDEVILLE MAN!
A new musical
yorktheatre.org/VaudevilleMan.html

Death by alcoholism at 39 is not quite a happy ending. But “My Vaudeville Man!,” which is being presented by the York Theater Company, manages to tuck this bitter conclusion rather neatly into its upbeat finale. Who cares if you’re drinking so long as you’re dancing?

Directed and choreographed by Lynne Taylor-Corbett, with a book by Jeff Hochhauser and music by Bob Johnston (and lyrics by both), this show is based on the life of the tap dancer Jack Donahue, who hit the vaudeville circuit when he was just 19 and eventually made his way to Broadway. His book, “Letters of a Hoofer to His Ma,” provides the structure for this two-person musical, told largely through the correspondence of Jack (Shonn Wiley) and his mother, Mud (Karen Murphy).

All the clichés are present: the guilt-tripping, religious mother who loves her son despite his dubious career choice; the drunken, abusive Irish father; and, of course, the boy who fancies himself nothing like that father — the boy desperate to escape the drudgery of the shipyard for the pleasures of the stage.

The pleasures of the vaudeville stage are distinct, and distinctly colorful. They’re also wrapped up in many thorny issues of race, gender and culture. This is rich stuff: always vibrant, sometimes upsetting, deeply American.

But “My Vaudeville Man!” is neither upsetting nor particularly rich. It aims, instead, to please and amuse. The lows of Jack’s alcoholism and Mud’s loneliness never sink too low. But neither do the highs go that high.
Mr. Wiley is no Bojangles, but he has some chops, and he’s a silky mover. Jack’s “Tap Drunk” number with imaginary foes (“You don’t got to tap good/You got to tap last”) is one of the show’s most enjoyable, as is the duet he sings with Mud while imagining her as a fellow vaudevillian.

Ms. Murphy looks to be having more fun as a bawdy songstress than as a long-suffering Roman Catholic nag. And who can blame her? Even sanitized, vaudeville’s charms are undeniable.

Performances continue through Jan. 4 at the York Theater, St. Peter’s Lutheran Church, Lexington Avenue at 54th Street; (212) 935-5820, yorktheatre.org.

theater.nytimes.com/2008/11/19 ... ews/19vaud.html

Links:

yorktheatre.org

Perspectivas en Broadway

The New York Times, November 19, 2008

Tragedy Tomorrow, Economic Woes Tonight

OUCH!
[Photo illustration by The New York Times]
OUCH!
Photo illustration by The New York Times [fuente]
nytimes.com/2008/11/19/theater/19bway.html

By PATRICIA COHEN

[Michael Falco for The New York Times]
The Broadway producer James Freydberg predicts the financial downturn could bring “gigantic trouble” to the theater industry.
Michael Falco for The New York Times
The Broadway producer James Freydberg predicts the financial downturn could bring “gigantic trouble” to the theater industry. [fuente]
nytimes.com/2008/11/19/theater/19bway.html

Like most longtime Broadway producers, James Freydberg is used to getting loans. But recently he found that despite what he said was his perfect credit rating, his bank was not so accommodating. “Banks are unwilling or unable to loan money,” he said.

“We’ve seen economic setbacks before, but what we’re seeing now is very unusual,” said Mr. Freydberg, who has been involved with more than a dozen productions in the past 25 years. “For the first time ever, I’ve looked at our business and said this looks like gigantic trouble.” Investment capital is “the backbone of the industry,” he said, bankrolling the development of new work. As for the nonprofit theaters, a severe drop in donations and audience means “some nonprofits may go under.”

Not everyone is as pessimistic as Mr. Freydberg. Broadway is coming off a couple of its best seasons on record. While everyone suspects that there might be a handful of empty Broadway theaters in the spring, at the moment the big theaters are still largely booked, and most nonprofits have finished their fund-raising for this fiscal year.

More significant, though, is what happens when the next fall season comes round. Those in the industry wonder not only about empty theaters, but also about the effect on the stream of creative work. Will the money to develop and nurture new work dry up, shrinking the flow of innovative shows? Or could a forced financial diet actually improve quality?

The theater industry is squeezed on two sides, by producers and ticket buyers. Banks are sitting on their capital, fearful to lend. Many wealthy people have seen their portfolios lose millions, even billions, of dollars.

Emanuel Azenberg, who is reviving two of Neil Simon’s autobiographical plays for next fall, said, “People who normally put a lot of money in the theater — because they have a lot of money — are pulling back either completely or very considerably.”

Mr. Freydberg, who is working on a number of projects, said people who had previously invested with him have told him: “I love this piece, but I have no way of doing this. I’m scared stiff.”

Putting money into the theater is “a luxury, not an investment,” Mr. Freydberg said. After all, Broadway’s economics have never made much sense. About 80 percent of its shows never earn back their initial investment. The lure is the glamour and the thrill.

As for ticket sales, the producer Margo Lion said that family shows would probably suffer first because it is more expensive to take an entire family. Evidence has surfaced just east of Broadway, at Radio City Music Hall. Last month the theater scaled back the number of “Christmas Spectacular” shows to 216 from 225, including the cancellation of a show this past Sunday. For the eight-week holiday season, 225 performances is an unusually high number, according to a Radio City statement. However, canceling scheduled shows in advance is uncommon for that landmark theater.

More than just family shows would be hurt by a drop in tourism. Ten years ago visitors accounted for less than half of the Broadway audience; now they make up 65 percent, with nearly 16 percent coming from abroad. The weak dollar has helped; foreign ticket buyers grew by nearly 5 percent over three years. Since August, however, exchange rates have improved for the dollar.

On a smaller stage and with a smaller budget, some nonprofit theaters face similar problems. “These are very challenging times, as difficult as we’ve faced in 40 or 50 years,” said Roche Schulfer, executive director of the Goodman Theater in Chicago. “I’m concerned about institutional funding from corporations and foundations. Over the next couple of years we’ll have to figure out ways to do as much with less, doing smaller productions, for example.”

What does that mean for the creative side? For many nonprofits that develop new work, financing projects is likely to be tougher. Commercial producers often partner with a nonprofit in the early stages, offering funds both to develop and stage new shows, using what is known as enhancement money. In exchange for the cash infusion, the producer gets a team that will hone a show, along with the rights to transfer it to a commercial theater.

Many nonprofit theaters have become dependent on these funds. The Goodman, for example, has been working with Tommy Tune on developing “Turn of the Century,” a musical with classic show tunes. Mr. Schulfer said that he expected all the promised enhancement money for this show to come through.

Ms. Lion is developing a musical called “Catch Me if You Can” with the 5th Avenue Theater in Seattle. Ms. Lion, who recently decided to close “Hairspray” because of the downturn, said she didn’t dare ask for money now.

“I thought I would wait until after the inauguration to look for new capital,” she said. “I’m waiting for the new president to deliver a great address” and maybe even “some sort of stimulus package.”

As anxious as people are about the future, Ms. Lion said she believed there was also “a powerful sense of hope.”

“I actually find this very invigorating in a strange way; it’s challenging, there’s drama,” she said with a laugh. “I hope this spurs thinking about more innovative and cost-effective ways that don’t skimp on the pleasure for the audience.”

David Binder, producer of the Off Broadway show “Fuerzabruta,” suggested that “the bust could actually lead to a creative boom.” Now work is created only with an eye as to how it will sell, he complained.

“New York is so overcommodified,” Mr. Binder said. “While the kid in Greenpoint is creating the piece, he’s already figuring out how to sell it to HBO. New York is so expensive, and it’s hard to be here, and I think that really stifles creativity.”

Mr. Binder, who is also producing Moisés Kaufman’s “33 Variations” with Jane Fonda on Broadway, said that even some of the most innovative Off Broadway shows had not been able to find space because of the expense. “There could be some interesting alternative spaces because not everything in New York will be at full tilt,” he said, “and isn’t that exciting.”

Carole Shorenstein Hays, a longtime Broadway producer and theater owner, doesn’t see the possibility of a creative boom as limited to the fringes. In her view some of the nonprofits have gotten as big and bloated as a jukebox musical.

“Where is it written that there has to be a development arm and an administrative arm?” Ms. Hays asked. “When I started, there was no such thing as enhancement money.”

“Show me a great script, and they’ll be there like bees to honey,” she said from the Shorenstein Hays Nederlander office in San Francisco.

Rather than worrying about whether there are empty theaters, Ms. Hays said the industry needed to look at the work, and invest in artists in whom producers believe. “I’m not certain money is the be all and end all of art,” she said.

Ms. Hays has produced a long list of significant shows, including August Wilson’s “Fences” and “Gem of the Ocean,” in addition to “Doubt,” “The Goat, or Who Is Sylvia?,” “Caroline, or Change” and Suzan-Lori Parks’s Pulitzer Prize-winner “Topdog/Underdog.” She is planning a revival of “Fences” this season, directed by Ms. Parks.

Mr. Azenberg shares Ms. Hays’s view. “The single biggest problem is that Broadway used to be an equilibrium between money and art, and now it’s leaning much more toward money,” he said. While Ms. Hays’s recession plan would be to mount a festival of limited-run shows by emerging playwrights in Broadway’s empty theaters, Mr. Azenberg’s ideal solution would be a national actors troupe. He wants theatrical stars — Meryl Streep, Kevin Kline, Al Pacino — to commit to appearing in limited-run plays at least once every three years. (He has his eye on two Shubert theaters.)

“They only have to run three or four months, and you charge a normal price, no premium,” Mr. Azenberg said. “We’ve proven that in three months those shows can be eminently profitable. You might not be rich, but you can certainly make a living.”

Still, most everyone agrees that such radical steps would happen only in desperate times.

“Twenty years ago, when I arrived in this business, people were asking the same question, and things haven’t changed,” said Nick Scandalios, executive vice president of the Nederlander Organization, which owns nine Broadway theaters. Since the 1920s people have warned that theater is dying. “I’m actually a little bit more on the optimistic side,” he added, “but I know people out there are scared, just like they are everywhere.”

...

nytimes.com/2008/11/19/theater/19bway.html

Défilé Dolce & Gabbana P-A-P, Printemps-été, 2009, Prêt-à-porter

miércoles, 24 de septiembre de 2008 01:07
La lettre d'info du figaro

Le Figaro. Fr

Décryptage: madame.lefigaro.fr/mode/defile ... 6-dolce-gabbana

imagen

Toute la Collection: madame.lefigaro.fr/mode/defile ... bana/collection

Défilé Dolce & Gabbana P-A-P, Printemps-été, 2009, Prêt-à-porter

Bonus: madame.lefigaro.fr/mode/defile ... e-gabbana/bonus

bonus

Link: dolcegabbana.it

Photo Défilé Dolce & Gabbana imagen

Vintage Film Poster

Singin' In The Rain
1952, M.G.M., U.S. one-sheet -- 41x27in. (104x69cm.), (A-) framed
Singin' In The Rain
1952, M.G.M., U.S. one-sheet -- 41x27in. (104x69cm.), (A-) framed [fuente]
christies.com/LotFinder/lot_de ... bjectID=5115964

Price Realized
£1,375 ($2,461)
Estimate
£1,000 - £1,500 ($1,795 - $2,693)
Sale Information
Sale 5424
Vintage Film Posters
17 September 2008
London, South Kensington

El Logotipo de Hoy

Tapa Revista La Nación 2 de febrero 1986. Toda la magia del circo en Buenos Aires. [Foto Daniel Merle/LA NACIÓN]
Tapa Revista La Nación 2 de febrero 1986. Toda la magia del circo en Buenos Aires. Foto Daniel Merle/LA NACIÓN
alberto-aguero.com.ar/es/el-ci ... rto-aguero.html

Coplita

Vámosnos pues, mi negrita,
vámosnos pronto al sauzal,
por allá todos son buenos
porque no saben celar.

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/p0000007.htm
[2107 (Buenos Aires)]

Imágenes de Salida

CHRISTIE'S

HENRI DE TOULOUSE-LAUTREC (1864-1901)
Divan Japonais (Wittrock P11; Delteil 341; Adriani 8)
Lithographie en couleurs, 1893, sur papier vélin, état unique du Wittrock, entoilée, cadre
79.2 x 60.7 cm. (31¼ x 23 7/8 in.)
HENRI DE TOULOUSE-LAUTREC (1864-1901)
Divan Japonais (Wittrock P11; Delteil 341; Adriani 8)
Lithographie en couleurs, 1893, sur papier vélin, état unique du Wittrock, entoilée, cadre
79.2 x 60.7 cm. (31¼ x 23 7/8 in.) [fuente]
christies.com/LotFinder/lot_de ... bjectID=5147321

Price Realized
€29,800 ($37,706)
Estimate
€10,000 - €15,000 ($12,704 - $19,056)
Sale Information
Sale 5535
Art Impressionniste et Moderne
2 December 2008
Paris

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

Antonia Guzmán
SUEÑO DE GRANJERO
Acuarela sobre papel 30,5 x 22,5 cm
Feb 2003
Antonia Guzmán
SUEÑO DE GRANJERO
Acuarela sobre papel 30,5 x 22,5 cm
Feb 2003 [fuente]
antoniaguzman.com.ar/serie5_02.htm

THE NEW YORK TIMES, 30 OCTOBER 2008
Miró at the Modern

[Photo: Metropolitan Museum of Art, Artists Rights Society (Ars), New York/Adagp, Paris]
Joan Miró (1893-1983)
Photo: Metropolitan Museum of Art, Artists Rights Society (Ars), New York/Adagp, Paris
Joan Miró (1893-1983) [fuente]
nytimes.com/2008/10/31/arts/de ... ign/31miro.html

Then the painter comes back with a vengeance to demolish art history. In “Dutch Interior,” Miró takes an image from a 17th-century painting and turns it into a hostile clash of bloated, sluglike forms.

“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.

Related Article: Miró, Serial Murderer of Artistic Conventions: nytimes.com:80/2008/10/31/arts ... ign/31miro.html
Joan Miró: nytimes.com/slideshow/2008/10/ ... 031-MIRO_4.html

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

Pablo Di Masso
GUITARREANDO
2006
70 x 100 cm
Pablo Di Masso
GUITARREANDO
2006
70 x 100 cm
pablodimasso.com.ar

THE NEW YORK TIMES, 19 SEPTEMBER 2008
Van Gogh at the Modern

[Photo: Musée d'Orsay, Paris, Reunion des Musées Nationaux/Art Resource]
Vincent van Gogh (1853-1890)
“Eugène Boch (the Poet)”
Photo: Musée d'Orsay, Paris, Reunion des Musées Nationaux/Art Resource
Vincent van Gogh (1853-1890)
“Eugène Boch (the Poet)” [fuente]
nytimes.com/slideshow/2008/09/ ... 919-GOGH_9.html

It is joined in the final gallery by three very different paintings. Van Gogh’s portrait of “Eugène Boch (the Poet),” at left, shows a thoughtful young man, depicted mostly in yellow, seen against a more restrained, but deeply blue night sky. “The Garden of Saint Paul’s Hospital” depicts dusk turning the shade of trees into darker ochres.

“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

[Photo: Jonathan Player for The New York Times]
The Lanes District is an ideal spot for people-watching over a pint of ale and a plate of local grub. The Druid's Head is in a cozy 16th-century building with enough dark wood to keep potential druids happy.
Photo: Jonathan Player for The New York Times
The Lanes District is an ideal spot for people-watching over a pint of ale and a plate of local grub. The Druid's Head is in a cozy 16th-century building with enough dark wood to keep potential druids happy. [fuente]
nytimes.com/slideshow/2008/09/ ... BRIGHTON_7.html

THE NEW YORK TIMES, 29 OCTOBER 2008
American Ballet Theater at City Center

[Photo: Andrea Mohin/The New York Times]
Jose Manuel Carreño and Hee Seo in "Overgrown Path."
Photo: Andrea Mohin/The New York Times
Jose Manuel Carreño and Hee Seo in "Overgrown Path." [fuente]
nytimes.com/2008/10/30/arts/dance/30flin.html

Le Figaro.fr, 22 de Noviembre de 2008
Enquêtes Dior fait sa révolution culturelle

[D.R.]
Wang Gongxing. Synchronisation. Installation vidéo (13×11 m).
D.R.
Wang Gongxing. Synchronisation. Installation vidéo (13×11 m). [fuente]
madame.lefigaro.fr/culture/enq ... tion-culturelle

The New York Times, Book Update, 23 November 2008

[From “The Chicagoan”]
Neil Harris, The Chicagoan: A Lost Magazine of the Jazz Age (University of Chicago, $65)
From “The Chicagoan”
Neil Harris, The Chicagoan: A Lost Magazine of the Jazz Age (University of Chicago, $65) [fuente]
nytimes.com/2008/11/23/books/r ... l?8bu=&emc=bub1

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