Nipple Sucking By Husband

Juan Carlos Esteban Carlos Gardel - DOCUMENTATION RECORD OF NATIONALITY

A PASSPORT " Trout ", a celebration of silence and a TRUTH that strives to reveal.

Many fantasies are woven around the singer Carlos Gardel, making it difficult to determine when we are dealing with true events or not.
The passport was found among the possessions of "Creole Thrush" has its share of mystery.
He was issued at the Consulate Argentina in Nice on December 13, 1932. Mrs. Clara Koser
published photographs of the latter's passport singer on your page:
http://gardel.us/pasaporte_1933
Analyze it takes compared to the photographs posted on the page: http:// www.gardelweb.com/gardel-pasaporte-de-1932.htm , which tells a story about Johnny Pecci, who allegedly put their thumb on the passport replacing Gardel.
The fact, that may be true or not, contains some "errors" apparent contradictions.
The author of the note; Juan Carlos Orofino, the last published 4 passport photographs Gardel, calls it "Trout", among other things, thanks to "anonymous collaborators" and said:
"1) - We believe that publishing this document Full is a curiosity of high interest for fans of Gardel.
2) - The picture of thrush is "cut" and out of frame . proof of "truchaje."
3) - In the photo number three (Passport 3) fingerprint appears Juan Pecci replacing the Gardel, another "irregularity" features almost humorous.
4) - To complete the "truchaje" in photo number two (Passport 2) the source is stated "Uruguayan" Gardel. "

Left Photo JCOrofino published. Right: Photograph published in: http://www.leopoldobarrionuevo.com/QUINTAEDICION/DondeNacistesCarlitos/tabid/263/Default.aspx

As can be seen in the first foul the seal of the consulate is going on photography and changing the position of the box. In both pictures, the signature of the consul who is on the photo matches the one on the bottom of the page.

Comparing both pictures, plus the published by Ms. Koser, claims Mr. Orofino I deserve the following considerations:
1) - The complete document appears not , played only 4 pages. The "texture" of the pictures 1 and 2 is different from the pictures 3 and 4, which suggests that even always the same document were copied or photographed in different locations.
2) - The passport page where Gardel is the picture of publishing Orofino, not match other existing passport photographs scorch Carlos Gardel, lack the seal of the Consulate and has exaggerated the "out of box."
3) - I can not prove that the fingerprint that appears not Pecci was to, because that only an expert can determine who has access to the original document, but it is unimaginable that Gardel has been so irresponsible as to get back out of Argentina with a false passport. Indeed, he could replace it with a new law. However, the November 2, 1933, RENEW THE SAME PASSPORT that obtained in Nice, (running the risk of being back on tour with a document that "say" that was "adulterated"), knowing that would flow into countries where laws severely punishing such fraud.
Orofino, despite stating that "fingerprint experts of the police investigation of the Province of Buenos Aires" confirmed that "there are two different tracks. As for the avoidance of doubt the "truchaje" fails to mention the names of the experts allegedly made such a finding. It is expected that they have made the original documents and not to the photos they post.
4) - Contained in document Gardel Uruguayan origin, because that was the nationality the singer confessed and signed in the handwriting alive at the time of application the only legal document that was, to which signed contracts, buy property, bank accounts and had traveled. Would have been too risky to perform many diverse activities under a pseudonym o una identidad falsa. La legalidad de este documento ha sido confirmada por profesionales idóneos uruguayos como los doctores Payssé González, Carlos Arezo, y el escribano Freddy Gonzalez Araujo. No se conocen en cambio los títulos que acreditan sus descalificadores.

Todo lo dicho anteriormente conforma el extraño razonamiento francesista y evidencia que, a la hora de adjudicarle a Gardel la nacionalidad francesa, considera válido todo tipo de testimonio o irregularidad documental, a la vez que considera “trucho” todo documento o testimonio que sugiera su orientalidad.

He visto oponer los más ardientes argumentos a la validez del testimonio irrefutable que muestra a Gardel photographed doing her schooling in a school Montevideo, arguing that a photograph identified with the accuracy of fingerprinting or school fees, but is that all these considerations are aside, if the French shore question , and seems believable, natural and even humorous, that Gardel has traveled for 3 years with a passport that had the fingerprints of another person without that catches their attention that this document will serve as identification for his photography just . Identification deemed valid enough to allow it to pass all controls customs without difficulty - even if false fingerprint -.

I think should be mentioned that the photographs of the documents of the time they overlapped the seal of the division that they issued, they did a "crushed" with the number of the document were signed over by the official of time.

If a photo already used in a previous paper we cut him the seal of "crushed" and the signature overlay, there is little salvageable.

Among the photographs published by Ms Koser, we see in the picture 10, the passport of Nice, specified as follows: Passport: No. 383,017, awarded by Federal Police , Buenos Aires , Date: November 25, 1930. (The passports were valid for two years, then was the 1930 Gardel's passport had expired in Nice).

the end of the published page passport No. 383017 , whose renewal date: November 25, 1930 , after the passport requested in Nice. Below the number says "portrait and badge number must be the same" . (Emphasis in red). see the "crushed" photo to the right of it. The picture is not sharp enough to see the overlay of the official signing, but is the photo that says it "took off" the old passport to attach to the back.

Based on the above I am inclined to think that the passport had Gardel in his clothes at the time of the accident was legal and not "trout."
information published
A by Mr. Angel Yonadi, Forum Club de Tango, opposes an interesting testimony Batistella Mario, die by the episode Pecci Ventimiglia:

Mario Battistella, the renowned composer who successfully perform many tunes with Gardel, the story makes us a laughing joke that Carlos did to some friends. "The singer had come to Ventimiglia (Italian border) to take the train that would take him to France, when four people came to him on behalf of the law give warrant-Why? - Protested Gardel-" Me. ..? Since the explanations do not convince the "police" is invited to attend the sectional. Gardel, resigned goes where it suggestion indicated Juan Pecci, Argentine musician who was working in those places, who to calm him said: "Do not worry, Carlos, I know the commissioner and then you settle the matter. Meanwhile, wait with them at the cafe where I am acting to right back. "Returned a few minutes Pecci happy to explain that" it was all a misunderstanding "and everything returns to normal after the police apologize to Carlos for the mistake .- "Yes," says the singer-but that prevented me to make me miss the train, "protested Charles - To ease the inconvenience and wait out the next train, the standard order of business Pecci and the police served cognac. Carlos drank believe that celebrating the misunderstanding and improvised the bandoneon Pecci Carlos sang some tangos a low voice, passing a most enjoyable time together. When I went to say goodbye to the station and once Gardel was already sitting in his seat, Pecci and told police: "Hey, Carlos, we have to confess one thing. What the " police "was a " Macanaz " to keep you a few moments with us, right brother!" and released a loud laugh. " Now Magazine
** June 22, 1954 ** No. 2192

magazine "Now" played a note published earlier by the magazine Radiolandia the June 11, 1949 in which Batistella afirmaba que lo de Ventimiglia fue un "macanazo" para retener a Carlos un momento con ellos.

En la revista Tanguera del 24 de Junio de 1963, aparece reproducida la misma fotografía que publica Orofino donde se ve a Gardel con Pecci, pero en ésta se ve que Batistella estaba también allí. Hay un error en la fecha porque no pudo haber sido 1936.

También Avlis en su libro: "Carlos Gardel, Alegato por la verdad", pág. 19, reproduce el testimonio de Batistella con algunas variantes, sin especificar la revista:

"Lo que verdaderamente ocurrió en el pintoresco suceso está relatado por one of the stars of the same, who lived those moments when traveling with Carlos Gardel and then the story in a series of notes of a popular magazine in Argentina. Is the author and screenwriter Mario Batistella, now disappeared.

said then (1932) were being detained on suspicion of espionage travelers Czechoslovak.
This is the story of Batistella:

"We came to Milan to Gardel Ventimiglia, Italian border with France, and we arrested four individuals who gave us the warrant.
knew that at that time many Czechoslovaks were arrested on charges of espionage. Charlie said: "Che old, these bullrings Czechs believe that we are."
"Cops" had exhibited the medals that we do not look nervous at all.
"As we walked with them towards the police station, approached Juan Pecci, Argentine bandoneon player hired by the American Bar, Ventimiglia, Gardel knew many years ago.
"Wait, brother, that I fix this - he said - and spoke with" police "to speak out then:
- Ready chicken. Give me the passport and I go to the police station. You, to make time, go to the American Bar And wait.
- but we will miss the boat! argued Gardel.
- No matter - said Pecci - have one each quarter time. Within 15 minutes
Pecci was telling us that everything was fixed. But we lost the train.
- Who cares?; Within three hours with the other, said now ...
And we went to the American Bar. Pecci started playing the bandoneon and Carlitos to sing. Then we went to the station. When you start the convoy, we hear this dialogue between Gardel and Pecci:
Gardel - Thanks bro, for saving me from the police! Without you we were in "naca" ("cana" backwards) by Czechoslovaks.
Pecci: - Forgive me, old man, but the police was an invention of mine. Have you wanted an afternoon with us.
train noise suppressed the answer to Gardel. "

ººººººººººººººººººººººººººººººººººººººººººººººººººººººººº
Part 2
What silences page Gardel Web

There is much more, has been omitted to mention in its note:
The report, with photo Pecci is on pages 588 to 591 of Volume II of "The Tango, a century of history" of the Buenos Editorial Perfil SA Aires, published in April 1992:

"El Pibe Ernesto TAUGHT ME TO PLAY THE VIOLIN" counts as Pecci started with tango and other details, also played for many years with Bianco's orchestra, which competed with that of Pizarro. After that the name of the star, the dialogue goes like this:
"- You know him from Gardel Buenos Aires?
" Curiously not. I met him in Paris, where he was acting ... Then I met again in Nice but in very different circumstances. I was spending my vacation. The detainee was there because her passport expired. Then they called me because I was told Argentina had an arrest. When I saw surprised me. I asked him what was wrong and he replied: "You know
these longis not let me pass?
He asked me to renew the passport and to leave a message to Madame Wakefield who lived in Villa Cimiez. I went to the consulate where the consul Olazabal handed me a new passport to Gardel (which I had to put my fingerprints) and then I went to the house of Madame Wakefield to advise you that Carlos was arrested. ERA 1931. AND HE WAS MET BY FORTY NINE YEARS AS AT THE VILLA cimiez expected with a GREAT RECEPTION FOR YOUR SITUATION WANTED TO ADVISE. FORTUNE FOR ALL soon be clarified. "

The episode, according to the date it bears the passport should have happened in 1932. Pecci
speech that Mrs. Wakefield also expecting a large reception to celebrate its 49 years, which would Gardel met two days earlier, which would place his birth in 1883.

Interestingly, a year later, Gardel returned to celebrate his 49 years in Paris, accompanied by Manuel Sofovich, Armando Define, Horacio Pettorossi, Alberto Castellanos, Alfredo Le Pera, two friends of Mme Wakefield marriages and her companion. It is clear that the singer had difficulty accepting the turn of the decade and confess that meet "half wheel" or 50 Pirules. Manuel

Sofovich, critic and journalist, intimate Gardel's birthday present it in Paris in December 1933, reported three times in his diary News Charts (September 9 / 53, March 24 and 25/60) the same story, but with variant style. Stipulate that, at some point, Gardel said "Boy, do you realize what 49 years meet?". And so there is no doubt a typographical error, pointing to the final with a celebrated Napoleon cognac "juveniles 49 years of Gardel."

Sofovich believed to Gardel born Toulouse, and arrived in Buenos Aires still an infant, with Berta Gardes, but realizes that being French , Gardel would have died at age 44, two years after it celebrated its 49 years.
Confused saying that Gardel went to Toulouse after the meeting at the Cafe de Paris. Gardel had traveled to Toulouse BEFORE, at a date closer to his birthday.
http://www.geomundos.com/cultura/gardeloriental/manuel-sofovich---gardel-cumplio-49-anos-en-1933_doc_11616.html

Sofovich Manuel's presence at the birthday and the subsequent reaffirmation the age of the singer made in three publications, is omitted in the entries for that meeting made by Armando Define, Simon Collier, Miguel Angel Moreno, Guadalupe Aballe and probably other French supporters of Gardel.

We can not determine if Pecci who lack the truth or whether it was a misunderstanding of journalism.

Sardinia Pedro's friend points out to us that, another episode occurred a few days earlier, also narrated by people who believed in the French Gardel, juicy offer data for analysis.

Simon Collier, in his book, pg. 187, says:
"Gardel Defino wanted his friend to meet his French family. They traveled by train to Toulouse, where they stayed in the hotel from the station to not disturb the family Gardes. Once in the house, Jean Gardes Pernod served them ...(...)
... Back in Paris, Gardel wanted to say goodbye to his old friend Manuel Pizzarro, who had just opened another nightclub (where he worked until war temporarily removed him from Paris) that was called Chez Pizzarro with some logic. Mrs Wakefield, meanwhile, offered the singer a sumptuous farewell dinner in a private room of the Cafe de Paris. Several friends of the lady were there along with a group of Argentine ... "

Bricheteau Christianne, in his book: " Carlos Gardel / FAMILY TOLOSAN, "another witness referred the same episode:

"Mrs. Jane Ceyte-niece of Cassagne, former tenants and friends of the family-Gardes, currently has 81 years of age and remember:

" My aunt, Mrs. Cassagne, was invited to a dinner in honor of the singer and his manager. (1932) I was 12 years old and I went along. I was dazzled by the beauty of white leggings were Carlos and I define. Gardel was very elegant! Charlotte
Gardes and her husband talked about him with great respect and call him Lord Gardes. "
amazing thing of this report is that at no time neither defined nor Ceyte Mrs mention that "Mr. Gardes "has celebrated his birthday in Toulouse , his family alleged Toulouse, exploiting the fact of being right at his supposed birthplace, with his alleged biological family on the anniversary of his birthday.
A unique opportunity evidence that nobody thought to mention Gardel's birthday there, for the simple reason that the singer was not absent or late Charles Romuald Gardes.

Can anyone find some justification to the fact that Gardel, on numerous occasions, has celebrated his birthday with his friends and has avoided celebrate with his supposed mother and Toulouse family at a time and place suitable to do ?

this attitude is justified only in the case of the undocumented Gardel was actually born in Tacuarembó around 1883, he used the identity of the French to get by in society until they could purchase their own.

neither lying, cheating, or opportunistic or "live" only a man of integrity whose discretion and respect for the family of his biological mother, prevented him from revealing the truth of their origin, but somehow needed to solve the problem of the undocumented.

View full document:

The last legal document used Gardel

http://sites.google.com/site/eluruguayocarlosgardel/-documentos-oficiales-de-garlos-gardel/-e-el-ultimo-documento-de-gardel- - passport-found-between-your-clothes-in-medellin? pli = 1

.

How Long Does It Take A Check

तेक्स्तो

CULTURAL MOSAIC CLUSTER VALDIVIA
cultural activity Invite quarter Cycle Benjamin Art Gallery.
cordially invites you to the fourth cultural activity of the "Cycle of Art" Gallery Benjamin, in the presence of prominent writer-National Prize for Literature Rauskin Paraguay-James, whose work will be discussed by the poet Omar Lara.

For its part, the visual artist Claudia Retamal present an exhibition of paintings and musical accompaniment, the presence of singer Don Luis Carvajal.

I hope on Friday August 29 this year at 20:00 in Commercial and Cultural Gallery, Chacabuco Caupolicán corner.

Valdivia, August 2008

www.agrupacion-cultural-mosaico.blogspot.com
http://agrupacion-cultural-mosaico.blogspot.com/2008/11/fercoval.html


BELOW text VON IVAN LIFTNER created for this exhibition

maquinaparavolar.blogspot.com

How Many Calories Do You Burn With A Sauna Suit

TALK ABOUT ME CLAUDIA AND HIS WORK IS EASY, BUT NOT BY YOUR BILL FOR INSTANT MESSAGE AND ITS CONTENTS. Restless and strokes that can take us COLORS FROM THE AIR TO THE MICRO. Lines that seem random but was lead to a significant, sometimes so strong and at times so subtle.

COWARDS IS NOT DEAL WITH HIS WORK, HE SHOULD HAVE THE COURAGE TO HEED THE OBVIOUS AND PERHAPS, IN ONE OF THOSE, OWN FACE IN THE MIRROR.

CLAUDIA TALK ME AND HIS WORK IS EASY, BUT NOT BY YOUR BILL FOR THE ENVIRONMENT INVITES YOU TO LIVE IN, THOSE POSTCARDS "Earthquake" WHERE NO FORMAL STRUCTURE HAS BEEN STANDING IN CONSTANT SEARCH WHERE IS THE LIGHT, COLOR AND SPACE, THE SPOT WHERE NATURE STOPS AND STARTS TO BE LANGUAGE.

THANKS CLAUDIA.

Exchange Of Vows Words In Spanish

GARDEL

Having come to light research on Argentina's Martina Iñiguez Carlos Gardel's schooling at a school in Montevideo, at the same time that Bertha Gardes arrived in Buenos Aires with his son Charles Romuald, two years and months, which proves the existence of two children , it is imperative to re-emphasize on the documentation used Carlos Gardel in his lifetime.
criticizes the French have strongly reiterated by misinterpretations of our legislation, including irony, insults and diatribes about who made the comments on the subject.
In principle, our attitude has been passive, we have not responded to the conclusions they have arrived with ill intent, but with so much verbiage, we give our contribution, with a positive legal analysis on the main documents of the protagonist.

1 .- REGISTRATION OF CITIZENS. ANALYSIS OF THE LEGISLATION
Acts Nos. 3028, 3029 and 3030 promulgated May 21, 1906 in the government of José Batlle y Ordóñez, regulate the consular, having on the organization of the consular corps, organization of diplomatic and consular rights fee. The corresponding decree for the implementation of these standards, recently was approved January 17, 1917 by President Baltasar Brum.
On the issue that concerns us, we emphasize the art. Act 33 of 3028 which prescribed the functions of consular agents, which gives officers the quality of Civil Status Register of notaries and translators of documents.
For its part, the decree in Chapter XIII of powers in relation to citizens Uruguayan Section II relates to the registration of citizens.
For Uruguayan citizens residing in foreign country may have the assistance or protection of consular agents and enjoy the rights and privileges that are accorded the laws or treaties are required who are registered in the Register of Citizenship (art . 82).
To this end, there are two types of entries, the first being the general, including those with documents from Uruguay and second which arises from a special procedure for those who lack such documents (art . 85).
In the general scheme or registration documents, should promote the process of displaying any document related to the art. 84, birth certificates or marriage certificates issued by the Civil Status Registry or church records, certificates of registration at another consulate, and any other authentic document issued by the authorities of the Republic.

In the second scenario, the exceptional standard, allows consular officers to register with the Registrar of the Registration, undocumented Uruguayan citizens, through a personal statement in the minutes signed by the registered, with the justification of citizenship Uruguay by two credible witnesses, national, if possible, which should also sign the respective minutes. (art. 86).

2 .- SUPPLEMENTARY PROOF OF STATUS

The city registration is registration in a record is made of people with the efficiency determined by laws or regulations and the subsequent effects they have (Cfme. Encyclopedia Legal OMEBAT. XIX, p. 130. - year 1964). Registration of citizens
undocumented by the consular agents is evidence of the State Civil extra. In fact, our Civil Code already provided in the absence of the testimony of Civil Status, replacing them authentic , by statements from witnesses to the facts of the status issue and in default of these tests the notorious possession of the marital status (art. 44).
Our country has been very generous in facilitating the entry in the records and Uruguayan undocumented immigrants who came from the most remote places on earth, with the impossibility of getting your originals.
In conclusion, the marital status of a person, is tested by normal means, the testimony of the records incorporated into the records of State Civil or extra tests, which are regulated by the Civil Code or special laws, such as the exceptional case where the law prescribes consular organization.

3 .- THE DEFINITIVE REGISTRATION CERTIFICATE

certificates and testimonials that are deducted from the civil status registers are public documents that he says, makes it certain states or something.
The certificate mentions that there is the inscription on one record and the transcript contains testimony from the minutes of registration
The decree of 1917 in art. Consular Agent 86 empowers the party concerned with a certificate of registration, the validity of one year. Art. 69 of decree determines that the actions authorized by the Office of and within the limits of its powers are full faith.
is, not to be confused entry in the registry that is permanent, the certificate or testimony, which only meet in order to prove the existence of registration.

4 .- IF GARDEL: Registration of Uruguayans.
Carlos Gardel in 1915 when it was not yet famous singer in his debut with José Razzano, at the Royal Theatre in Montevideo, the show's program, recently brought by the family of boxer Angelito Rodriguez, Uruguayan also engaged in an evening boxing on the same day and place includes the words the debut of "national duet" and "duo Creole Gardel-Razzano. The next day, the comments of the press, talks about the "young fellow" information given by the newspaper "Time" of Montevideo.
Thereafter, this increases the level of successful performances, so it implies the need to require a solution to the serious problem of identification. Having noted the recent
Uruguayan legislation to regulate states in documentation for Uruguayans abroad, Carlos Gardel is presented on October 8, 1920 to the Uruguayan Consulate of Buenos Aires.
Under consular laws of 1906 and the Decree of 1917, processing your application for registration of citizenship in the file serial number 10052, which states he was born in Tacuarembo, Uruguay, on December 11, 1887, be singles, artist, residing at Calle Rodríguez Peña 451 of Argentina's capital. The data filiatorios, referred to as Carlos father of Uruguayan , died, and mother to Mary, of the same nationality, also deceased. In place reserved for the "evidence presented" no evidence presentation any previous document. Include the name and signature of two credible witnesses, Razzano and a policeman living in Buenos Aires, Juan Laguisquet, both Uruguayan.

precaution is that in all documentation used during his life Gardel, none of them found his supposed mother Bertha Gardes, heiress turned into a holographic will, French alive in 1920, then just left to exist in 1943.

5 .- THE EFFECTS OF THE DEFINITIVE REGISTRATION
The necessary conclusions are as follows:
A) The personal appearance at the Uruguayan Consulate, integrates the category of cases Car registration, made possible by Article 86 of the Decree of 1917, Uruguayans abroad totally undocumented.
B) fulfilled all the formalities required by special legislation regulating the organization and consular Consular Agent acted within the limits of the powers he had to receive this exceptional type of registration of citizens.
C) The content of the minutes, was freely expressed by the respondent and witnesses corroborated by "reliable" nationals, persons of knowledge of him.
Consequently, the document was issued by authority competent within the limits of its powers, in the manner required by law and as such is a valid, effective, credible and binding for all purposes constitute an approval of an extra marital status, that validates it as such.
This certificate of registration has national registry value, extra records of Civil Status. is the extra test document of the registration of civil status, in the Book births, the birth of a human being. constitutes the identity of replacements for the birth certificate. Moreover was never contested or discussed during the lifetime of its owner, a fact which supports its effect.

LEGAL CITIZENSHIP 6 .- ARGENTINA:
With the certificates of registration issued by the Consular Agent Uruguayan, Carlos Gardel, then pass through the sieve of many steps that allowed him to obtain other documents which confirms the contents of the statement in the registration certificate of registration in the Uruguayan Consulate in Buenos Aires.
a few days, get the November 4 Argentina identity card No. 383017, which also has its source in Tacuarembó.
subsequently requested on March 7, 1923 the Charter of Citizenship Argentina. For this purpose accompany the testimony of two witnesses and two records, the birth certificate of the Consul of Uruguay and a certificate of good conduct issued by the Police No.218.125 the Federal Capital dated February 15, 1923, awarded by the Chief Research Eduardo Santiago. Having chosen
legal citizenship Argentina involved a voluntary decision, free expression of choice, volition and consciousness. It was a recognition of his artistic home, which nobody can deny.
Of course, such as imposed a solemn commitment to comply with the legal regime of their new homeland. Argentina
This citizenship certificate based on successful Nationality Uruguayan registry, was used to obtain personal documents, enrollment Book of June 21, 1927, the endorsement letter from Paris on March 16, 1931, the passport of Nice on 13 December 1932 and the card identity issued in San Jose, Puerto Rico on April 20, 1935. Consistently said in all his birth in Tacuarembo, Uruguay.

Arezo Dr. Carlos Posada Carlos Gardel Foundation Pte

CI 3226620-6

How Fast Can Herpies Go Away

मेस देल

Fuse Panel For A Polaris 425 Magnum 1995

INTRODUCTION

The objective of this area of \u200b\u200bresearch that promotes Playwrights Association of Cordoba, is to publish trials relevant to the drama in general, pointing to the knowledge of it as textuality, item, or tool in the performing arts. To decipher their function, their development, process discipline is as diverse as theater. Each test will have a look on the dramatic interpretation made by the author or by other authors that analyze in order to study drama, telling about his vision of it, the mechanics, or simply walk through the scenarios of Cordoba world.
Thus, authors who want to expose or give clear about the task authorship in the theater, must have an essay no longer than 600 words, submitted in hard times new roman, in size 12, justified, putting the full name or nickname, and theatrical profession, as well as the place of origin. All materials will be sent to the editor of this website we posted. Fernando Zabala

Editor

Women Volley Ball Cameltoe

Well it has to determine that meaning in the authoring stage, and in developing practical skill for rhythmic synchrony, semantic, syntactic or stylistic and appeasement of an author and the scenic setting, as well we talk about the writing of the director or of the relationship established between the different languages \u200b\u200bthat mean in the show, or the partner in question, fractal or hermeneutic, to establish the similarities between cinema, theater and TV
The truth is that consumerism, the cultural industry, globalization are posing a drama : the theatricality of public space, the outdoors, open space: Sanniones, planipedias, AQUACER, acrobats, tightrope walkers, predistigitadores, mime-actor, androgyny, misogyny, in order: ioculatoris and maleficus domini.
This internationalization, or abstraction of the word primarily prevents the singularity, and allows just the same, by the standards and rear, native and foreign. Replace, reduce or sublimated body's ability Interpretation; variety of corpus; icons on crossroads, uncertain of chance; widget on construction, culture on art.
not so new drama to be exact. Agreeing in advance that any return, or return, or return circunvolición is a spiral, as the curved mirror of our love.
not so new drama to be accurate because the culture industry from the 60's was asking for the sake of efficiency, globalization, the universality of art, the abolition of the word as formal and material impediments to achieving communication.
not so new drama, to be exact, because empires (From the Egyptians to contemporary) and have always behaved so universalesca urged to enable them, first of all, remove the singularities, or reduce them to the superfluous, the baroque decoration, to create and strengthen a single and unique identity: the empire.
is no doubt that this dramatic regress to lead and be in your protoescenario, to their original sewer, to your specific audience: the stadium, racetrack or both pride in the Rio carnival and how pleasant was to Constantine. Stadium
urged to revamp its phallic spectacle to occupy the place it belongs par excellence. (Oh coincidence) and moving (who believe it!) in the same direction, incubating, the other trainees brewing gesticulating actors, peers: the player, who every day is early testing and debugging the first steps, choreography and gestures, and the public has already anticipated, strangely elements constitutive and structural origin of its orgiastic catharsis. Theatricality
without drama. Pan, because the action itself, and as a movement or as an image, a flower of a day, as needed, but not the development of impersonation for the new, which is not bad it is surprising and refreshing to the viewer's retina, passenger, also urged hebrio and emotion without feeling paroxysm without ecstasy, grandielocuencia no wisdom, no individual serial numbers: mass, imperial sounding.
It is reasonable to also ask why this has occurred throughout human history what other dramas catechumens and island appear and oppose the delusions of power and lust. And how? And why? And for what? And where? And how do they differ? And why are they different?
Maybe then we could talk about dramas: the existence of this polarization, and the alternations against imperial homogenization.
The current rhetoric seems more like the ghetto IDOLIZE paradise lost.

Phanor Teran of Colombia
(playwright, essayist, researcher)

What Kind Of Shoes Do Ravers Wear 2010

Playwriting THEATER, A TOOL IN THE HAMLET MACHINE ON SCHOOL

When talking about "theater in the school" is usually understood as an activity whose purpose seems to be the public performance of a text (either by a specific author or collective creation from the trials and improvisation) at the end of the year or other special days ...
course not excluding that possibility, the books published by De la Torre in his collection "Alba and May Theater" ("The Thief Words "," Mysterious Shadow "," My friend speaks Fremd rare "by Antonio de la Fuente Arjona, and even "The girl did not know she was" Sury Sánchez) fantasize about a proposal which, although modest appearance, becomes ambitious plan.
Secluded in the privacy of the room, heedless of public applause and relieved of devices (lights, decorations and other trinkets techniques), the theater, not avoiding the playful, delves into pedagogy. Where it becomes important to the experience and not the display.
Theatre at school and at home "was the original title that gave rise to this collection of books back in 1992, under the sure direction of Luis Gonzalez Carreño (theater director and professor RESAD) and an editorial which went bankrupt due to release its fourth title (things in life and this our scene, luckily Ediciones de la Torre taking it over) ... "Theater in school and at home" with all its luster, but waived the fame and laurels, transcendent but media coverage: the everyday, simple, approachable, accessible, open to anyone, at home and at school.
we are not actors. We are not looking spectators.
It is not about education "play" (ie, a teaching professional theater theater) but "drama in education", ie imagine a professional, a teacher (not in theater: a math teacher , or English language or second language ...) using dramatic play (in the classroom and in school hours) to better convey his subject.
But is that theater can be used to teach math or language or history?
Yes, why not? The dramatic expression in the service of education!
not as a separate activity (usually done outside the school) but as part of every subject matter: in short, as a tool rather than as provide (enriching) the work of teacher and guide (with practice) understanding of students.
As a tool, other materials, add the textbook, slides or visit the museum
puppets, shadow play, pantomime, the children themselves representing / experiencing a historic event, a math problem or a grammatical concept: the possibilities and uses are formidable.
- Ugh! -Here is where a party is thrown teacher hands to his head and snorts. Ugh! More work!
have no dramatic training and believe that this is all very complicated, and not: for once let us take an example to the children themselves who are trained not dramatic but they open one of these books and just start reading and are playing, learning, and simple, and that is the position to follow ...
is clear that the more resources have the trainer most likely to play, but with practice one learns, is not it?
Each of the books published so far have supported (and support, shoring) that theory (which of course is not new, nor is it "mine") has had the valuable assistance (and almost surveillance) from a teacher on the subject to be treated, and after several courses conducted with teachers and students of teaching I have seen (and confirmed) to what extent, with enthusiasm and imagination (and time and commitment, of course) that theory can grow, become bigger and bigger independent ... And walking out there, away from my hand, I hear of Barcelona, \u200b\u200bNavarra, (and from further afield!: Morocco, Colombia ...) of people whose daily work and discreet anonymous profit colleges and beyond my initial proposal. And now
loop the loop and tell me where unbecoming, "we are not actors. Viewers do not seek "wrote above not to confuse, to show the theory clean of dust and straw, but once explained (and hopefully understood) must return to the obvious truth: that theater is theater and even a text theater and nobody reads uncannily as if it were always representing the public and the actors are there but not see them. Therefore, this proposal can never exclude the possibility that theater.
So are these books that are emancipated from the theory that the form (and shaping) and provide other readings, other uses depending on who trespasses on their pages, a boy, a teacher, an actor, a director ...
This opens up a double track, double door to a fantastic adventure circular: in the theatrical world started studying or study while doing theater? Either road will inevitably lead us to the next. Come and see!
No big secrets and tips learned (not required), these four books ("The Thief of Words", "Mysterious Shadow", "My friend speaks Fremd weird" and "The girl did not know I was") stuffed with games, ideas and exercises, only venturing a few bases, simple but robust , on which each one could be built to suit this theory or fantasy. Because more than
dramatic skills (which are not bad, of course) the main thing is throwing enthusiasm and imagination, that the best way (if not the only) contact dramatic play and ample resources, is precisely that: playing and experimenting.

Antonio de la Fuente Arjona
Spain (Actor, Playwright) http://delafuentearjona.viadomus.com

How To Draw The Dgk Sign

PIETA

Máquina Hamlet is a dramatic text divided into five acts, similar structure to that of Shakespeare. Müller Like any text, the work stems from an attempt to "destroy Hamlet." The momentum of destruction has always been one of the key drivers in the writing of Heiner Müller. "My main concern when I write theater is to destroy things. For thirty years I obsessed Hamlet, so I wrote a short text, Hamletmachine, with whom he tried to destroy Hamlet (...) my strongest impulse is to reduce things to their skeleton, tearing the flesh and the surface. (...) To penetrate beneath the surface to see the structure "(Müller 1996: 160). Statements like this could have been made also by Bertolt Brecht himself, other directors and playwrights of the twentieth century, who Müller is considered heir and successor in many ways, especially in the use of one of the fundamental devices Brechtian epic drama: the distance. For Brecht, this procedure is to remove the reality represented in order to perceive a new perspective to reveal its hidden side, as the start objects perceived several times not to be seen: we have lost the ability to see what that is before our eyes. Make visible what is invisible, it can not be because no hide, but because he is always present, in order to perceive the structure, the skeleton of the things referred to Müller. The distance back to this familiar, that by being in view of steadily longer perceived
About Hamlet Machine dramatic text might say that is a text of ideas. And yet that statement is a simplification extremely poor. In fact, "we have one of those rare examples of dramatic literature are pure. The idea is contained entirely on the word, perfectly attached to its surface and filling the whole volume "(Barks, 1987: 88). And as dramaturgical styles brought into play in the play, "the first, most obvious in parts 1, Family Album, and 3, Scherzo, is a surrealism that often recalls both the text itself as plastic content of the stage directions to "the public" by Federico García Lorca "(Barks, 1987: 88). The other style visible in the text appears in Act IV, Pest in Buda / Battle for Greenland, "and the two brief but decisive interventions Ofelia, Parts 2 and 5, which is distilled from those runs so typical theater German so often heard in the work of Bertolt Brecht and Expressionism appropriate. This mixture of expressionism and surrealism atmosphere consists of horror in which it develops the work "(Barks, 1987: 89). In that sense, the text of the work allows the appropriation of the poetic order: You may read that text and make a sort of personal journey. Is a very tight and, somehow, very proud of his own secrecy. From the point of view of its construction, consists of a sort of collage from a large number from diverse sources, "in Machine Hamlet there are many events: from words of Walter Benjamin, to various texts of own Müller which are imported from other works as well as texts of Shakespeare, John Reed, Theodor Adorno, Hölderlin, reports the Manson clan, and so on. "(De la Puente, 2007: 4). Although the experiences of the horror that portrays Hamlet Machine acquire global resonances, the staging of the work that the Argentine group "The Peripheral objects" held in Buenos Aires from 1995 to 1998 at the Theatre Alley wishes ", new meanings and reactivates the contents of the text. For the strength in violence-related images at times explicitly to the events that affected our country, "the assembly reference was directly to the artists and the audience that witnessed "the state terrorism in Argentina. Alejandro
Tantanián-actor, author and theater director and former member of "The Peripheral objects" - he explains the work done by the group in the process of adapting the text to the problem Müller Argentina: "What we did with Dieter Welke German playwright ¸ A specialist in the work of Müller, who came specially to assist in the assembly process was a work of deconstruction of the original text. We spent three weeks doing a work table. The idea was to start Müller text, try to understand it and break it down into a sort listing of minimum units. The text was then divided into forty units. These units were given by a central theme. Each unit will assign a title. Once done, these units traspasábamos certain images that had to do with the reality of Argentina. The assembly process and chose a sort of list of a certain amount of images that allude to the title of each of the units, the themes of the same and therefore certain parts of the text. On the surface of the dramaturgical work was a picture related to the Argentine. Not necessarily always related to politics, but with our situation at that time as a group, artists within the theater in Buenos Aires, as people of a certain age, sex, social class, etc. As the reality of Argentina, and our situation as a group of artists working under the conditions we did, were part of the fabric of the setting. This list we developed involved an anchor in our own daily lives. And those images somehow, ruled fairly in the process of staging "(de la Puente, 2007: 1). This reference to the looming reality of Argentina literally in Act IV of Hamlet Machine, when in the assembly of The Loop, "we worked specifically with the experience of state terrorism in Argentina. It is the act in Muller makes the jump from the drama-the drama in the literary, dramatic, theater-a case history with. When Müller's happening in the text of a Shakespearean drama of Western history, this description almost Entomological a demonstration: a public revolt that can be any revolt, all and none at once, which is also stated that all are not nothing, in the sense of its effects, no significant changes (...) In this act is clearly where we made an anchor in reality, especially in state terrorism in Argentina. And also look to expand further, we reviewed the horrors of the twentieth century. In this point in the play, the audience attending the slide show: there were pictures of the last military trial in Argentina, but we showed pictures of the English Civil War, both world wars, concentration camps, conflict in the Middle medium, etc. The tension that had built in mounting possible that such violence was shown in the display still images, was the same that was unleashed in the room. There was no difference between stage and audience, which was included in this spiral of violence. In fact the audience was armed, in the making, continuing the provision of the theater audience, then all we formed part of the film, and the violence was triggered by "us to us" because apaleábamos we manipulated the puppets that were both our own extensions: they were anthropomorphic and had our faces. There was an idea that the spiral of violence, which is a concept that is in Shakespeare and Müller-climax has almost no stops "(de la Puente, 2007: 2). What we hold here is that the experiences of horror, such as those conducted by state terrorism, are part of subjectivities, in the depths of the people, wounds, scars and wounds in the bodies of social subjects. And for that reason to Peripheral members Objects was necessary not only show pictures of the most horrific experiences of the twentieth century, but also take care of the resonances, echoes, the reverberations of these collective experiences in their daily lives. The staging of Hamlet Machine in Argentina of the nineties, booming neoliberal, should take into account what was happening to them in terror, or, put another way, how it's questioned. Subjectivities of the protagonists of the assembly-in the same way that the public who attended the function, it became subject, was problematized and questioned.
That which produces a play, in terms of their impact on the public is a vital aspect of authors such as Heiner Müller, as "a drama does not come on the scene, has no place in the scene, but between stage and spectators" (Müller, 1996: 155). The German playwright incarnate a theater to compel the public to take sides, to the extent that "the theater can no longer assume the role of clarification. In theater it is more (...) to involve people in processes, to involve them (....) That people ask: how I have behaved in that situation? And they come to mind that they are also potential fascists if a situation occurs such "(Müller, 1996: 156-7). A kind of theater that challenges the viewer intimately, a drama which accounts for the worst kind of fascism, one that is daily newspaper, which is invisible to the major historical processes, but exactly why it underpins them.

Maximiliano Ignacio de la Puente
Buenos Aires, Argentina (teacher, director and playwright)

Scratching Throat After Flu Shot

मर Antonia Torres unpublished poem based on "tsunami"

There is a flaw in the center

rotten fruit at the bottom of the basket

a face burned by agents of horror

a trail oozing under the bandages.

There is an error in this.

A stone in the gears

oiling mechanism.

are objects, letters, lost keys under the rug

trash, broken bodies hiding in the lime.

No sacred heart to redeem.

No prayer to amend or explain.

There is a puncture where the breath is strained

a disaster where the boat is leaking.

There is a crack

a cracks in the center

There

dripping understanding

burning tar word.

Blueprints For One Person Go Kart

THE CHILEAN manifest in Postmodern Dramaturgy

In the new drama, there are themes, motifs, recurring topics: incest is the subject of weight purity Mauricio Barria (2003) and Benito Escobar Noblesse oblige (2005), the food, ingredients, his recipes and preparation, broken pieces of some of Escobar (1998) and impudence Barria (2005), in Dog! Ana Harcha (2004), the myth of Narcissus is reflected in the novel by Manuel Infante (2006) and one of Escobar House (2003). Particular creates an image that mimesis is the image of the Pieta, which we see in impudence, in broken pieces of something and the severed head with the trunk of Juan Claudio Burgos (2004). As shown, elements of different levels of significance, which are inserted into the dramatic texture either as a substrate, plot or imagen.La question is whether these reasons are used as resources transtextual with the renunciation of action or creative literary called the snobbery that often involve such operations, or as mere topoi, that resource "that, going into the portfolio of ready-made disclaims invent that figure or that situation that the vivacity of the postulated" (Eco 2004a: 249, emphasis in original). Eco defines these moles as communicating messages "pedagogically" conservatives ", the mole is fixed, and therefore reflects a pre-existing order to work" (254). This approach is not consistent with the position of rupture of the texts appointed and, therefore, deserves further reflection. In these notes we will try this exercise in relation to one of these topoi, the Pieta, a symbolic visual structure in principle does not appear linked to the imagery of the last turn of the century. But why the Pieta? Culturally, we associate the sculpture Pieta of Michelangelo (1475-1564; work of approx. 1499), marble fixing the symbolic concepts of medieval iconography. The image of the Madonna with the body of his son, has multiple versions showing the body of Christ across his lap of his mother. There, on the one hand, a anaphoric reference to the symbol of torture and iconographic reference to "X", with the crucial, the two human lines that make a sign unique. This sign has acquired in the history of our culture different meanings, has become a mystery-all As regards the mathematical symbols with their powerful influence on the language contemporáneo1 - and ban a number of semiotic systems, traffic signs, no smoking or wandering animal, for example. A sign of two lines intersecting in a basic structural opposition and, therefore, extrema.Las versions that have made the Pieta could be classified into two groups: one which shows the Virgin and the body of Christ alone, as the classic image of Michelangelo, then, that represents these two central characters are surrounded by others, whether they are mentioned in the New Testament, Mary Magdalene, John, Joseph of Arimathea, Nicodemus, or other often complex story. A special case is represented in the so-called Brera Altarpiece (sacred conversation) (1472-1474) by Piero della Francesca (1416-1492). Here, the Virgin holds in her lap the child crossed with a red cord, anticipating signs of torture. Flanking saints and sages. In the foreground, kneeling and covered in silver armor, observe Federico de Montefeltro, who is presented in profile as in the portrait of the Uffizi Gallery in Florence. In the background, and the characters, are in perfect architectural symmetry, the shell and the egg suspended, symbolizing fertility divine. The ingenious arrangement of the sacred deixis achieved, in the stillness of the picture, taking us from the last virginal conception, the time the mother will have to hold the body of the child to return to the bosom of the contemporary iconography earth., stress is on the figure of the fallen man. From Eugenio Dittborn boxer, the man's penis amputee Morin, or pizza delivery, stealth advertising bailarinesyamantes brand Kookai youth clothing and accessories, Christ was made flesh of the anonymous man suffering XX2 century. La Pieta shows the darkest moment of passion: the transition from the cross to the grave. But this time, that there is darkening, as the counterpart terrible delivery, is the loss of all, in the eschatology of dust scattered in the desert, as stated Barria. The absurdity of the meat shines mother grave, that of raising anything for nothing, because at the time of the Pieta image resurrección.Pero there is yet another tragic component that Christ has cried and the cross: father's absence. The tragedy then has two faces: the darkening final and irreversible, and that their absence is a necessary condition for the concept of Pieta. The Pieta of Michelangelo, it becomes so perfect, so complete, because all around is the total absence. This does not know one another Pieta painting can provoke the same effect. The master Florentine Pieta is pyramidal. The marble assumes minimum geometry in the space of three dimensions: the four faces of the pyramid. At least that universe architecture life loses the battle, because beyond the geometry, there is only nothingness. If there is a stone that can be compared to this is Greek tragedy, the devastated by Buonarroti. Only contact between the extremes of beauty and horror produce lightning tragedy. Antigone and Polynices also formed his Pieta in the wilderness beyond the walls of Troy. She piously holds in transit to the land denied. He sees the girl spreading the dry powder over the dead body of his brother and singing, singing all the deaths from his belly, also the father is absent. In his old age, Michelangelo sculpted try another Pieta, the Rondanini Pieta (1555-1564). In the statue, unfinished, the bodies are displayed in a vertical tremendously painful, that the Virgin tries to retain the body of his son in his own body fighting gravity of the earth. "The work is just as artistic creation (...) is close to nothing, is formless, atonic, inarticulate" (Hauser 2004: 437). The rearward Mothers effort is as futile as the artist trying to bend the laws of the universe. Roberto Matamala Elorz


Chile, Santiago (Analyst)

Clitoris Has White Stuff Inside

GENDER IN THE CONSTRUCTION OF THE REVOLUSION OFELIA Boal

Article corresponds to a section of the fifth chapter (Conclusions) of a thesis to obtain the academic degree of Master of Arts with a major in Theatre Direction at the University of Chile . The thesis was defended in May 2005. The dissertation title is "Imaginary Ofelia or evil."
consists of an analysis of the character of Ophelia in three plays: "Hamlet" by William Shakespeare, "or the dead mother Ofelia" de Marco Antonio de la Parra and "Die Hamletmaschine" by Heiner Muller. The analysis is based on gender theory, as a starting point, to conclude by applying queer theory in the analysis of "Die Haletmaschine." The choice and interest in the character of Ophelia is related to the configuration of this character in its original context ("Hamlet" by Shakespeare) is due to characteristics of the archetypal female. Thereby the study of the evolution of Ophelia along and along its rewriting of history is related to the study of the evolution of female archetype built by the male gaze in Western history since the sixteenth century to the present day .
Thus it was evident that mutation in the construction of the character of Ophelia in gender referred to as a constitution from deeply rooted in the cultural construction of sexual difference is reached independent character traits associated with gender construct. This is evident at first glance this mutation occurring in the character something that suggests the obsolescence or at least the crisis of a concept that has operated for centuries as a category-defining identities in Western culture. The crisis in the gender category evident in the writing of Müller charges that this concept no longer provides a framework for accurate analysis, in other words Müller's writing reveals the possibility of, at least in the imaginary plane, universes without gender.
No longer a disturbing idea when sexual difference has traditionally been a key reality in the management of a cosmos under the hegemony of masculinity and other powers that have proposed a subject / power defined and well delineated. Happens to be declared then in addition to gender crisis, the crisis of a given subject axis of power and order. We can say this because the constitution of the speaking subject and builder of reality has been historically linked to gender, male. In writing Müller, surely unintentionally kinship with the foundations of postcolonialism raises a subject of enunciation is not hegemonic, and the most interesting all, a speaking subject who renounces dominant status. Only preserved in the subject of this writing the power of speech, or speech as a last remnant of identity but does not exercise any domination by the utterance. The display of the word then operates as a trait associated with humanity and will, to the pain and cry more than the power. Thus the displacement of the equations relating to power results in a democratization of the word as power even linking it to the area of \u200b\u200bthe victims. Spoken since the defeat, from pain and ambiguity, so the pair deconstruct discourse / power that operates in most of the earlier writings. It is necessary to note that the offset of the speech operation happen effectively and not simply a reversal of order in both gender. That is, the word becomes possible quality of any subject, not simply pass from one pole male to one female. The aforementioned crisis
speaking subject is related to a quality akin to the style of writing in question. If the aesthetics of postmodernism is considered fundamental to the concept we propose to add this piece, also in the aesthetic, a new kind of post modern subject apart from displaying the quality of the fragmentation is characterized as a taxable crowd (17). This concept, from the call queer theory appears to represent evidence of the crisis of an individual with unique characteristics and defined.
While this theory is developed in the plane near the real and effective political action also addresses, in a sense we could call postmfeminista, to denature once and for all the concept and gender-related associations. In this context an interesting aspect of queer theory is to consider the masculine and feminine codes only as performative uprooted from all natural logic. Because of this, the above theory suggests that there is not any one subject of enunciation of discourses, whichever is is, as the hegemony of a subject necessarily generate exclusions. Instead it proposes the existence of a new subject called crowd, appealing to the possibility of any identity, even a peripheral settle into a subject of enunciation with the same value as a core identity. Daniela

Capona
Chile, Santiago (Actress, Director, Teacher)

Gay Pick Up Spots East Brunswick Nj

Augusto Boal The project used a key element in shaping the sign teatrocomo social ideology. Every individual, according to Althusser, is subject to a Machine Ideológico.Este regulates its artistic production depending on the "field of power" that is. The theater serves as a game. The stage play has rules in a structured manner showing the surrounding reality. The child plays the society through the game. Their social function is made to the rules of that. If male, must have certain fees that are observed in the traditional game of a society. The child must acquire a certain pattern "maternal" imposed by the community in which it operates. The children's game has, as one of its objectives, teaching the social roles of its participants. The "awareness" is in them. There is a "passive awareness." The children make their acting change over and over again, in the social role they like, because I have taught adults as well. The Theatre of the Oppressed offers, like the game, one vision "regulated" society. Children's play differs in several respects. The most remarkable is the idea of \u200b\u200btransformation. The children play to learn their social function. Invisible theater instilled, as Boal, a desire for change in its participants. The "popular theater" was known for Boal: "At first, theater was singing dithyrambic: the free people singing outside.'s Carnival. The party" (p. 13). The elements of this theater were taken to attack an ideology, but to what extent they do it?. The actors or "players" Theatre of the Oppressed represented their wishes in the theater forums, but there would come such representations or be transformed into the "safety valve" of the participants?. The Theatre of the Oppressed, in my opinion, very experimental. Question the parameters of the theatricality of the show. The reason for this "experimentation" can be caused by the resignation aware that Aristotle makes Boal theater, which is the foundation of Western theatrical theories. Transforming the world through theater has, perhaps, a Latin American tradition in "Indian theater." Theatre of the Oppressed
taught as children's play, which should be right. The "public" can be transmitted it desires. These belong to the aspirations of a society. In the game, the child develops his world from social standards queh observed. The adult has also increased concerns games born by the community rules. Games sublimate violence "aggressive instincts" that the individual can not express. Those have the role of "safety valve."
Boal's political activity was interesting for the study, performed in that quality ideological theater. However, we can raise the siguientepregunta: the product of his plays was revolutionary?. The Theatre of the Oppressed was only occasionally truly revolutionary. The "reformist" was one of the common aspirations of the participants. The man, who ate and then did not pay, he wanted to be like the owner. The factory workers who "exploited" its employees chose a union as the best answer. The Theatre of the Oppressed wanted to be revolutionary, but "the public" participant was not. Their aspirations were focused on the "reform." The theater "experimental" Boal did not have that social element, perhaps. Why did not achieve its objective level, political. Ideological Apparatus, in Althusser's terms, even control solutions "public."

Bibliography:

Althusser, Louis (1970) Ideology, Ideological State Apparatuses. Library Synthesis.

Boal, Augusto (1980) Oprimido1 Theatre. Editorial Nueva Imagen, Mexico.

VIDAL, Javier (1997) Set in contemporary American drama. CELCIT, Caracas.


Anabella Rodriguez Caracas, Venezuela (Research)

Welcome Letters To Wedding Party

Drama

The moment that the realization of a dramatic action occurs, is located on a short-lived the monster of repetition that is distinct and bounded just by human intervention and creative established by the actor, founder of the action and the senses. Such is the instability of the dramatic impulse in your body, the actor / person ends up committing acts of retention occurred in pursuit of the past and forget that the dramatic action is performed in the present tense, and end up repeating the mechanical act and the actor's body and perform physical memory A copy of common realities. Pointed at the mutation of the actor, in a field of probabilities where hungry monsters and angels are sweeping vehicles or vectors of the experience of creating a moment of life, and it is only after waking psychophysical, consciousness of each second, every breath or blink which would emerge the mystery theater. The theater is almost a virtual universe, is the construction of illusion, a sham or deceit in faith and therefore the return to power of the senses, beliefs, and their influence on reality. The theater is a unifying rite of desires and the actor / officiant is the skin with memories, not memories, or be a catalyst for the sensitivities. In the creative process of the walk is a confrontation between the case and the ability to perform, the closer that the imagery of creation, the stronger the psychophysical event in the actor. Understand the actor's body in the literary text and its transfer to the stage space, is what makes the methodology is the link driver and founder of the style, no dramatic style without one or aesthetic point of view, um, philosophical and it is just from the definition of the method where one can address in the case of physical theater techniques necessary to implement the act and is the technical definition of who makes the learning style / language . Ophelia I can do synchronized swimming? Anne Frank as a contortionist? O Hamlet between braces? both space and the very development of the character are clues to define the technical body and style / cosmetic to be used, the methodology being the foundation of the universe to be subtle or vital content to the impulses and away from operator technical. The dramatic action is an act of faith ... a sham human reconstruction, a differentiated repetition (the birth of language Gilles Deleuze). where is the actor's body that registers and complaint in the space stage human conflict, and it is in the body of the actor where you should invest in the discovery and mapping methodology of the scars left by the given circumstances of the characters is almost a miraculous act, is like searching for the deceptive illusions of the magician, where these scars are like stigmas they do with that action can flow through the pains and pleasures of the character, therefore need a certain body where ID archeology technical and methodological should mysterious permit reconstruction of the various perceptual, volumes and dimensions of the human condition. there's no room for thought or idea at the time of the dramatic action, I believe that emotions are the result of actions (vectors) and not a preset mindset and it is only from the reconstruction of a body able to hold, receive and expose the emotional juggling where the mystery occurs Theatre. It observed the different techniques or bodily disciplines perceive the existence of a pattern in the structural and formal, between a yogi and an Olympic gymnast or a football player and a dancer, are present almost the same with varying body plans technique addresses the specific objectives of each circumstance and the methodology to do with the intentions of the performers transform the formal / structural transformative action is in the game or the soul, and the theater is a game of the soul and the humana.Y soul before the match is the preparation of the player, the actor so its corporeality should be suitable for mortals with the body and soul, and there is no room in the theater for the exhibition of skills are these physical or emotional. Borges Almicar


Chile, Santiago (Director of Theatre)

Where Can I Find Clindesse

DEAD BODY FROM WRITING

The muertos1 is a part whose direction and dramaturgy was in charge of
Beatriz Catani and Mariano Pessoti. Premiered at the Hebbel Am Ufer Berlin, Germany
(under the Buenos Aires-Berlin cycle, with the production of Goethe Institute in Buenos Aires
). It was subsequently presented in Buenos Aires in the dressing room of the Muses
.
The comments regarding the release could be considered a "color
data", the statement of a particular material to the setting itself. Without
But we believe that in this case the fact of the premiere in the context of a foreign language
production works as a condition for determining this
setting up what it is.
Overall, the translation carries an undeniable functionality, and
is clear what is its use in a field of Germanic speakers but what is
sense to translate into German for speakers of English in Buenos Aires? The
translation, of course, is what creates distance. For several reasons, first,
is "unnecessary" (which does not imply that becomes a non-significant), the perceived target
repeated that word for another that is not them, and on the other side
, which builds this translation is the delay, is the time it stops, the required features
the wait.
On the other hand, the translation and its carrier, the translator, are the
interweave the two places that the work builds. We
explain, the dead is based on two parties, two spaces, which are perceived
parallel but do not overlap: first
television and video and two young men sitting in separate chairs in close proximity;
across a space that could very well refer to a stage, with these quite simple, almost
improvised, not a living but the scenery of a living ... with someone who
reveals his own name (is his name ?, do we tell the truth? "Yeah, we corroborate
1 Credits: Direction and dramaturgy: Mariano Pessoti and Beatriz Catani / Cast: Alfredo
Martin, Vertiz and Nikolaus Matthias Kirstein. / Lights: Matías Sendón / Sound: Federico Marrale. /
Sets: Mariana Tirantte / Friday 22.30 in the dressing room of the Muses.
with the program, agrees with what he said) and history tells us that tries to reconstruct
a work in which he acted twenty years ago, "The Dead" by James Joyce.
To some extent there seems no link between the two spaces, except in terms of nomenclature
(even in thematic terms, only a name, Joyce
text does not seem to refer to "dead" in literal terms, and the dead which
speak on the other side not to be understood metaphorically but literally) without
however, the translator connects the two spaces. Why? Because it moves, runs
both spaces and translates into another language reveals what he says in English. Until
stop.
Those responsible for making claim that there is a research and
back. When investigating the certainties are put in parentheses, and establishing links
orders are most dissimilar. Is there any similarity between the death and drama
? A cemetery and create a stage theatrics? Is it possible
performance of a play without actors? Can theatricality of
absent bodies? The attempt to present those bodies. An Absent
Theater Corps.
These questions are in response the start that we offer. The reports
the designer and the gravedigger is a sample key crossings
unthinkable (but not unthinkable) between both tasks. The young man explained,
shows the cemetery as a staging and theatricality reveals that
looms in the field of death rituals.
Alfredo Martin, the actor, trying to be him in the past, and others, the characters shared
work twenty years ago he represented. This is another focal point, the
of representation how death is represented, how is
represented in the theater, who is one who can represent what can
represented.
All the time there is something in the place of another, or otherwise,
cemetery at the site of the scenery, and most importantly, the media, insists it's
steadily TV is what we see, not the cemetery, is the scenery
of living, not living, the actor, not the character and the translator, which does nothing to explain the mediation
.
Perhaps, the dead, investigating the death found other issues that had been proposed
not found other recesses, said other places where
continue looking.
Finally, after all, for it is investigated to find we do not expect to find
. Monica Berman


Buenos Aires Cap. Federal (Research)

Source: "Land Theatre"

My Two Year Old Is Coughfing Too Much Whats Good?

shed or dramaturgy Dramaturgy CUSTOM

A playwright's work often resembles the performance of a soccer goalkeeper, as the playwright knows the privilege of scoring the goal of the actors, but rarely has the opportunity. This ritual of teamwork we call theater, this ancient ceremony that has its roots in myth and in the game has become more sophisticated to the point today that the assignment of specific roles within a company ends up limiting the artist and cast it in scholastic definitions. Hence we playwrights rarely scoring a goal, running across the field, and party in the euphoria of the final applause. The purpose of this paper is to demonstrate that the playwright may also fill other roles in the staging, and combat the playwright hackneyed idea cloistered in their rooms, which performs functions of office.
In fact liturgy stage, the playwright takes the place of an invisible master of ceremonies, a universe conceived as sacrificing their own experiences to give him the voice to the game's officiating theatrical preconceived mass whose final score only known playwright. What is the new drama? Is it the chance of a new game with the structures? Or the strategy of a poker faced possibilities? The truth is that the theater is still the King of Sports (and arts), whose rules are in perpetual construction, and the playwright played a game of chess to help you figure out a maze of codes. Therefore, the playwright has an obligation to explore all the games of chance, and not just the demands of his office, as in the exploration of the games is implicit learning, dramaturgy, including any kind of acting peel.
Creating dramatic answer my texts to a personal obsession to talk about myself through figures of speech inspired by some gambling. The Bitterness of Merengue combines elements of a ball game, with a recreation of a myth of sacrifice. In my previous work Of Monsters and Prodigies fate rested on a pie fight against the public, in a game baroque theater within the theater, and opera in and out of opera, through the beautiful singing of the castrati, dancing horses and Jack Black who files a doctor with two heads, in an ongoing discussion with himself. Again the notion of sacrifice, which I consider basic to all play, was present in the figure of a soprano sacrificing their testes, as the Phoenix rising from its own ashes, as in the bitterness of Merengue, where we see a man sacrifice his heart, for the release of his beloved Serpentina. Assemblies
In my work I have always had fortunately auxiliary role, either as assistant director, stagehand stagehand or even as this allows me to be in contact with the particular process of each actor, with the possibility of late changes time. This is the playwright's work: caring for every detail to maintain consistency in the time of going to the scene. Write to the scene also has its risks. It is a common place of the playwright's position requires credible respect for your text. A somewhat retrograde. One thing is to attend rehearsals, participate in improv, and take part in the experiments of the director, and quite another to interfere in the creative process of actors. In any case, it would be up the typewriter to the stage as I did in my work The writer is not to blame, which is about a history that is written at that very moment, a playwright and his typewriter typing to the beat of a ragtime of Scott Joplin. If the architect plans a building in a master plan, and the composer defines the universe in your score, the playwright must rely on their literary (giving rise to the scenic elements) to deliver a complete product in itself. Yield to the whims of the director, or succumb to fleeting charm of improvisation is part of the job, but the playwright should propose a prior structure, otherwise it would take the role of a builder, rather than the architect of theater.
Here we have a saying to keep out the playwrights enthusiastic: "the best playwright is the author dead." A rather absurd refrain was coined by the directors to maintain power, and fortunately our generation wiped out, with very few exceptions.
The research process of the playwright not only ends when you finish the last sentence of his work and delivery into the hands of director. Today's complicity with the directors requires that the playwright be present at trial and the process with the actors, not only to make modifications to the text, but because the actors themselves sometimes something comes up that may be helpful to the playwright even for later works. This phase of the research is even more important that the documentation prior to writing the text, as when data is taken body and human dimension. The playwright then has the privilege of identifying for the first time with the actor and his character, as will the public later.
But back a little earlier, the sacred moment is occurring at playwright first dialogue. In that moment of inspiration illogical private. During this gestation process, they often discover the playwright speaking aloud the parliaments of the characters, exploring the sound of words, and to embody his feelings. This is what I call "exploration schizophrenic" because definitely the performance and improvisation of the characters dramatic influence on the creation, that is, the playwright must experience firsthand everything that gets in the voice of the characters.
In 1996, when he worked in the CITRU, an idea knocked on the door of my cubicle: A visit intangible struck me about my job as collector for a database which unfortunately never saw the light of day. While ordering dates and facts, this idea struck me: Of all this documentation could be a play? To what extent the information exists in the CITRU helps the creators of the scene to carry out their work? How many investigations leading to a staging? Why is there a special project that is dedicated to theoretical research linking the practice of theater "experimental"? Later the work of Elena Guiochins Mutis came to demonstrate that the best place to raise theater research is and will remain on stage. I fervently hope that CITRU new direction of linking research to know the stage and made to put aside the bureaucracy that has been stagnant for this institution, supporting playwrights interested in true theatrical research.
Dramaturgy custom is not new, many artists made their most famous compositions commissioned by a king. The fundamental issue is not the payment is received in return (which most of the time is symbolic or in kind), but the gestation of the dramatic text, ranging from unusual images guess the director wants to accomplish until the last minute changes at the whim of the actors. In 1999 I was invited to make a dramatic order, and assist in the process of improvisation in cahoots with director Claudio Valdés Kuri, who wanted to collect data to create a show about singers castrated seventeenth century and develop a dramatic text from work with the actors. Two years did the research process, culminating in a staging entitled Of Monsters and Prodigies, the history of the castrati. Worked for a year under a methodology quite monstrous: research in the life of the castrated singers, quite forgotten by modernity. Unless the film Farinelli limited data about it, let alone the database mentioned above. That was when I faced the first obstacle in my work: the director did not want a piece anecdotal, but thematic. The director did not neglect any detail and applied to the preparation of the text that which we have a simple theme: the first draft text, the director deliberately castrated him all dimensions, and some passages, reducing the text to plain and simple information. The historical limitations were not the only obstacle: Valdés Kuri wanted to work under an austerity reduced all elements and dialogue to a monologue. To the disappointment of seeing my research reduced to a conference on the Italian castrati, the director and I struck up a heated argument, and finally both chose to dispense the speech in a monologue spoken by a doctor with two heads. The scenery was superb resolution, and two actors as virtuous, Mario Iván Martínez and Hernán del Riego, gave birth to a wonderful event. He was finally found that two heads are better than they sing.
The biggest challenge, and one of the most awesome experiences in my career as a playwright, was working with the actors in the rehearsal process. Under orders from Claudio Valdés Kuri, I joined an acting exploration period, while he served as assistant director (who later came to usurp "Marquitos Diaz), and developed a test blog. The sacrifice was that Claudio did not let me act or play the harmonica, and while performing all training exercises that Claudia Mader put the actors to begin improvising, my place was back in the seats, noting the body language The actors developed. Jorge Kuri



Mexico City (playwright)

Brick Pool Coping For Sale

The attendance of Brazilian scripts over nearly two decades, will there be served to affirm an exciting model that facilitates the production of original texts in Chile? When looking at the differences introduced adaptations, usually at the expense of quality text, as seen in Sucupira (O Bem-loved), but also in the more trivial fashion Love is (Ti Ti Ti), is the feeling that learning is verified all but irrelevant. Certain features that became commonplace in Chilean production (such as stereotypical characters, the absence of conflict and suspense) displayed no matter what type of material originally written or adapted. The projections made in the '80s, for those who still can not access the middle and could criticize objectively, were not met during the '90s. Hardly the soap opera content change as long as the denial of cultural and ideological pluralism, as long as the refusal to introduce critical content and dissidents, while present problems and prevent real dramas (...) and while preventing innovation and experimentation for fear rating. But this situation should change within a democratic system of television. (...) There is a widespread demand as a priority in the future those matters that have been excluded from the screen. Does the reliance on imported scripts revealed perhaps a more profound lack of collective imagination Chilean? Or just about the mark left by those who decide to produce this or that, according to criteria makeshift defend their personal interests? A librettist to all conventional lights, but as experienced as Arturo Moya Grau, from the mid-'70s until his death in '90, managed to sell their texts more frequently in Mexico than in Chile. Juan Ignacio Valenzuela on one hand, Castagno Daniel Nestor and the other followed the same path during the 90's. No comment from officials of the channels, the more interest in ensuring the production of National Card. Can get their plants to directors, actors and entertainers who rarely use and generously paid, but only hire scriptwriters when to develop a specific project and then bemoan their lack of experience, as if they could buy it expecting to be summoned. Today there are very few experienced TV writers. Graduates of the School of Communication, having enough knowledge, do not (...) (...) practice and you learn doing this job. I think one important function of the National Council of TV should be training people, scriptwriters, producers, directors. The most curious is that the professional ability of the playwright seems to be rarely taken into account. A few playwrights recognized as Vodanovic Sergio Wolf and Egon have written very occasionally some original soap opera for Channel 13, as María Elena Gertner did in TVN in the '80s. Have not led groups of employees, nor continuously. Mistrust or even hostility that arises between the writer and the rest of the production team, is a fact described by the Chilean press: Every night, Moya Grau writes the chapter and verifies it with the booklet in hand. The explanation is not so much to be a perfectionist (...) but to do it. So do not tell stories. This control is to see that an actor does not get out of text and give to improvise. The writer is too close to the Chilean producer team, not installed in Brazil, but hearing about the results of production, and sometimes having to defend the coherence of its text against the changes to be introduced in the production process, it becomes a hindrance to the directors prefer to avoid. A fundamental tool of the genus in other countries, the creative feedback between the different team members in Chile is often reduced to a history of mutual insults. Three years ago [Moya Grau] promised not to write again to Chile. I was enraged. Without consulting him, had made changes in the Last Crusade. We are far from fruitful dialogue between specialists who complement each other, advocated in the mid 60s by early analysts of the media: It is appropriate that the screenwriter of TV spend hours and hours witnessing tests, looking at the monitors, listening to the warnings and modifications to the director (...). Must be in the cabin at the time the program is on the air and look at the information that makes the camera director, coordinators, the soundman, actors. That does not happen in Chile, for different reasons. First, is too urged librettist, writing the next chapters, as for recreation visits and dialogue, although they might provide productive feedback, you will lose precious time. What channel he appreciates most is the speed to do their part, not worrying the rest. Secondly, it is rare that someone in the channels assume that writing is a creative work of whose existence depends on the fate of the final product. What is the production structure that devalues \u200b\u200bthe local script and forced to depend on foreign texts or stereotyped, when it is not pure improvisation? One that neglects the role of drama, likening it to a hobby where ideas of some complexity, references to the real world and even the emotions are more intense. In the drama of channel 13, through the Catholic University, is easy to understand that there is no room for extramarital love affairs, drug use, prostitution, homosexuality, violence, sexual intercourse, AIDS, abortions, divorces, suicides, prolonged kissing or criticism of any institution or set value. Maybe I should place the media is not about to return Unsharp unrecognizable to their worldview. However, even accepting that the drama should respect those limits in place to address contentious issues to give a decision in accordance with the premises of the medium, the question arises: why produce dramas and series, dramatic speech that are often characterized by unorthodox proposals or at least instructive on the moral and good manners? The dramatic claim the possibility of staging intolerable violations of the existing order (which, however, impodrá at the end), since it is variety and give credibility to the conflict dramatic features. The Oedipus story includes incest and other crimes, but does not induce the audience to imitate the sinner, but rather the opposite. If it is obvious the existence of the drug in a soap opera, how describe it as a scourge of modern life? If you delete the configuration of sexuality, how do give some weight to the Church talk about it? In Chile expresses a constant tension between those who produce a television drama in need of conflict representation capable of moving the audience, and those who fear (and thus censored) that representation by assuming that promote imitation of an innocent audience which should remain uninformed. When adultery is implied in the plot of a soap opera for Channel 13, as in Top Secret, the protest immediately arises viewers an organization that initiates pressure on major advertisers to withdraw their funding to the environment question. No wonder that the characters critics were quick to rectify his conduct of a chapter to the next, leaving other way trip and all adhere to the moral, but in doing so destroy fundamental reasons for the plot. Even the more conventional scripts of Brazil, are difficult to accept in the ideological context imposed on the Chilean media. Almost all were written in times of strict censorship, for more than two decades of military governments systematically suppressed freedom of expression, yet often seem more controversial than prudent, when they were set in Chile under the restored democracy. Before 1990, more than half an analyst assumed that the thematic limitations of television drama, were a direct consequence of the restriction of citizenship rights exercised by an authoritarian government. Oscar

Goraycochea
Chile, Santiago (Analyst)

remarkable breakthrough