trabalenguas.
where there was fire
Wednesday, February 16, 2011
Icythyosaurs Were Aquatic Dinosaurs
hugo happened. Hugo was
where there was fire. Hugo
fire and there.
fire had said.
was hugo,
yesterday
in my heart.
Monday, February 14, 2011
Can Autistic People Have A Driver's License
Review: A DON JUAN IN HELL
A GIFT JUAN IN HELL: Cattone never disappoints
Can consider Cattone and eternal Osvaldo Marsano theater as a pillar of our independent theater? Understanding the term "independent" as the control all by an artist about his work, as they are. Since the 70's Teatro Marsano has been presented, with varying degrees of success, a range of entertainment of all caliber: dramas, comedies, musicals, but always with the unmistakable stamp of the Argentine actor and director, who becomes certainly in an example of dedication and sacrifice to his greater calling: the performing arts. And despite having some critics, and a number of followers, it is undeniable that Cattone theater has survived throughout history in good shape, despite strong competition from some rooms.
"A Don Juan in Hell" , piece Argentine playwright Luis Agustoni, places us at the scene hidden in the eyes of the viewer who comes to see a play: the clubhouse, where they aired the intimacies of the actors, in this specific case, the fall play's protagonist Don Juan. The strained relationship with his wife and son, complicity with the wizard, his love affairs with the leading lady and the betrayal of his friend, producer, are some situations that we participate in full theater. The narcissism of the actor fires the drama, if convincing is the strong performance experienced Cattone, who exudes vitality and charisma along the assembly.
During his long career, Cattone always been known for playing characters arrogant, sexist, unfaithful, pedantic and godlike, and in this work gives life to anything less than a superb actor, sexist, unfaithful, pedantic and deified. For this reason it is not surprising that, like a fish in water, Cattone become the big star of the assembly, overshadowing the rest of the cast. Perhaps only Alcóver Regina, Ivonne Fraysinnet, Sonia Oquendo and even Anali Cabrera to give the exact replica of the stage, as in this case or Sandra Bernasconi, and Nicolas Galindo, and Haydee Caceres and Maria Aguirre, and Paul Martin (then order), are at their height, despite their efforts. "A Don Juan in Hell" quintessentially Cattone as an actor, served with a stunning display of theatrical Chalo Gambino and refinement Arana Makhy production. Cattone never disappoints and this seems to be the watchword of this iconic figure of our national theater.
Sergio Velarde
February 14, 2011 
A GIFT JUAN IN HELL: Cattone never disappoints
Can consider Cattone and eternal Osvaldo Marsano theater as a pillar of our independent theater? Understanding the term "independent" as the control all by an artist about his work, as they are. Since the 70's Teatro Marsano has been presented, with varying degrees of success, a range of entertainment of all caliber: dramas, comedies, musicals, but always with the unmistakable stamp of the Argentine actor and director, who becomes certainly in an example of dedication and sacrifice to his greater calling: the performing arts. And despite having some critics, and a number of followers, it is undeniable that Cattone theater has survived throughout history in good shape, despite strong competition from some rooms.
"A Don Juan in Hell" , piece Argentine playwright Luis Agustoni, places us at the scene hidden in the eyes of the viewer who comes to see a play: the clubhouse, where they aired the intimacies of the actors, in this specific case, the fall play's protagonist Don Juan. The strained relationship with his wife and son, complicity with the wizard, his love affairs with the leading lady and the betrayal of his friend, producer, are some situations that we participate in full theater. The narcissism of the actor fires the drama, if convincing is the strong performance experienced Cattone, who exudes vitality and charisma along the assembly.
During his long career, Cattone always been known for playing characters arrogant, sexist, unfaithful, pedantic and godlike, and in this work gives life to anything less than a superb actor, sexist, unfaithful, pedantic and deified. For this reason it is not surprising that, like a fish in water, Cattone become the big star of the assembly, overshadowing the rest of the cast. Perhaps only Alcóver Regina, Ivonne Fraysinnet, Sonia Oquendo and even Anali Cabrera to give the exact replica of the stage, as in this case or Sandra Bernasconi, and Nicolas Galindo, and Haydee Caceres and Maria Aguirre, and Paul Martin (then order), are at their height, despite their efforts. "A Don Juan in Hell" quintessentially Cattone as an actor, served with a stunning display of theatrical Chalo Gambino and refinement Arana Makhy production. Cattone never disappoints and this seems to be the watchword of this iconic figure of our national theater.
Sergio Velarde
February 14, 2011
Latest Knee Replacement
Review: CHAT
CHAT: those predictable virtual truths
Written in 2007 by Venezuelan Gustavo Ott and directed in Spain by Carlos La Rosa, the CHAT dramatic piece was revived for a brief season after last year submitted under the Call for Aid I Production and Performing Arts Exhibition at the House of Spain. La Rosa is also responsible for Pony (2009), a gentle comedy of the same author, and Ott is one of the most significant contemporary American playwrights today. In CHAT the author shows us the dangers of abuse (and naive) of the Internet as a means of communication, with disastrous results for the characters in the story. And despite the proven virtues of the director, staging can not overcome their previous work, including the remarkable Lock out (2010).
chat (or its equivalent "talk" in English) is one of instant communication conducted via the Internet between two or more people whose main disadvantage of hiding the more intense the true intentions are hidden in the messages. And the author presents a handful of cases in the public domain: the woman who desperately seeking to emigrate to America, the sexual pervert looking to satisfy their base instincts, the vengeful teenager who concocts and executes a murder in her school, the unsuspecting family that pays mothers abandoned by the desired child, the young eager to satisfy your hormonal needs, and the useful idiot recruited by religious subversive. None of these stories have a happy ending, the characters are meant to be the victims "computer" by the huge amount of virtual truths to which they are exposed, but that is something that unfortunately the public sensed from the beginning and not generate the be suspended until the expected outcome.
AND CHAT is full of surprises as an argument not only provides proper practice acting, without going into some issues interest, such as the large amount of personal information available to everyone through social networks like Facebook. Omar Alosilla performances, Cecilia Collantes, Carla Martel and Fito Valles are toiling to give veracity to the staging, but can be even more precise in defining vocal and bodily to the different characters he plays each. The good director Carlos La Rosa, in his eagerness to give impetus to the assembly, the keyboard ignores the middle of the chat between the characters so that they interact "virtually" face to face, but this proposal is not entirely consistent, especially when actors make physical contact or "send" files through pieces of paper. CHAT is not a good work of Gustavo Ott, it is an important work, with some beautiful texts filled with poetry, but that does not have the strength necessary to be a real warning about the terrible dangers that offers our new virtual world.
Sergio Velarde
February 11, 2011
CHAT: those predictable virtual truths
Written in 2007 by Venezuelan Gustavo Ott and directed in Spain by Carlos La Rosa, the CHAT dramatic piece was revived for a brief season after last year submitted under the Call for Aid I Production and Performing Arts Exhibition at the House of Spain. La Rosa is also responsible for Pony (2009), a gentle comedy of the same author, and Ott is one of the most significant contemporary American playwrights today. In CHAT the author shows us the dangers of abuse (and naive) of the Internet as a means of communication, with disastrous results for the characters in the story. And despite the proven virtues of the director, staging can not overcome their previous work, including the remarkable Lock out (2010).
chat (or its equivalent "talk" in English) is one of instant communication conducted via the Internet between two or more people whose main disadvantage of hiding the more intense the true intentions are hidden in the messages. And the author presents a handful of cases in the public domain: the woman who desperately seeking to emigrate to America, the sexual pervert looking to satisfy their base instincts, the vengeful teenager who concocts and executes a murder in her school, the unsuspecting family that pays mothers abandoned by the desired child, the young eager to satisfy your hormonal needs, and the useful idiot recruited by religious subversive. None of these stories have a happy ending, the characters are meant to be the victims "computer" by the huge amount of virtual truths to which they are exposed, but that is something that unfortunately the public sensed from the beginning and not generate the be suspended until the expected outcome.
AND CHAT is full of surprises as an argument not only provides proper practice acting, without going into some issues interest, such as the large amount of personal information available to everyone through social networks like Facebook. Omar Alosilla performances, Cecilia Collantes, Carla Martel and Fito Valles are toiling to give veracity to the staging, but can be even more precise in defining vocal and bodily to the different characters he plays each. The good director Carlos La Rosa, in his eagerness to give impetus to the assembly, the keyboard ignores the middle of the chat between the characters so that they interact "virtually" face to face, but this proposal is not entirely consistent, especially when actors make physical contact or "send" files through pieces of paper. CHAT is not a good work of Gustavo Ott, it is an important work, with some beautiful texts filled with poetry, but that does not have the strength necessary to be a real warning about the terrible dangers that offers our new virtual world.
Sergio Velarde
February 11, 2011
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