Thursday, September 30, 2010
Tuesday, September 28, 2010
How Much Malpractice Insurance For Psychiatrists
Only a twisted mind who grew up watching Sesame Street can come up with this great show called Avenue Q. A musical in which puppets and actors interact where humor and political incorrectness seem to be the norm. In a climate marked by the crisis economic, fear and lack of opportunity, those cute dolls become the symbol of a truncated target. If on Sesame Street singing "I like being me" in Avenue Q is said "How ugly to be me," the musical box that opens and introduces the characters. Everything on Sesame Street was exaltation of multiculturalism, in Avenue Q mutates into xenophobia. If Bozzo lived in a box of fruit, Nicky ends in a garbage can. Is that childhood is behind us, now is the time to recognize that we will never be those who dream of being. The dolls recycled from Sesame Street act as the great metaphor of conflict rite of passage. The difficult job to grow is plagued with vocational and sexual disorientation, porn, drugs, poverty, xenophobia. The Paseo
Square opened the local version of the hit musical adaptation and direction of Natalia del Castillo. The cast of puppets has a solid technical work and vocals, with catchy songs and a raw sense of humor. Mariano Chiesa, who lends his voice to numerous commercials, up to Princeton, BA in crisis of vocation and Rod, a conservative businessman in his bid to take on homosexuality. Melania Lenoir behind Kate, the shy bride Princeton and shown with Lucy, the sexy femme fatal. Also accompanies Federico humor and ease with which manipulates Salles Nicky, Trekkie Monster and the Teddy terrible bad ideas.
The human cast is headed by the pair of Fan Chaw, a very funny Silvana Tome and Brian, played by former Mambrú Gerardo Tripel. The Dominican Manuel Victoria was placed on the skin of Gary Coleman, cruel humor exploiting data from the personal life of actor recalled. In short, Avenue Q is a very good local adaptation of the aesthetic and sense of humor of the best American sit-coms.
sheet:
Idea: Robert Lopez, Jeff Marx
Book: Jeff Whitty
Adaptation: Natalia del Castillo, molotov illustrated Eduardo Morales
With: Mariano Chiesa, Melanie Lenoir, Patricia Lorca, Pierani Micaela Mendez, Federico Salles Grib, Silvana Tome, Germain Tripel, Manuel Victoria
Handlers: Jorge Crapanzano, Rosa Crapanzano
Musicians: Paul Gandolfo, Guillermina Gesualdi, Patricia Lorca Micaela Mendez
Pierani Sets: Santiago "Tato" Fernandez
Directing Actors: Omar "Chino" Kuhn
Address: Castle
Natalia Web: PASEO LA PLAZA
http://www.avenidaqelmusical.com
Av Corrientes 1660 Capital Federal - Buenos Aires - Argentina
Phone: 6320-5350 Web
: http://www.paseolaplaza.com.ar
Tickets from: $ 80.00 -
Sunday - 20:00 pm - Wednesday and Thursday - 20:15 pm - Friday and Saturday - 21:00 pm
Argentino posted 26/09/2010 Time
Monday, September 20, 2010
Contraindications To A Facial Electric
politically incorrect history of native policy coral
Alberto
Ajaka, author and director of each of the same things, just won the ACE Award as best actor in fringe theater for their work on raised wing.
Several young artists feel called to reflect on the political and pour it into their works. An example is the excellent My life after, Lola Arias. Another is the case of each of the same things, Alberto Ajaka presented in the climbing room. It is a commonplace to repeat that Buenos Aires theater spaces proliferate exponentially. The room became Ajaka house and cultural center since last year with a varied and interesting programming.
Each of the same things is a work in two parts. The first takes place on mattresses spread across the stage space. The nine actors speak in dreams and sleep. And whispers compose a choral history of politics in Argentina. Each name has a resonance, a phonetic play, an association as arbitrary as recognizable. A hit is the use of space. Following an aesthetic of great austerity: the peeling walls and exposed brick, the only props are these mattresses. The lighting is poor and virtuous, fluorescent tubes that go out by dividing the scenes. Then follows a section of monologues. Each actor is master of his little world of dreams, nightmares and outdated thinking up an attractive patchwork and rhythm. Stories are often trivial but draw the map of a generation: their choices, their limits, their pettiness. One intervention is out of registration, rather than casual, edgy sound. In the center, an actress questioned the authority of the father. His voice is tragic, his speech, pathetic. We propose the painful path of a nation without fathers. In the second part, completely changes the tone and the proposal. Seems to have triumphed oppressive climate that one tragic voice. The use of masks, are cardboard boxes with holes for eyes and mouth to hide the actors' faces is monotonous and obvious in its symbolism. The hiding of the faces, their inflections, their unique expressive generates anxiety. It is difficult to combine an act with another. How to understand the final hymn of those boxes chattering in the snow? Then, there is only confusion.
sheet:
Each of the same things and address book
: Ajaka
with Leonel Alberto Elizondo, G Fernández López, Luciano Kaczer, Julia Martinez Rubio, Luciana Mastromauro, Andrea Nussembaum, Andrew Rossi, Gabi Saidón, Mariano Sayavedra
CLIMBING ROOM
Remedios Escalada de San Martin 332
Capital Federal - Buenos Aires - Argentina
Phone: 4856-0277 Web
: http://www.salaescalada.blogspot.com Mondays and Fridays
21:00 pm Admission: $ 25.00 and $ 20.00
Time
Posted Argentino, 20/09/2010 
Alberto
Ajaka, author and director of each of the same things, just won the ACE Award as best actor in fringe theater for their work on raised wing.
Several young artists feel called to reflect on the political and pour it into their works. An example is the excellent My life after, Lola Arias. Another is the case of each of the same things, Alberto Ajaka presented in the climbing room. It is a commonplace to repeat that Buenos Aires theater spaces proliferate exponentially. The room became Ajaka house and cultural center since last year with a varied and interesting programming.
Each of the same things is a work in two parts. The first takes place on mattresses spread across the stage space. The nine actors speak in dreams and sleep. And whispers compose a choral history of politics in Argentina. Each name has a resonance, a phonetic play, an association as arbitrary as recognizable. A hit is the use of space. Following an aesthetic of great austerity: the peeling walls and exposed brick, the only props are these mattresses. The lighting is poor and virtuous, fluorescent tubes that go out by dividing the scenes. Then follows a section of monologues. Each actor is master of his little world of dreams, nightmares and outdated thinking up an attractive patchwork and rhythm. Stories are often trivial but draw the map of a generation: their choices, their limits, their pettiness. One intervention is out of registration, rather than casual, edgy sound. In the center, an actress questioned the authority of the father. His voice is tragic, his speech, pathetic. We propose the painful path of a nation without fathers. In the second part, completely changes the tone and the proposal. Seems to have triumphed oppressive climate that one tragic voice. The use of masks, are cardboard boxes with holes for eyes and mouth to hide the actors' faces is monotonous and obvious in its symbolism. The hiding of the faces, their inflections, their unique expressive generates anxiety. It is difficult to combine an act with another. How to understand the final hymn of those boxes chattering in the snow? Then, there is only confusion.
sheet:
Each of the same things and address book
: Ajaka
with Leonel Alberto Elizondo, G Fernández López, Luciano Kaczer, Julia Martinez Rubio, Luciana Mastromauro, Andrea Nussembaum, Andrew Rossi, Gabi Saidón, Mariano Sayavedra
CLIMBING ROOM
Remedios Escalada de San Martin 332
Capital Federal - Buenos Aires - Argentina
Phone: 4856-0277 Web
: http://www.salaescalada.blogspot.com Mondays and Fridays
21:00 pm Admission: $ 25.00 and $ 20.00
Time
Posted Argentino, 20/09/2010
Wednesday, September 15, 2010
Car Sales Advisor Cover Letter
David Linch in Córdoba city
thank the people of Document / Performing the ability to read dreams Black, a text written by Cipriano Agüello Pitt from work Cismondi Carolina, Martin Smith, Melina Passadore and Stephanie Moya. Luciano has also collaborated Delprato. A very small variations from it manages to convey a rarefied atmosphere and haunting. If you are in Cordoba, do not miss it. 
thank the people of Document / Performing the ability to read dreams Black, a text written by Cipriano Agüello Pitt from work Cismondi Carolina, Martin Smith, Melina Passadore and Stephanie Moya. Luciano has also collaborated Delprato. A very small variations from it manages to convey a rarefied atmosphere and haunting. If you are in Cordoba, do not miss it.
Tuesday, September 14, 2010
What Store Sells Dresses For 13 Year Olds
I also wanted to be Madonna
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In 1990, with the premiere of the Creatures show, I was born Descueve, a group that sought to transcend the boundaries between dance and theater with entertainment legends such as Beauty, Patito Feo.
Onstage, the band begins to play. It cut the figures of two singers, Carla Peterson and Griselda Siciliani, who, wearing his tight black lace teddies, feverish dancing to the beat of a pop song. The public, in a vast majority composed of women, accept the proposal and seems to say, once I also wanted to be Madonna. That is what idiot Heart continues their roles in the late-night Paseo La Plaza. The set design is retro: a pool table, wood bar infinite unmistakable symbols of the late eighties.
Ana Frenkel, Carlos Casella and Dani Cupar, who wrote and directed this show, have been working for years when they were part of the legendary group The Descueve. Together they produced shows crossing dance and theater, amplifying the expressiveness of a gesture or a word and turning it into shape. To Heart privileged idiot effectiveness of certain resources and the result, at times, is forced and uneven. Did the circuit determines the show? Choreographic aesthetics is imposed on the music charts and in the other scenes and it is from the gesture that mounts the dramatic situation.
What prevails over anything else is the charisma of the two actresses. Griselda Siciliani shines with her powerful voice and expressive dance very well and manages the time for humor. At the same time, Carla Peterson takes every loophole that finds and fills it with his usual touch of spontaneity. Heart stupid are they two strong women attractive, charismatic and beloved figures in the audience, surrounded by an entourage of men who attend them, accompany and court. And as the show is not in charge of this fact, the claim is weakened. Why, when presented to the members of the band, they, who led all the time, much less take the place of "singers"? They pretend to be contradictory, pretending to be weak, foolish and losing, but it is another image they convey. Why get away from assuming the role of powerful women, women desiring repeat old patterns and stereotyped? In short, Heart idiot is just an excuse for actresses to display their talent for humor, dancing, singing.
sheet:
book and directed by Carlos Casella, Daniel Cupar, Ana Frenkel
With: Rakhal Herrero, Leo Kraim, Carla Peterson, Diego Rosental, Griselda Siciliani, Fernando Tur
Musicians: Diego Vainer
Costume Design: Paul Ramirez
Stage Design: Juliet Potenze, Ariel Vaccaro
Design Lights: Gonzalo Córdova PASEO LA PLAZA
Av Corrientes 1660 Capital Federal - Buenos Aires - Argentina
Phone: 6320-5350 Web
: http://www.paseolaplaza.com.ar
Tickets from: $ 60.00 - Thursday - 23:00 pm - Friday - 00:00 pm - Saturday - 00:30 pm - Until 16/10/2010
Argentino Published 13/09/2010 Time 
.jpg)
In 1990, with the premiere of the Creatures show, I was born Descueve, a group that sought to transcend the boundaries between dance and theater with entertainment legends such as Beauty, Patito Feo.
Onstage, the band begins to play. It cut the figures of two singers, Carla Peterson and Griselda Siciliani, who, wearing his tight black lace teddies, feverish dancing to the beat of a pop song. The public, in a vast majority composed of women, accept the proposal and seems to say, once I also wanted to be Madonna. That is what idiot Heart continues their roles in the late-night Paseo La Plaza. The set design is retro: a pool table, wood bar infinite unmistakable symbols of the late eighties.
Ana Frenkel, Carlos Casella and Dani Cupar, who wrote and directed this show, have been working for years when they were part of the legendary group The Descueve. Together they produced shows crossing dance and theater, amplifying the expressiveness of a gesture or a word and turning it into shape. To Heart privileged idiot effectiveness of certain resources and the result, at times, is forced and uneven. Did the circuit determines the show? Choreographic aesthetics is imposed on the music charts and in the other scenes and it is from the gesture that mounts the dramatic situation.
What prevails over anything else is the charisma of the two actresses. Griselda Siciliani shines with her powerful voice and expressive dance very well and manages the time for humor. At the same time, Carla Peterson takes every loophole that finds and fills it with his usual touch of spontaneity. Heart stupid are they two strong women attractive, charismatic and beloved figures in the audience, surrounded by an entourage of men who attend them, accompany and court. And as the show is not in charge of this fact, the claim is weakened. Why, when presented to the members of the band, they, who led all the time, much less take the place of "singers"? They pretend to be contradictory, pretending to be weak, foolish and losing, but it is another image they convey. Why get away from assuming the role of powerful women, women desiring repeat old patterns and stereotyped? In short, Heart idiot is just an excuse for actresses to display their talent for humor, dancing, singing.
sheet:
book and directed by Carlos Casella, Daniel Cupar, Ana Frenkel
With: Rakhal Herrero, Leo Kraim, Carla Peterson, Diego Rosental, Griselda Siciliani, Fernando Tur
Musicians: Diego Vainer
Costume Design: Paul Ramirez
Stage Design: Juliet Potenze, Ariel Vaccaro
Design Lights: Gonzalo Córdova PASEO LA PLAZA
Av Corrientes 1660 Capital Federal - Buenos Aires - Argentina
Phone: 6320-5350 Web
: http://www.paseolaplaza.com.ar
Tickets from: $ 60.00 - Thursday - 23:00 pm - Friday - 00:00 pm - Saturday - 00:30 pm - Until 16/10/2010
Argentino Published 13/09/2010 Time
Friday, September 10, 2010
What To Write On Wedding Book
THE "THE TOURIST CIRCUIT OLIVARES" INTEREST HAS BEEN DECLARED BY THE HONORABLE LEGISLATURE HOUSE OF REPRESENTATIVES OF THE PROVINCE OF BUENOS AIRES: LA PLATA
DT: Lord
Mayor
Coronel Dorrego
RM: Chairman, H. Chamber of Deputies of the Province of Buenos Aires
Cdor. Ramiro Gonzalez Horacio
La Plata, August 5, 2010.
I have the pleasure to write to let you know that this House, at a meeting date, has approved the following RESOLUTION
The Chamber of Deputies of Buenos Aires legislature resolves to declare interest on the tourist circuit in the village of Olivares Coronel Dorrego.
greet you with every consideration.
Cdor.HORACIO
RAMIRO GONZALEZ-President Dr. MANUEL EDUARDO
ISASI-Secretary Legislative Chamber of Deputies of the Province of Buenos Aires
Tuesday, September 7, 2010
Cuticle Pain In Finger
Sing again So much
If in the past were songs by Brecht and Kurt Weill in the intimate space of the Scala of San Telmo. Then, the musical performances of Alexander Tantanian grew in ambition and in space: with tears, protest, at night. The selection criterion was thematic and musical approach pursued by the estrangement. Winter Travel, Tantanian offers small clusters and the same procedure musical. The stage is well balanced and does not make us miss the intimacy of a smaller room, space proven effective for this type of entertainment. Tantanian
may be a young child singing a beautiful song Boris Vian or bataclana music hall or a rock star wasting energy. He even wallow in the greatest impudence that border on the rude and ridiculous. Encourages and interacts with the audience with ease and grace. Can therefore also be Nacha Guevara Alberto Cortez, remember Gardel or Glenn Close. The repertoire is varied but avoid falling into the vulgarity of the public coree issues. There are many familiar songs but all have been searched for unexpected side surprising. We regret that the playbill does not state the name of the themes we hear. Winter Journey also has special guests are changing. In the function I attended, Malena Solda sang with his usual sweetness and shyness and accompanied Moon River at Te Tantanian love of Silvio Rodríguez. The famous tango The organ can resonate and engage the lieder of Schubert Winterreise. This version of the show's title. Tantanian Alejandro says that originally was to be a tango show but led to a more eclectic repertory. Thus, it is the most fragmented Tantanian musical shows. It is also the most eclectic. There are issues specific to Penelas Diego, in charge of musical arrangements, in addition to dealing with the piano and guitar, does vocals. Also accompanying him on cello Zuccarelli Alfredo Rodrigo Quirós on drums and vocals. The cold is a factor in the Winter Journey. Alejandro Tantanian brings his charisma to "warm up" the public in the late-night Metropolitan 2.
sheet:
Voz: Alejandro Tantanian
Piano, guitar, loops and vocals: Diego Penelas
Cello: Alfredo Zuccarelli
drums, percussion and voice: Rodrigo Quirós
Photography and general assistance: Ernesto Donegana
Sound Design: Martin Vaccarezza
Graphic Design: Gonzalo Martinez
Press and broadcasting: Duche & Zárate
Executive producer and manager: Romina Chepe
Production Assistant: Gabriel Bitterman
Selection topics: Diego Alejandro Tantanian
Penelas & Choreography: Diego Velázquez
Lights: Jorge Pastorino
Costume: Oria Puppo
arrangements & musical direction: Diego Penelas
Idea & Address: Alejandro Tantanian
Functions: Friday at 23:15
Locations: from $ 30 .- For sale by PLATEANET
Metropolitan Theatre 2 - Av Corrientes 1343 / 5277-0500
Argentino
published in Time, 6/9/2010 
If in the past were songs by Brecht and Kurt Weill in the intimate space of the Scala of San Telmo. Then, the musical performances of Alexander Tantanian grew in ambition and in space: with tears, protest, at night. The selection criterion was thematic and musical approach pursued by the estrangement. Winter Travel, Tantanian offers small clusters and the same procedure musical. The stage is well balanced and does not make us miss the intimacy of a smaller room, space proven effective for this type of entertainment. Tantanian
may be a young child singing a beautiful song Boris Vian or bataclana music hall or a rock star wasting energy. He even wallow in the greatest impudence that border on the rude and ridiculous. Encourages and interacts with the audience with ease and grace. Can therefore also be Nacha Guevara Alberto Cortez, remember Gardel or Glenn Close. The repertoire is varied but avoid falling into the vulgarity of the public coree issues. There are many familiar songs but all have been searched for unexpected side surprising. We regret that the playbill does not state the name of the themes we hear. Winter Journey also has special guests are changing. In the function I attended, Malena Solda sang with his usual sweetness and shyness and accompanied Moon River at Te Tantanian love of Silvio Rodríguez. The famous tango The organ can resonate and engage the lieder of Schubert Winterreise. This version of the show's title. Tantanian Alejandro says that originally was to be a tango show but led to a more eclectic repertory. Thus, it is the most fragmented Tantanian musical shows. It is also the most eclectic. There are issues specific to Penelas Diego, in charge of musical arrangements, in addition to dealing with the piano and guitar, does vocals. Also accompanying him on cello Zuccarelli Alfredo Rodrigo Quirós on drums and vocals. The cold is a factor in the Winter Journey. Alejandro Tantanian brings his charisma to "warm up" the public in the late-night Metropolitan 2.
sheet:
Voz: Alejandro Tantanian
Piano, guitar, loops and vocals: Diego Penelas
Cello: Alfredo Zuccarelli
drums, percussion and voice: Rodrigo Quirós
Photography and general assistance: Ernesto Donegana
Sound Design: Martin Vaccarezza
Graphic Design: Gonzalo Martinez
Press and broadcasting: Duche & Zárate
Executive producer and manager: Romina Chepe
Production Assistant: Gabriel Bitterman
Selection topics: Diego Alejandro Tantanian
Penelas & Choreography: Diego Velázquez
Lights: Jorge Pastorino
Costume: Oria Puppo
arrangements & musical direction: Diego Penelas
Idea & Address: Alejandro Tantanian
Functions: Friday at 23:15
Locations: from $ 30 .- For sale by PLATEANET
Metropolitan Theatre 2 - Av Corrientes 1343 / 5277-0500
Argentino
published in Time, 6/9/2010
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