I Have Herpes But Looks Like A Cut

(Extension of the note issued on December 11, 2010, in The Nation.)

Rockabilly circus in the desert

By Pablo Gorlero

LAS VEGAS .- The road from the airport to the Luxor hotel is like living an American film of the 80's. Desert cactus, arid mountains and back without a miserable weed. But the journey is on a highway in the First World. Suddenly, from nowhere, huge buildings are appearing out of sight of the hotel assigned to this reporter: a huge
Egyptian pyramid, presided over by a sphinx, as output from the set of the movie The Ten Commandments. That is almost the starting point of the ride known as The Strip, along the Las Vegas Boulevard. Is that the city of fun, play and sex is like a giant in the desert scenery. Each resort, theme, offers a different world, the lights do not go out and never give visitors the feeling of not knowing what time it is. Nearby
(though each resort is the size of several city blocks) in the middle of the braid of large complexes, the Aria is a modern building which, like all houses a hotel, casino and entertainment groups. Among this offer entertainment is the theater where, every night is Elvis Viva , one of the latest proposals of the Cirque du Soleil.
is that, out in the streets the figure of Elvis Presley is repeated hundreds of times. Whether in posters, clothing, or even in those street artists who are characterized with sideburns, broomrape and white jackets open and full of blemishes. Elvis is without a doubt, an icon that Americans love and want to see permanently. Acrobatics and neon

The mega-Québec has fixed seven shows in Las Vegas: O , Mystère, Zumanity , Criss Angel Believe , Love , KA and Elvis Viva . Each of them represents a different resort, between luxury, kitch, the unreal and "timba" always present. There is also a nearly constant air rodeo, with men who wear their cowboy hats and boots Texan joined by thousands of Dolly Parton. Of course, all mixed with all sorts of local and foreign tourists, among which always prevail Japanese and Mexican. Aria
The theater has 1,800 seats that are the equivalent to 1,800 armchairs. Each seat is wide, soft, with enough space for the viewer to change position when you want. Also you can enter with food or any drink.
In this new proposal is not fantastic and the transcendental character has a "here and now" more palpable. That's the biggest difference from other Cirque du Soleil. That is, is much more theatrical and its format is closer to a music collection with a few circus acts as seasoning.
The dance is what rules, auque circle surprise proposal at all times. But as it is an evocative show, much as the performance of acrobatics and choreography are completely subordinate to a precious musical direction that is the work of Erich arranger Van Tourneau (see sidebar).

course, in keeping with the productions of Cirque du Soleil, all is grand, but functional to the circus and theatrical devices. Thus one can see a huge blue suede shoes that dancers use as a slide, a prison where inmates can run or walk upside down in a challenge to gravity, or a gigantic Elvis create endless perspective on stage.
This show has all the iconography of Elvis and reviews all the elements that are identified with the 50. It is a remembrance that uses historical data to create sub Presley and, above them, climate and concepts. That is, will review the years of the emergence of the artist, the label boom, it passes through Hollywood, and his own fanaticism (the gospel, cartoons), their fate as a soldier in the war, his fans, and the arrival of love. In turn, all that is supported by documentary images projected on many occasions.

course poetic relish Cirque du Soleil is on several stretches of the staging, as in the third box: "One Night With You. " A pianist is in the air with his piano tail, while she performs the song, a duet with the real image projected Elvis. But that poetic beauty is the setting of a giant metal guitar which symbolizes the magnitude of the star's love for music and hanging to give rise to smooth acrobatic movements performed by an artist who represents Elvis and another who plays his twin brother Jesse Garon, who died at birth.
Another high point of the show is "Return to Sender", which represents the boot camp, where all male company hiphop juxtaposed with acrobatic movements on the parallel bars and other feats of gymnastics. Meanwhile, used "Got a Lot of Livin ' To Do "to symbolize that Elvis had a fascination for the superhero comics of the 50's. A group of talented acrobats, dressed in layers, leggings and masks developed almost unbelievable feats with trampolines. The synchronized leaps and bounds make them look like walking through walls to street art of parkour.
The director Vincent Paterson got the pictures and acrobatic skills are several perfectly synchronized with the choreography and music. And meanwhile, one can see how both the icon and aesthetics Soleil achieve a perfect communion. Blond heads that rest on the shoulders of urban cowboys in "Love Me / Don 't "or" Love Me Tender "and a whole room is shaking to the beat of" Hound Dog "in a shared party, elected and all come with the necessary energy to continue having fun and spending on that city's scenery and fierce neon.

Elvis's voice, but live

LAS VEGAS .- Unlike many other shows of Cirque du Soleil, Elvis Viva is completely subordinate to the music . And it is the soundtrack, the live band and such arrangements are true stars of the proposal. To
communicate the album release Viva Elvis , Sony Music invited this reporter to watch the show and interview one of their creative stars: the musician and arranger Eric Van Tourneau.
Virtue and the highlights of this musical is that the original voice of Elvis Presley is present in different versions, but with a live band, modern arrangements and mergers in each of the tables and the support of other voices in that scene nourish.
"It is true that the show is subject to the music. It is not the case with other proposals from the Cirque du Soleil. I think that is the way to do justice to the work of Elvis because he is the head of the company. It is a tribute to it and members of the band, another member, "Van conceptualized Tourneau, a nice" Quebecois ".
- Long working?
" Yes. It was 35 years of code review. That job lasted two and a half years intense. All you wanted to do then was to hear everything that Elvis created. There were many hours to know and respect, to distinguish the various incarnations and reinventions. In 54, it was pure rockabilly, other than the 64. I had to listen 3000 hours of music to know. But it took three months to make the disc. It was like working with the Holy Grail of rock. It was a lot of pressure and very demanding, but I'm proud of the work achieved.
"There are differences between the disc and the live show.
"It's the soundtrack with some variations. To modernize the show about 35 songs, but the disc is 12 tracks that make a total of 45 minutes. Became more contemporary repertoire of Elvis.
-The mixture is notorious. Keep the original guitar of Scotty Moore, but the sums to the current band ...
"Yes, that's interesting. All I did is up to each song. Some were taken to a heavier rock or hip-hop. Respect the original guitar helped me to unify and bring together the sounds before the modern.
- Do you think that this CD may serve to bring the music of Elvis to new generations?
- Absolutely. It was the biggest goal. I have 37, but I know there are young people who do not know Elvis. Only recognize the icon, the figure in his white suit. But that's not the one that changed the history of music. The one who did was that from 1954 to 1968. It was the high energy and sensual groove, but in turn tender.
- After the show you're going to entertain any of the casinos?
"I'd rather go to take a few martinis with the band. I'm not a great player. So I'm much richer than before in the past six months in Las Vegas.

Wood Plant Pot Holders

VIVA ELVIS 50 years of the Teatro San Martín Alberto Ligaluppi


facade of the Teatro San Martín, Ernesto Bianco, Cyrano de Bergerac in , Lautaro Murua and Duilio Marzio, in Beckett
Images of book Teatro San Martín 50. 1960-2010, and my personal file

( Extending the note published in the supplement DNA, The Nation, November 26, 2010.)

Between laughter and tears

The San Martín turns 50 and releases new leadership, but suffers from financial strangulation and the decline of their facilities

By Pablo Gorlero

Forty years ago, this writer had to choose each week between three potential areas of cultural output that made their parents go to the movies, the theater or the San Martín. That is, go see the cartoons in a row; to different rooms offering books for children, or all in one, directly to San Martin. The latter option, of course, was a way more sophisticated, less predictable, to see the works of Roberto Aulesa, Liliana Paz or children's classics film as white mane or The red balloon in the room Lugones. For more Buenos Aires Buenos Aires, San Martin is the quintessential cultural icon. Is that giant stage heart that is surrounded by caves and record libraries. It is where the passion started many theater people and, in turn, where every actor wants to be.
The San Martin is a dandy who turned 50 this year. He had a wonderful life, left a wonderful legacy, and today, some bloodied, makes efforts to maintain the stately appearance. Although always had a persistent ailment: politics.
Construction began in 1953, where there was a huge garage, in an area of \u200b\u200b30,000 square meters located in Corrientes Avenue, between Parana and Montevideo. The work was detained for over three years for financial reasons, but he inaugurated on May 25, 1960.
is said that at that time, there was no theater in the world with the sophistication of this great complex. Its largest room, the Coronado Martin (named after one of the pioneers of the drama in Argentina), was the world's most comprehensive. The great merit of the architect Mario Roberto Alvarez and Oscar Ruiz Macedonian escenotécnico work was accomplished. Took to the challenge of mounting two rooms overlapping mechanisms in the early stage unforeseen 50, and an advanced construction technique. The space you make should be vertical, so it took the route of the subway but, in turn, had to neutralize any outside noise or vibration. Not only did it, but the acoustic treated rooms have Casacuberta and Martin Coronado is excellent. Perhaps viewers are not aware of that, but San Martin is a great well. Cunill Cabanellas room, the smallest (built in 1979) is located on the third basement, where at first, had a bakery. San Martín
The show opened with More than a century of Argentine theater led by Osvaldo Bonet, and involving all major actors of the time representing fragments of the national scene. "I did work with a well crazy," said the director when he noticed the huge central section liftgate. Anyway, the designer Luis Diego Pedreira managed to make enjoyment of each of the possibilities offered by this room 1049 spectators. It was a challenge not to despise. The whole contraption with which, until then, no designer could have. His Italian stage is equipped with a wide mouth of variable size (between 11 and 16 feet wide by 7 high), with that impressive central section which can move vertically in whole or in part, by nine lifts that operate simultaneously or separately, a pair of rotating discs 9 to 10 meters in diameter respectively, and a drawbridge to the orchestra pit. The second room is named after Juan Jose de los Santos Casacubierta, for many the first actor of the scene in Argentina. There is capacity for 566 people and is semi-circular shape, with a decline Isopto ideal. It also had its innovation on the platform stage drawbridge above the room and can be stage floor plates or orchestra pit. The huge stage is 20 meters wide and 5 high and 6 deep.
For its part, Leopoldo Lugones, dedicated to cinema, opened on 4 October 1967, with the screening of The Passion of Joan of Arc, Carl T. Dreyer. There is capacity for 233 spectators and has always been and is one of the temples of art film, on its screen, the critical film program Luciano Monteagudo greats as Chaplin, Griffith, Keaton, Visconti, Murnau, Kurosawa, Bergman, Truffaut , Godard, Herzog and Fassbinder, among many others. San Martín
But not only art and culture flashes in their rooms. Its halls, its central hall, their offices, archives, her workshops are creative hubs that are visible in the art plant that also generated (or generated) a lot of work. In their workshops apparel footwear and props arose generations of artisans.
towering giants of San Martin are also murals. The foyer of the Martin Coronado has a high relief of colored cement 7 meters wide and 2.80 high, entitled Allegorical theater, the sculptor José Fioravanti, while the side walls of the room can see the sculptures The drama and comedy , conducted by Paul Curatella Manes. Meanwhile, in the lobby of the Casacuberta, a large mural of Louis Seoane involves 32 meters wide and 11 tall. It is the birth of the Argentine theater, a play look impossible to stop.
Passing through the swing doors of access, the world of San Martin salutes the audience through the hall, something like the ballroom. That's where hundreds of artists have worked for free to give sound and movement to this enormous area guarded by attractive photo galleries. Tornello
Carmelo was the first director general and the first visit abroad was The Theatre Guild American Repertory Company, U.S.. The following year Vivien Leigh was presented with The Old Vic Company, Great Britain, to La Dame aux Camelias and Twelfth Night, and later, John Gielgud and Irene Worth, The Brenda Bruce Company, the Comedie and Marcel Marceau-Français
La Comedia National working in Eva Dong, Gianni Lunadei, Alexander Anderson and Rafael Rinaldi, among others, stepped on the stage several times because of San Martín Cervantes National Theatre fire, which occurred in June 1960. Armando Discépolo Watchmaker set up his own work in Martin Coronado.
In 1962, Cirilo Grassi Diaz succeeded Tornello, until 1967, and among others, followed, Maximo Mayor, Cesar Magrini, Juan Carlos Muiño, Fernando Lanús, Osvaldo Bonet, Iris Marga and Emilio Villalba Welsh.
One of the highest quality works of art was the Yerma starring Maria Casares and directed by Margarita Xirgu. In his cast were Alfredo Alcon José María Vilches, Eva Franco and Thelma Biral. Also of note Becket, Anouilh, with Lautaro Murua, Duilio Marzio, Norma Aleandro and Alicia Berdaxagar, led by Mario Rolla; physicists, with Pedro López Lagar, Osvaldo Enrique Fava Newfoundland and directed by Luis Mottura; Romeo and Juliet with Luis Medina Castro, Leah Gravel and Marta Gam, directed by Alberto Rodríguez Muñoz Family Reunion, with Milagros de la Vega; La Celestina, Iris Marga, bohemian lights with Fernando Labat, Miguel Ligero and Maria Luisa Robledo; The Royal Hunt of the Sun with Lautaro Murua, Coriolanus, with the memorable work of Carlos Muñoz; Hadrian VII, directed by Carlos Gandolfo, Pepe Soriano, Flora Steinberg, Zelmar Guenole and Luis Polito, among others, and La pucha by Oscar Viale with Norma Bacaicoa, Luis Brandoni, Julio De Grazia, Jorge Rivera López, Walter Santa Ana and Marcos Zucker, among many other projects of excellence.


The Trojan Women, Maria Rosa Gallo in front of the cast, and English, with Pepe Soriano and the Quartet Zupay


La pucha by Oscar Viale

Kive's reign Staiff
In November 1971, during the de facto government of Alejandro Agustin Lanusse, Kive Staiff first assumed the general direction of the theater, to take up the post in 1976, a position he maintained throughout the period of military dictatorship and the presidency of Raul Alfonsin, inclusive. After passing through the Foreign Ministry and the direction of the Teatro Colón in 2000 returned to that office.
During that first address Staiff, worth mentioning assemblies An Enemy of the People, Ibsen, Ernesto Bianco, Hector Alterio and Alicia Berdaxagar; The Trojan Women , Maria Rosa Gallo, directed by Osvaldo Bonet, Yvonne, Princess of Burgundy , Gombrowicz, with Juana Hidalgo, Elsa Berenguer and Miguel Light, directed by Jorge Lavelli, Nothing to do , Griselda Gambaro, with Walter Vidal and Carlos Moreno; Macbeth, with Lautaro Murua, Inda Ledesma, and Jorge Luis Politti Mayor; Three hundred million, with Alejandra Boero, directed by José María Paolantonio; I have seen God, with a memorable work of Osvaldo Newfoundland and English, a historical work of Juan Carlos Gené, with Pepe Soriano and Zupay Quartet.
In the documentary that has just been launched commemorating 50 years of San Martín, many artists confess that this area was almost a refuge for many actors pursued or identified by the dictatorship. There, in 1976, opened Nothing like a rebellious part of Griselda Gambaro who led Jorge Petraglia. "We developed a great theatrical and ideological work, Kive said. Then in 1980, drove up to stage a Hamlet another libertarian approach, against the dictatorship of his uncle. The messages were subtle but intense at the time. There were María Rosa Gallo, Alejandra Boero, Jorge Petraglia, José María Gutiérrez, Ernesto Bianco and Alicia Berdaxagar. Between the lines between such a dark, hidden so much death, was a breath of life for the artist.
"I took the character of Bernarda Alba as a symbol of dictatorship. Without changing a single letter of the text, the audience realized we were talking of authoritarianism and terror produced by dictatorships, "he said Alejandra Boero time ago about your version of The House of Bernarda Alba , released in 1977 a cast made up of María Rosa Gallo, Maria Luisa Robledo, Elena Tasisto, Juana Hidalgo, Estela Molly, Graciela Araujo, Alicia Bell, Hilda Suarez, Lilian Riera, Alicia Rubi Berdaxagar and Montserrat.
"I was not pregobierno military. There were clear attempts to navigate, but I had good defenders. I always say that, fortunately, Brigadier Osvaldo Cacciatore, a mayor with a sense somewhat feudal in its handling of the city, I felt some of his people. So it was a good umbrella, a good protection, "said Kive Staiff to Nation.
One of the unforgettable sunsets that period was one that opened the second address Staiff: Six Characters in Search of an Author , by Luigi Pirandello, directed by Hugo Urquijo, with Gianni Lunadei, Enrique Fava, Luisina Brando, Lito Cruz , Adriana Aizenberg, Flora Steinberg and Nelly Prono. Paradoxically
with what happened in the country, the culture of San Martín ball was centered in the 70's. In the second half, Staiff created the three main bodies: the Contemporary Ballet, the Group of Puppeteers and the cast. While the latter body was removed in 1989, the others continue working. Contemporary Ballet, now directed by Mauricio Wainrot, has 33 years of uninterrupted life. Oscar Aráiz cast of dance began between 1968 and 1971, but continued stable company with the direction of Ana María Stekleman, until 1982. It also passed through the URL Norma Binaghi, Lisu Brodsky, Alejandro Cervera, Oscar Araiza and two periods, and Wainrot Stekelman.
In 1977, he summoned the great puppeteer Staiff Ariel Bufano to mount David and Goliath, Schwarz Sim. From this successful experience, both with Mangani Adelaide decided to create a cast of puppets that had the financial and technical support needed to develop this art. Mangani led the group since 1992, after the death of Ariel Bufano. The Group of Puppeteers of San Martin has already placed its credit unforgettable as Beauty and the Beast, The Big Circus Creole, Mariana Pineda, The Shoemaker's Prodigious Wife, Peer Gynt, The black Pierrot, Gaspar pm, The Blue Bird and Theodore on the Moon , among many others.

Adelaide Mangani and Mauricio Wainrot


Meanwhile, the cast of the San Martín was composed of thirty Tasisto very first players like Elena, Walter Santa Ana, Osvaldo Terranova, Graciela Araujo, Juan Hidalgo, Pachi Armas Fernando Labat, Jorge Mayor, Roberto Mosca, Roberto Carnaghi, Osvaldo Bonet, Ingrid Pelicori, Horacio Peña, Alfonso De Grazia, Jorge Petraglia, Horacio Roca, Roberto Castro, Aldo Braga, Mario Alarcon, Patricia Gilmour, Oscar Martínez, Alberto Segado, Hugo Soto and Leopoldo Verona, among many others.
In 1977, after a long absence, returned to the stage Ernesto Bianco Cyrano de Bergerac with by Edmond Rostand. It was a great start led by Osvaldo Bonet, unfortunately, lasted a very short time since the great actor died on October 2, at 55 years, a few functions. Other memorable
put regular cast were street scenes, Waiting for Godot , John Gabriel Borkman, The organ, The Inspector, The Wizard, The Bourgeois Gentleman, Santa Juana, Periphery, Don Gil of the green tights, All My Sons, The pillars of society and memorable version Hamlet (1980), who led Omar Grasso, with Alfredo Alcon, Elena Tasisto, Roberto Carnaghi, Graciela Araujo, Alfredo Duarte and Roberto Mosca, among many others. For its part, the implementation of Galileo Galilei , Brecht, directed by Jaime Kogan, became the most successful in the history of San Martín. A total of 150 000 spectators went to see memorable performance of Walter Santa Ana, leading a cast that includes, among others, Graciela Araujo, Hugo Soto, Monica Santibanez and Horacio Peña. Although the international
the cast of the San Martin was coming from a few years before giving in 1982, he toured the Soviet Union (another political paradox) with The pit of Sercia Cecco and The house Bernarda Alba of García Lorca. A curious fact: the unexpected star cast was the funeral of Leonid Brezhnev, former Soviet President, in Moscow. Mauricio
Pericones Khartoum released in 1987, one of the best seasons, with large assemblies Three sisters and Federico Paths with Alfredo Alcon.
Among the international visitors from the 80's fit to include Pina Bausch, Dario For, Tadeusz Kantor, Kazuo Ohno, Rufus, Dimitri, Bibi Anderson, Vittorio Gassman, Hans Peter Minetti, Marcel Marceau, the musical Is not Misbehavin , Rustavelli Theatre of Georgia, the Odin Teatret in Denmark, the Block Seville, the Stara Teatr in Cracow, the Gorky Theater in Leningrad, the Theatre The Warehouse and the Teatro Circular (Montevideo) and the group letter.
The 90's continued excellence and gave space to emerging groups like the Black Organization and new directors such as Ricardo Bartis, Rafael Spregelburd, Javier Daulte, Mauritius Khartoum and Claudio Hochman. Four unforgettable An untimely visit of Copi, with a superb performance from Jorge Mayor, the Peer Gynt of Alcon, and assemblies Bartís: Hamlet and the war theaters and sin no can name.
was a decade which also passed artistic direction by Emilio Alfaro, Eduardo Rovner, Juan Carlos Gené and Ernesto Schoo. The group also stepped Andalusian The Zaranda scenarios often Teatro San Martín.
In 2000 the Government of the City of Buenos Aires created the Theatre Complex of Buenos Aires, an organization that merged artistic and administrative theaters of the five official agency. That is, the San Martin joined the President Alvear, the Teatro de la Ribera, the Regio and Sarmiento.
Today, the CTBA is not just for excellence in their cultural offerings, but also publishes books, magazines, is a television and a radio, among many other endeavors. As lakeside housing, is supported so you will not reach the flood. Its makers try to hold all that great structure in the best shape. You can sometimes, sometimes not. Just a question of the authorities get the whole story summary on these lines can proceed. Because the locals and the rest of the Argentines will always be proud of his Teatro San Martín

TEN YEARS plummeted

Maybe the crisis is an opportunity for growth, but has a very strong in the San present Martin. The outgoing director himself, Kive Staiff, admits that there was downsizing of staff and the theater complex has lost in recent times more than one hundred members. It was not even possible to celebrate the half century of life as it should, since the entire budget was allocated to the reopening of the Teatro Colon. Scaffolding still wearing his facade, the leaks in the rooms do not stop, the dismantling of the workshops themselves are unsustainable and the money never comes. Meanwhile, the grief is evident in the building staff. "The shortage of the budget is our mark on the selvage. This restricts us to the core business prevents us from increasing the activity," says Staiff. We used to do tours abroad. We came to the Soviet Union and received proposals interetantísimas of great figures, as Tadeusz Kantor, Pina Bausch. You can do miracles, but to some extent. Eventually, if there are ten dollars in his pocket can not be changed even one bulb. The fall budget grew from early this century. Budgets are repeated without taking into account annual inflation. Today, the executive Buenos Aires Legislature expected to approve two projects that can help, one on the sale of properties to address the restoration of the building and another on the autarquía.Hay structural change: it can be encouraging. But slow responses and solutions are not realized. In Basically, what hurts the most is the indifference.


The dog in the manger, led by Daniel Suárez Marzal

Is Highlighting Hair On Men Gay ?

(Expanding the article published in the supplement to DNA, the daily La Nación, 26 November 2010)

LOOKING YOUNG PUBLIC

By Pablo Gorlero

Pampeano of origin, making Cordoba, Alberto Ligaluppi is one of the most respected names in theatrical federalism. Perhaps the locals have begun to become familiar with their shape since last year, took the joint direction of the International Festival Theatre, along with Ruben Szuchmacher. From a very young
served as a theater director, teacher and artist in San Luis. After many years lived in New York, which was consolidated as art curator and producer. In the 80's, he settled in Cordoba. There he served as director of the Goethe-Institut Culture and was the architect of the Latin American Theatre Festival. All this wealth of knowledge on the gear of the cultural industries led him to be the leading candidate to succeed Staiff Kive the artistic director of the Theatre Complex of Buenos Aires, a position he confirmed to the end of August (the general direction of Charles Elia).
He immediately began to assemble the programming for next year. "It will be mixed. Kive party's idea of \u200b\u200beither side, mine. But I would say that we have the entire schedule to be announced in mid-December. In that programming will become clear that we are two. I think the brand will remain for Kive many years. Even me and I will be. He was here for many years to make this structure work. We must thank you have given a form that, somehow, we will modify. It was very symbolic in this theater. I find it very interesting affection and respect they have for their employees, "explains Ligaluppi.
- What will be the imprint Ligaluppi? -
Theatre Complex must regain the public less than 40 years. That's one of the things I'm working. And we should very strongly to the international season. At the time, the San Martin international had a season where everyone learned a lot. No one had to wait two years for a festival to see Pina Bausch or Philippe Genty. There are many proposals that pass near Argentina and found no place to mount here. The San Martín have there. We have a better look at Latin America. Probably Guillermo Calderon, Chile, come to lead, and wove an interesting network with Brazil to exchange performances. Also strengthen the co-production with Spain and France.
- What are the most urgent things to change?
-The amendments will be very slow. Try to have a broader program. Many managers of all ages who had not been in San Martin will now. That may be a giroimportante. We will open the door to more directors. I am also interested in the educational profiles. There will be a traditional process where every month a group of creative processes will visit each start to build a final assembly group. The coordinator of that will be Luis Cano. The rest is going to compete, we will try to come inside many people.
- What will give the budget for that?
"I imagine it will not be easy, but I am quite a fighter. There are certain things that have value in themselves. Co-productions are essential. The arrival of the Rond Point, Paris, will be a major exchange. A week of French theater in the San Martín, in June, will be missed.
- Is joint programming?
"I've managed with a policy of gradual change. Much of the schedule next year is Kive Staiff and we have respected. Our relationship is very good.
- What happens to the gradual dismantling suffered costume workshops and scenery, for example?
"There also is where you will see big changes ...

Joseph Henry Smithsonian Texas

Kive Staiff

( note published on Friday 26 November in the extra DNA, Nation)

"I have more friends than enemies"

Kive Staiff leaves the direction of the Teatro San Martín and tired of the daily fight for the budget

By Pablo Gorlero

Thirty years is enough to make the visitor feel Kive's office Staiff is like home. Are your paintings, many personal items and dozens of awards. On one side, some boxes. Since being saved, very little, some of their belongings. He looks sad. At times it breaks, do not conceal, and if I wanted to I could not. But the silences after questions are long. In a few days will leave this place that proudly made his way.
- How long are still here in his office, Kive?
-Until 30 November. We have created an arts advisory council whose presidency I shall use from December. It's a good idea of \u200b\u200bHernán Lombardi, in the sense of developing a cultural policy all levels of activity in the city. It does not seem too bad, because it sets a goal, a vision, and we must work to unite them in the same direction.
- What does the Teatro San Martín for you?
"And look ... Briefly you have to say: life.
"That's a lot ...
" Yes, very much. I am connected to the theater for 40 years. When you first arrive at the end of 71, in mid-1973 I went to practice journalism in the newspaper La Opinión, I call back in 76, I had to leave at 89 and went back to my journalistic work but always connected to theatrical activity, through criticism. It's a unique experience, especially because I arrived late 71 with a kind of rage theater critic: "I'm going to demonstrate what to do with a theater audience of Buenos Aires." And in a sense we demonstrated because there was a tremor, a large earthquake from the ideological point of view in the first directory of 1972
- Do you remember what was the first work that much?
"Yes, there were two. An Enemy of the People, Ibsen, in the adaptation of Miller, in Martin Coronado, and the other was Nothing to see, the first work that made us Griselda Gambaro in Casacuberta. Ernesto Bianco and Hector Alterio were formidable enemy of the people A . Back then the political fervor played a huge role, the public policy involved a fever.
- Do you regret some things in all this time?
"No, I think not. One may regret having chosen a title that was a disaster. But part of the responsibility. I had great partners and together we create an institution on the move. Very quickly cease to be producers of theater to become a cultural institution. I surprised myself. The daily swallowed one and when you look back you wonder, "How we get here? ". This is an institution that publishes magazines, books, produces a television program, another radio, edit records, makes several courses ... We have turned a hall that was a paradigmatic confectionery, which is the Cunill Cabanellas. Sometimes I get the impression that there are people who go to that room and no other.
- Does it hurt the theater?
And yes, it really hurts ... really hurts when I see that we should do more of what we do and better. Although there are shows that I produce a great satisfaction, I am sorry we do not have money, that we lack a good budget, architectural work ahead is paralyzed. We with a roof halfway, with a draft rehearsal for the ballet but it was never consummated, plumbing problems, problems with rain, problems with the roof of the room Alvear and Martin Coronado. That hurts, very much indeed.
- What will you tell the authorities when they said these things?
"Well, they claim that no money ...
- And you how you react to that?
"I have wanted to make a pineapple. Is a recurring theme in us, in the direction of theater. I am not alone. There are people next to me and we formed a team of very interesting and very passionate.
- What do you think? "This government has no resources or indifferent?
"I can not say that it is indifferent, the opposite. But it is clear that political decisions required to decide what to do with the budget for the Teatro San Martín. I find it hard to imagine but hey, it is also true that there should be a greater awareness of cultural phenomenon in the political leadership ... and the economy. We have no culture of patronage among us. We have some companies who have joined us, as the Galicia Bank, City Bank, the YPF Foundation ... But we should have more input from more sponsors. Anyway, we can not compensate for deficiencies of government budgets with assistance from private institutions.
- What is income that is the theater box office?
-is high if we have a good active season. I think this year will be. If more viewers is going very well, but take into account that charge a very cheap entry. 45 pesos when we are in private theaters are playing the 200. So the pride is through the collection but to be given by the number of attendees to the theater, and here we are at about 600,000 to 700,000. We've had times when we have a million many years ago. But I'm not complaining, we have good responsiveness to the public.
- Is won friends and enemies at the same time?
-Nooo ... I have many more friends than enemies. There are some that should go around chewing the anger of not having worked here as he wanted. But the San Martin was always the place where many artists could make certain repertoire that, obviously, either on television or in the commercial theater would have been addressed. There are actors who spend their lives without doing Shakespeare, which is terrible.
-The San Martin is the place where all players want to go ...
"It's true, absolutely true. There was an actor who was thrown to the floor to kiss the first stage when we call for action.
- Would you have liked to return to have a stable group?
"Absolutely. But there is economic to do so. In 1989 he dissolved the cast but the company remained dance and puppetry. I believe a lot in a cast. Everyone knows the risk of bureaucratization, but there are methods and ways to combat this trend. In practice, different teachers, the repertoire change, the rapid exchange of a work to the other, do not be bureaucratic.
- Do you get mad when I criticize and tell you not want to move from San Martín?
"No ... But I have disproved I left because the initiative has been mine. Nobody called for the resignation and no one threw it out the window. It just does not go further. Maybe a little tired from the fight everyday.
- What was in the pipeline with a desire to realize?
"They gave me many years and many tastes. It would be unfair to say something. I wanted to do Troilus and Cressida, Shakespeare. I covered almost the entire spectrum of activity. From classic to contemporary.
- What will you do after 30 November?
"I'll assume adviser resigns ... Carlos Elia as the new director general, Alberto Ligaluppi, like new artistic director. I'll take care of the presidency of the advisory council. But I do not have to worry about the night's performance.
- And you think to be able to take off that?
"You should not ask this question ... I'll make the effort, I promise. Over the years the relationship with staff can be converted into a friendly relationship, friends, to hug. From personnel management to technicians and well, that counts a lot. And why hide it, there is always curious to see what they will do with this.
"It's very painful to know that the trades have been diluted here ... The workshops were decimated.
"That's what we did: we do not prepare new people. I think one of the key tasks is to create complex systems development and training of technical personnel, props, shoemaker, tailor's. Are areas where we have a critical situation because many people have retired. We must preserve the crafts that a work demand, caring, adding people.
- You loves actors. How are they?
-Fragile and only live from the stage. Below the stage, their lives are just a transit point for the function tomorrow.
- So when they are on stage are complicated?
"Do not say that, but are some personalities.
-prefer it on paper ...
"In some cases, yes. But on the other hand, are fragile and must be helped
- What are the actors you see as the future Alfredo Alcon, Ernesto Bianco and Elena Tasisto?
"What commitment ... Sergio Surraco could be one of them. Malena Solda too. You make me name names and it is very difficult.
- What mounting San Martin remembered as historic and difficult to overcome? -Inexorably
tell you The enemy of the people with Ernesto Bianco and Héctor Alterio, and Trojan Women , Maria Rosa Gallo. Also The Threepenny Opera, Brecht and Weill, who made Marzal Daniel Suarez, and we made versions The Seagull and Three Sisters of Chekhov. I find it memorable also the beginning of At home in Kabul , who led Carlos Gandolfo. The first, a 75-minute monologue, Ellen Tasisto, it is difficult to forget.
- How is retirement living? How anxiety or distress?
-Calmly ... with a few tears, but realizing at the same time, life goes on.
"It's all very tidy in his office. Already know where you get all these things?
"There are many things of the theater but many others are mine. I'm in the process of ordering, so you can see.

Linsey Dawn Mckenzies Beautifull Legs

Zooterapia

(Note published a few years ago in Diario Popular and expanded)

Dogs and horses as companions

treatment of autistic and psychotic children

By Pablo Gorlero

In the land of forgetfulness, the indifference and the brain drain, some professionals with humanitarian work (sometimes with the wind against) by science and by the people. That dedication to service is twinned with the innate love of animals in a science that has been called zootherapy and (as in other parts of the world) are now being developed in Argentina successfully. The dog Protected Key and the horse is therapeutic companions in this type of therapy focuses on rehabilitation and improvement of certain diseases in people with disabilities. A physical disability often produce a centrifugal force which requires solidarity, while mental illness or behavioral disorders cause a centripetal force almost uncontrollable tendency to let the sufferer isolated. That was a major concern of Dr. Norberto Lopez and Lorena Amelia degree of Doctor Children's General Hospital Pedro de Elizalde (BDC), which began a pilot test with an instructor zootherapy canine. But there was no money to compensate the latter, which owns two purebred dogs Border Collie, and withdrew from the project. But the dream could be realized zootherapy for the perseverance of the cooperator of the hospital, the tenacity of the professionals, the capital contribution of others and the attention of a Canadian woman, a breeder of Labrador retrievers, which he donated to Key. "It changed the mode of the plan. It worked with the idea of \u200b\u200bstimulus control, but we go the opposite: open loop. Hiperentrenado dog loses the ability to play and did not want that to happen, "said lawyer Jose Pose. It's fun in that capacity where the relationship with the child may have creative characteristic of this link, which if not given too controlled. Thus, there appear some potential that has the guy who, if working in a more rigid structure, would not appear. " Key 48 is addressed with children with developmental disorders, mental retardation, autistic or psychotic. Each session is videotaped and, on that product, removed the boy's behavior pattern to design a program of psychoeducation. Within months, the tests are to light: children who had never played, now they do with other children or toys. To sum the film documents the history of patients, carefully examine behaviors and subtle gestures at the time of the meeting, Teresa Expósito architect designed, in the same block, kennels and a camera Gesell, a mirrored window to watch the child and the dog from the inside without interrupting or being seen. "We must clarify that the mascot of the house is not the same as attending therapy dog. Key is not a pet, is poised to become attached with 40 different guys," says the lawyer Lorraine. In other countries , is usually accompanied therapeutically to patients with pets, not animals only for that purpose. That means that to progress further, this technique would be entirely innovative. The idea is to bring another dog, providing that the lifespan of these animals is 8 years, but there are still many things to work optimally. As always, government agencies only provide signatures and approvals, but there is little money to give to such enterprises. Just take a look at the Creche to understand the subject. Zooterapia department provides free hospital and still needs furniture, a bathroom, a camera, image digitizer, dog squeaky toys and a tunnel lined with plastic wire for the animal and the boy can get. Fidelity equine Since 1998, Cinthia Ponce learned that one of his patients with cerebral palsy was rehabilitated with equine in the province of Cordoba. The improvement was evident, but could only go at certain times due to distance. So he assembled a working group and, after feeling the discrimination against disabled patients in some clubs, got the House Equestrian, Monte Grande, is excited about the therapy. "The difference with other treatments zootherapy lies in three-dimensional motion of the horse in gait, which encourages and promotes treatment. It is intended that the patient has a condition favorable to its position, "said the lawyer Ponce." You see changes from one session to another. "The three-dimensional motion makes a difference. It is as if walking themselves. It's great because it stimulates from the spinal cord and to the nervous system and produces muscular responses. Thrilled the laughter that you get to feel for the kids," says the professor of Deborah riding Bogo. The treatment improves balance and posture by strengthening muscles, developing coordination between trunk movements, upper and lower limbs, reduces abnormal patterns of movement, stimulates sensory integration, from of tactile, visual, spatial, temporal structure develops and facilitates adaptation to the environment favors the tonic modulation and muscle strength, improve the basic processes for learning and stimulates the emotions. The fee for this activity is accessible to those who think that such an animal can be dangerous to children, the reality suggests otherwise. "You can use any horse. Protection is ready for a year and knows that this is different guys. The size, heat and movement of the horse in a whole contribute to mental and physical improvements. Through its rhythmic movement, constant and repeated offers all these benefits, "says psychologist Noralí Bonatti. Rehabilitation of diseases through zootherapy tangible positive results. It only remains to hope that those who decide our destinies meet health, once and for all their work, researchers and especially to patients. Zooterapia Box Mornings at the zoo Every morning Buenos Aires zoo animals are waiting for the meeting with children and adolescents who feed and clean their enclosures. are the kids in the program "Caring caring" Infant Hospital "Young Dr. Carolina Tobar Garcia, together with the Buenos Aires Zoo, perform tasks on a par with the caregivers as a way social and professional reintegration. The project aims to remove these children from the institution where they are admitted to take an active role beyond. "This is a place to return to social life, school, work and family because the program allows them to bond and feel useful," says Ana Maria Papiemeister, project coordinator at the house they have in the Zoo. The initial idea was Hugo Massei child psychiatrist and, since 1990, 300 boys passed through "Take care nursing." Today there are 46 participating in the mornings on Mondays, Wednesdays, Thursdays and Fridays. Delilah Samson The psychologist worked in the therapeutic support team and believes that essentials of this program is the attempt to re-socialization of children. " In turn, it also noted that contact with nature and animals gives them a communication that goes beyond the verbal. "As there are kids with serious diseases to be outdoors, you can contact the environment beyond the production of words. For example, when we give food to the animals, take a role that is not necessarily mediated by the word. There is a wide communication of what is unsaid that is established between the child and the animal. " In turn, the bond with the caregiver is also very important "because they create a reference and a link identification very strong. "

other hand, is already well advanced zootherapy with cats, dogs, horses, psittacine (parrots) and other animals lone seniors and people detained in prisons or detention centers.

Today is conducting a program animal-assisted therapy for patients Moyano Psychiatric Hospital and the Hospital Tornú. On 2 December there will be an example to see how it works in the neuropsychiatric disorder.

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Myths about auto insurance.

most common myths about auto insurance are:

..........
7. Policies do not cover theft of mirrors and tires: This myth is true. Note that a high number of uninsured often rely and park your car on the street, not knowing that in case of theft of tires, mirrors or property taken from inside the vehicle, the insurance does not cover such loss. The policy is valid only when there is total theft of the unit. It is advisable to leave the car in a safe place, otherwise, seek to secure additions to the policy and adjust the total price thereof.


See the full story: http://mx.noticias.autocosmos.yahoo.net/2010/10/27/10-mitos-sobre-los-seguros-de-autos

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Jon Fosse

man of silence, the man in Norway

Considered successor of Ibsen and Beckett, is one of the most respected contemporary playwrights

(Full Story)

By Pablo Gorlero

(Special Envoy)

OSLO .- Two weeks ago, Norway filled their palates with the delicious nectar of the nine muses. Spikersuppa around the square in a corner could be heard a snippet of La Traviata, and two blocks later, a splendid cover of jazz. A hundred meters, the statue of Henrik Ibsen wrapped in red ribbons, white and blue, made him a nod to dramatist successor, discreet, slipping by the National Theatre. Gordito, his nose red and painfully shy, Jon Fosse that he had no drain through the halls of this beautiful architecture to receive a prize and take charge dreamed of being the strongest contemporary theatrical reference in Norway.
The author's name, the night singing their songs, the son and many other works of the new European theater, received the International Ibsen Award 2010, the same as last year gave the French director Ariane Mnouchkine and year to Peter Brook. But not only is an award involving prestige, but a touch to financial peace of mind: it gives no less than 300,000 euros. Fosse
traveled from the beautiful city of Bergen, where he lives, and spent all that morning wandering around the stage to greet the authorities and the press. After noon, mid-afternoon, for the very simple ceremony, took the stage, received a bouquet of flowers, a huge prize diploma and placed under his armpit. Although I had the wireless microphone stand, let alone tried to escape. He was arrested and had no choice but to acknowledge and justify his few words he had been drinking a little more at lunch. It was a funny excuse. A Fosse will always win shyness and humility, but the humor that rescues often take reddish cheeks.
The Ibsen Festival committee reported that the grand prize was to Fosse for "dramatic authorship only, opening doors to the silent mysteries performing pursuing humans from birth to death."
Today, Jon Fosse is one of the biggest names in modern European drama. And for Norwegians is the main cultural ambassador, as its sensitivity embraces the five continents since 1994. With pride, his countrymen counted some 900 productions of his works throughout the world (but, of course, must have more). Only 50 years old and feels a marginal in the art world. Not usually go to the theater and entered the world of drama only on request. Already in his early works, Jon Fosse soon found that his style would begin to be visible. What characterizes his poetic dialogue, its repetitions and the absence of such conflicts incisors which form the core of Western drama. In his first work, Somebody is Going to Come , a man and a woman come to an old house on the coast. Apparently, nothing happens. They aspire to live there protected in the world and repeat the spell that is the title of the book: "Someone is coming." And when a neighbor arrives unexpectedly, a feeling of bewilderment slips.

On the beautiful terrace of the National Theatre received the NATION, only half of Latin America, to speak briefly of his career and this time for tributes and recognitions. "I am surprised by the decision of this jury, which also includes someone who I admire greatly and is highly respected: Patrice Chéreau. I am very grateful that I have chosen," he says in reference to the prize.
- Why do you think that was awarded this prize?
I do not know, because I am surprised by the decision of the jury, someone I admire a lot and is well respected (Patrice Chéreau). I am very grateful that I have chosen.

"With Patrice Chéreau worked very directly in the assembly of I am the wind. Do you regularly work alongside some directors on productions of his works?
"Not at all. The director certainly sees the author as a burden. For Chéreau, is different. We exchanged e-mails frequently. She asked questions and answered them as best as possible. But I'll never testing or anything like that. Of course, after I went to Paris to see the setting.
"And when you leave to see his works," often think about the show?
"I have a policy that is no official comment on the proposals I've seen of my work. It is very difficult to see my opinion in the newspapers about some work. I will leave everyone happy. Much less could make a comment out of a premiere. The artists come up with some happiness, even though they know that what they did is not the best. Well, pass cute. Why do I have to ruin the night?

-Ah ... but very good ...

"Better be.
- Are not you a bit of fear and curiosity when it grants the permission to represent their works abroad?
"I am very excited to know of the existence of some production in another country. And the more distant it is, the more I like. I traveled 24 hours to see some of my productions. My responsibility is limited to adaptation. I hope original publication, but I can not make a strict control of the translations. It is almost impossible. I know what are the translations and that the proposals vary, but my part is made in the text. Well, sure I've seen some lousy productions and other very good. But I'm interested in how managers work with my writing. The stronger the voices of the principals, and the less seek to impose my presence, my texts appear more pure. It's strange. One danger is to impose the author's voice.
"But you always manifested a great concern, a special interest in theatrical language ...
"My ambition is that the essence of writing clear and reflect in a true local and universal at once. But I also try to disappear, although clearly warned me, the author. I'm not very aware of what I write when I'm doing. I choose to ignore what I write and just try to write as accurately as I can. Of course I'm saying something, and I know the text says something about me.
- Why did the novel to engage in the drama?
"I started to think that the prospect of my writing was too distant in the novels. In that sense, it is easier to write plays, because they're everywhere and nowhere at once. You yourself closer and connected.
- What is their relationship with the theater of Ibsen and what you feel when you compare him?
"It's an interesting question. That is unfair to Ibsen and me. The playwright was immense. Pinter can not compare with Ibsen or Shakespeare to him. It is not right to compare a playwright Ibsen as huge as me.
"I heard out there who always writes together ...
"Yes. For me it is a great pleasure creative work in Bergen, with these landscapes and the company of my dog. It is the third that I have. I wanted to put Beckett, but it is so small that it is not for me to call him so ... Nor could call Ibsen. So I decided to call Eckhard.
- What leads a normal life, someone whom everyone calls all the time genius? "It affects the ego?
"No, to be honest, I try to live my life in the most distant to it. There are some very rare social occasions. But I still have my normal little life.
- found a special attraction to review Greek tragedies ... "I
rewritten versions of Oedipus Rex, Oedipus at Colonus and Iphigenia. I just try to listen to these voices as old. They are so strong. It is not difficult, in that sense, set the voices and make them talk to my way.
"In his works, what their characters do not say is almost as important, or more, that it they say. These silences speak when you think about them.
"I believe in my writing, and even in a broader sense, it is not so important what is said and what is said is not exactly or in words or on the edges. What is the invisible hand is important because it is invisible as such. To write a good work, you have to write thinking about those unseen forces. In a good production is almost invisible visible. That is the essence of theater.
- What do you think of the new theater trends in the world?
"Every country is different. In Germany, for example, there are some new ways, but correspond to transitional forms. No major global trends.
- Is there a text back to the theater?
"Maybe. In the 80's, one was doing theater in accordance with a certain way, thinking of the artists. But when I spent 15 or 20 years you get bored because I saw those performances many times. We may be going back to the works of text.

- You have many issues of interest to write, after nearly 40 works?
"I'm not sure ... I think not. I've written a lot. Small pieces may have written. Now I'm pretty dedicated to making many translations and brochures. In recent years I was not writing a lot of theater. When I write I am not very aware of what I'm doing. I choose to ignore what I write and just try to make it as accurate as I can. Of course I'm saying something, and I know the text says something about me. But do not think too much.
- How is the process of creating each time you encounter an idea?
"I feel and I prefer not to know much of my work, then start writing. If the beginning is good, holds the rest. If I have this crazy feeling that my work appeared, no unemployment and everything around me disappears.

FOSSE WORKS IN TWO SIGN:
name of Jon Fosse, directed by Phaedra Analía García.
La Carbonera, Balcarce 998 (4362-2651). Friday at 22.45. 25 to 40 pesos.

The night sings its songs , Jon Fosse, directed by Daniel Veronese.

Timbre 4, 3554 Mexico (4932-4395). Sundays at 17 (until 28 November) $ 40.

Kates Playground At Forum

security measures when passing a car

Make a pass is one of the most dangerous maneuvers, so you should take extra security measures before proceeding.

An override is a move that is overtaking another vehicle in front of us and in the same direction but at a slower speed. Liners can be made using the opposite lane or on the additional lane.


breaching maneuver is one of the most dangerous, so we must take extra security measures before proceeding. Be done quickly, but ........

Lee's original source the full article. http://mx.noticias.autocosmos.yahoo.net/2010/10/28/medidas-de-seguridad-al Moment-of-passing-a-car

Looking For A New Car Blog

Today, Hugo Awards are a reality



a dream was fulfilled

Pashkus By Ricky and Paul Gorlero

Today, at 21, in America 24, Live, the first ceremony at the Teatro Hugo Awards Musical. Dream come true.

Paul - Do you remember that all this started in a bar in Callao and Corrientes?
Ricky: "No ...
Paul " You wanted me to carry the branch of the same firm, but in front of your study. Ricky
: - And we were not there?
Paul -No. I told you not be so comfortable and to get together halfway. Ricky
: "It's true. I called because I wanted to work together on some things. In one we agreed and sometimes not.
Paul "Yes, but I remember very well when After talking about everything else, you said, "Hey, Paul, is very unreasonable to think of a prize and the Tony for the musical?"
Ricky - Did I tell you?
Paul "Yes. And almost forget everything else and started thinking about ideas and develop this.
Ricky: "It's incredible ...

* * *

wanted a name. Appeared several, invent acronyms, but none of us convinced. And when we thought it would be "homework" appeared: Hugo. It was perfect. It would be in honor of someone "alive and kicking "that was one of the revolutionary musical theater in Argentina. Hugo Midon is a master of many now established and respected artists, led to almost everyone, and musical language to communicate the same ideas to large and boys in different discursive lines and shared, at a time. It was the perfect name. As others have to Tony, his Oscar, his Olivier, we would have our Hugo. We
name, we thought we had a common goal: to honor the genre and those who do. Give a big place. This huge site, but relegated always occupies in the history of our theater from the 20's until now. "When do we start?" ask us both. "Right now," he also answered the two.
Society was fantastic. One supposedly objective, one subjective, one immersed in the medium directly, the other indirectly. But in reality, like all human beings, or personal, or subjective, sometimes inside, sometimes outside, or both sides simultaneously. What we seek is to be honest and fair. Both share the same love for this form of theater that can say talking, you can say that singing or dancing. Thinking
remember the size categories that have this genre in all its components. Perhaps the musical theater is the most collaborationist the arts because, for a purpose univocal direction come together, singing, dancing, design, lighting, sound and many more etcetera. Up to 38 items happy where each category and to each genre of music could be recognized.
was born in less than a year, this reality is the Hugo Award for Musical Theatre.
Then we found the members of the civil association that would help realize this, and our honor committee, a group of notables who agreed to support us as China Zorrilla, Jose Pablo Feinman, Fernando Bravo, Magdalena Ruiz Guinazu and, of course, our beloved Pepe Cibrian Campoy, undisputed hero of musical theater. After we bring our panel of experts, consisting of journalists, historians, collectors, representatives of the major musical theater schools and institutions like Argentores and Argentina Actors Association.
And when we believed that the dream, dream resort, we could come down, came the superheroes: Eduardo Chaktoura and Mariano Peluffo, passionate, vital and unconditional.
Today we can say that our happiness is immeasurable. We got the "musical" (we call it love, even a former grade) have their party. And let those who love it and do we have the opportunity once a year to come together to enjoy its virtues.
We are happy. Surely we will learn much in the way to try to get better and better. In an effort to reward every area that makes up a musical work, think in 38 categories, not knowing that it is impossible that all come in a televised three-hour show included. Therefore it was necessary to split the awards into two stages. We wanted the alternative to having to eliminate 12 items.
Needless to say, the palpitations that feel when, after eight hours of scrutiny, we had the first nominations. The historic. So just and deserved, but always subjectivity make us feel anger or sadness by those who were not elected. So are the prizes.
Then the excitement to have the first statuettes in hand, made real, when handed the goldsmith. And now this, our first celebration of the musical, we share with you and thank them for their tremendous support. This is ours.

How Glue Car Upholstery

What to do before buying a used car

is advisable to list the points that you must perform before buying the car.

by Giovanna Ferreyra

Here we give the list that will be useful when reviewing the used car you want to buy:

- Mileage : The annual average of 20.000 km., If it exceeds this figure is not highly recommended purchase.

- Painting, notes and touches around the exhaust, trim and windows, so you know it if the car is patching, poorly painted or bringing some hits.

- Body Repair: Observes and plays moldings, bumpers, grille and body to identify if you had a bad injury and repair.

- Leaks: Check under the car ........

full article here: http://mx.noticias.autocosmos.yahoo.net/2010/10/11/que-hacer-antes-de-comprar-un-auto-usado

How To Overcome Sore Legs

Park nudes Next to Normal

Vigeland Park:

FEAST FOR THE SENSES

By PAUL Gorlero

OSLO .- The first recommendation that I received before leaving for Norway was not miss the Vigelandsparken. "The park of the naked," he said. The photos of the tour guide did not say much. But to gain a foothold in Oslo, the train station, I ran into a giant illustrating an obelisk of entwined bodies, knotted. I suspected this was the Vigelandsparken or Vigeland Park, a park located within larger: Frognerparken.
I began to internalize and learned that he owed his name to Gustav Vigeland, Norwegian sculptor a beloved who lived between 1869 and 1943. In times of independence, the government commissioned numerous sculptures and artists was one of the most pampered of the Scandinavian nation reborn. In 1906 introduced a cast model of a source for decorating the plaza outside the National Parliament. The work was interesting but had to wait about eight years, during which Vigeland expanded the project by adding various groups of sculptures and a granite monolith. Look how interesting history. In 1921, the City of Oslo decided to demolish the building where the sculptor's studio to build the library. But reached an historic agreement: the same city would build a new building for housing the Vigeland studio and, in return for being transformed into a museum after his death. In exchange for this construction, the sculptor agreed to donate to the city all his artistic work, including its models. So
Vigeland moved to their new study, very close to Frognerparken, green space chosen to install its source and sculpture complex. That was how, for the subsequent 20 years, the artist devoted to the completion and installation area for a permanent exhibition of his sculptures. Where
starts or ends for continued Vigeland Park in Frogner, I never could discover. Instead, if I find that this huge park of more than 32 hectares began to be conceived by this megalomaniac in 1924 and was finished seven years after his death.
The big portals leading to it from one of the main streets of Oslo resemble the New York Central Park. It is something like a large green area in the middle of the city. Although, of course, Oslo nature radiates on all sides.
I felt lucky the day I had to cross it: a sunny Sunday in September with 22 degrees and a warm sun caressing your face. Just went through the gorge trees, under which many seniors enjoyed the rest day for their retirement (with no concern on their faces, obviously), the quack of ducks expected near water. Since the end of that wall tree looks the first surprise: a bridge flanked by dozens of human bronze sculptures, all naked. Not only are in different postures and positions, but each contains an expression, an emotion or action. Some symbolic, some metaphorical, all so vivid. Here begins a journey that moves. Here begins a natural and artistic communion that shakes every way.


Vigeland reproduced all forms of human relations, all periods treasuries and most diverse forms of expression. They are beautiful, erotic, even dread. It is impossible for each to be indifferent. And there, in that hall of sensations, there is an inspiring aroma, inescapable. That of August Rodin. There
instincts are embodied both in its most extreme and more subtle ways. Brotherly love, filial love. Visible violence, domestic violence. The couple heterosexual, homosexual. Hatred, anger, panic, joy, happiness. Seduction, vanity, self-reliance, self-esteem. One can be
hours there, watching, sharing with each of these bodies, their possible thoughts, the soul that gave them their creator.
Then a lung breath of flowers allows natural beauty to separate the senses of man's creation. Although, immediately, on high, one can foresee what is coming. Rodin The air mixes with a cacophony of inspiration in ancient Mesopotamia and classical art. The yin and yang dot sight and permanently drunk sensitive viewers. A huge fountain, called The Wheel of Life, above the Monolitten, an obelisk of human bodies. It is so erotic that blaze art, amid so much green. As phallic. The Wheel and the Obelisk up an intercourse of life to give birth moments, emotions, feelings, bitter and happy.
The Wheel is a sustained source for a few atlases, which are covered by a curtain of water, as smoothly as strident in his downfall. All around, trees of life with cherubim, which are more reminiscent rodiniana. And below, on the frieze that encircles the entire source sequences that pass for love, sex and violence.
Then the staircase leading to human obelisk. One can spend hours watching this sculpture as ritual content. This braid of bodies, compact, perfect, as impressive as beautiful. Men and women all ages are compacted into a mass of concrete that looks raw. Around him, dozens of sculptures in situations that contain both action and emotion. Vigeland is amazing how you can capture feelings to reflect expressions. How can put the rock in the human soul so eloquently.
Nearly five hours I was in the Vigelandparken, I love that megalomaniac. Watched each sculpture, each relief of the source, each body knotted at the obelisk. Try to keep the smell of the flowers so well cared for by the visitors themselves and to the sound of birds.
Passing through the portals of exit, I swear I turned around, smiled and thanked her.

Here's a photo tour of this marvel: