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.

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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.