Oh, SARAH! with Ana Maria Parodi it arrives at House of the Culture


Within the framework of XXXIV the Cultural April Salteño, the Stress Group will present/display the Oh work, SARAH! , of the Uruguayan Ariel Mastandrea, Saturday 17 of April, to 22, in the room Juan Carlos Dávalos (Homemade 460). Ana is a unipersonal spectacle in charge of the actress Maria Parodi, under the direction of Jorge Renoldi.

Dedicated to the memory of those who left tracks in the scenes of the world, the work is a tight synthesis of the life of the Bernhardt. Beyond his “life actress?, one approaches the woman, the human being, with his character, his feelings, illusions, their passion, its daily fight, that also is and was the fight of many women, above and under the scene….

Always, at all the times, to lay ways was very difficult: the putting in scene proposes a tribute to the actresses for all time. The life of Bernhardt SARAH will be a vehicle to find places common where the time it seems not to have passed: the same fights, dreams, ambitions are reflected and human relations, the same worries and fleeting brightness of actors and actresses of today and of always, who create a reality different from the daily one and despite, give to their public the emotion of their own existential states.

It is a recognition to all those that made of the theater a life form, and which they left to tracks on the scene, sacrificing loves, families and personal happiness. Behind each applause, the artist always is only, with his creation and its madness, its fears and their faults; doubts and certainties. Is the theater a mirror of the life? It is the life the one that teaches to us to act? The public applauds or boos, ensalsa or criticism… who really knows the life that occurs behind the mask?

General entrance to $20 for sale in the ticket office of the House of the Culture.

Beatriz Spelzini, protagonist of the distinguished work of Martin Sherman


Few directors have known to take with lucidity to the tables events of history. In the same way, few actors have known to incarnate to personages surrounded in overflowing stories of emotion. It is not the case of Agustín Alazzo and Beatriz Spelzini, that in this opportunity, brings to our province the multipremida theater work “Rose?, that adventure to tell to the history of a Jewish woman and its sufferings during the war, the discovery of the love, the suffering of nazism, I exile, its success in the United States and their unconditional commitment with the Hebrew culture. This, first the unipersonal one of the actress, will raise scene tomorrow, to 22, in the Theater of the Orchard (Pueyrredón 175).

How it was the process of composition of the personage?

Next to the director of the work, Agustín Alezzo, we seted out to see if we could present/display the extensive text of “Rose?. Soon we undertook a brief investigation on the thematic one, saw many documentary and entrevistamos us with survivors of the Holocausto. Finally, I began to imagine to Rose. I was paying attention what things of a woman of 80 years could serve to me. I thought much about my mother, who today are 81 years old, and about which remembered of my grandmother. It was a search that much work demanded, but a very pleasing experience.

How it is Rose?

Rose is somebody that is making a ceremony of duel. Like all great woman, it is lost in the story of his life, but it realizes a route by the great events of the century, leaving to glimpse how she is victim of those events. This woman, without knowing very either why, is always of the side of or, of the love, the brotherhood and solidarity. He is somebody that at the end of its life continues believing in all that, turning his pain into a life lesson.
The interesting thing of its history is that it is not only the story of a Jewish woman. In the work many other women and many other exiles can be seen; in a story that leaves a space for humor.

I imagine that she must be very particular to interpret a work with as much history behind. The work is very emotional and it allows itself to work with the humor, nevertheless is very respectful of the thematic one on which it turns the narration…

Yes, the truth that is a work that we assumed with much seriousness. For that we resorted to historians and journalists who advised to us. Also we read much on the subject.
For us it was very important, in addition, that Rose could repel not only in whom they belong to the Jewish colectivity, but in many other histories of life.

We could suppose that the emotional thing is an important factor at the time of incarnating to this personage?

Doubtlessly. Perhaps because I interpret, that I am an actress who has a very great emotional volume. Perhaps if another actress did, the personage would journey by another way.

Nothing says in the script than it must happen with those emotions, is to let itself take. At those moments the forms to work of the interpreter and the director are conjugated. I have always felt the freedom to let take to me with the personage, which is not a easy task.

What happens to him to the actor and the personage with a work like this one, that has remained as much time in billboard? It has a little while in that they are re-invented?

That happens in all the works. In the case of “Rose? I believe that the putting in scene has been gaining much with each presentation. They are 85 minutes in which I am single and I must journey by different touching moments.

There are many things that they have to do with this and that they are basic, like being rested well, for example. An artistic and emotional energy makes lack very great, but the theater is always in constant movement. The theater is the kingdom of the actor, the spectator is seeing the actor, directly. Clearly, there is a director, who in this case is magnificent, but is a different work. The theater is born and dies every night, which also means a risk for the spectator. It is a ceremony that is alive and that happens every night of different way.

You are an actress who always has pronounced yourself very worried about the social thing, it considers that it has taken this to his work?

In a sense yes. I have always tried to do my work by far respect towards the spectator.

I believe that thus I contribute to that the true office of the actor stays effective. That respect is to collaborate, somehow, to the construction of one better society. I have not worked in works that were against ideologically to which I create. There are things in which there are to agree, although that means to resign an economic benefit.

Before Rose said to me that has something of its grandmother and her mother, it also has something of Beatriz?

Yes, mainly because my mother and my grandmother comprise of my own history and my experience.

My grandparents also went immigrants, did not belong to the Jewish colectivity but they came from Italy escaping of the hunger. All that is very present in the work. I am a woman, who like Rose, has known the pain and the love. I have known reírme of many things that were happening, because when llegás to certain age empezás to watch the life of another way. I imagine that to the 80 he must have another glance, for that reason also I have dedicated myself to observe much mother, to approach me the 80 without having them, and the public has responded very well.

How lives the experience to realize its first unipersonal spectacle?

He is very pleasing, because I am living on the theater that I create and I am not needing to make other things. But I believe that I am going away to give account of all this when it stops doing it, because now it seems to me very natural to go to the theater and to be single. Perhaps it seems rare to me to return to work with other actors.

Which are their next projects, Beatriz?

I have many desire to continue making theater, my life it is the theater, it generates much pleasure to me.

Now we have decided to take “to Rose? to cross the country, after it to have had in the Buenosairean billboard by more of a year. It is the first time that I make a tour in Argentina and certainly I am fascinated. I was already in Chaco and Formosa; these days I am going to be in Tucuman and Salta. In addition, it interests much to me to know the atmosphere artistic from each place that I travel, although is minimumly. On the other hand, there are projects to make a film and a new work, but for that they are going to have to hope.

Sample “From the deep thing of my abstraction?


The same is available in the exhibition hall of the Popular Library of Jujuy and will remain until Thursday that comes.

The sample was inaugurated “From the deep thing of my abstraction? of Juan Manuel Taritolay in the hall the Popular Library.



Twenty-three pieces of thematic abstract, realized in mixed technique in the evening integrate the first exhibition of the artist that will be exposed until the 15 of the current in commercial schedule, in the morning from the 10,30 to 13 and from the 18 to 21.30.




“This sample is a synthesis. I seven years ago that I come working with the painting, my profession in lawyer in Kinesiología and Fisioterapia, but always tried to interest me in the art? expressed Juan Manuel Taritolay, atraido by the painting from always.


“Practically seven years ago when I went to Mexico to live, I was related to people of the art: with European like Italian French and, that belonged to different factories? commented.


In reference to the artistic influence that received, the artist affirmed that she began to work mainly in which is the abstract expresionismo, painting and abstract pure, being based on the work of the American Jackson Pollock, and Dutch painter Karel Appel.


“Basically this sample is composed by pictures of oil and acrylic, although there are some have only oil or pure acrylic and is based on that, in the abstraction, for that reason the sample is called in the deep thing of my abstraction? indicated Taritolay.


“From the deep thing of my abstraction? it is the first individual sample that the kinesiólogo realizes in the province, although already had participated in collective Aztec earth exhibitions.


“I began painting in Mexico, there if it had exhibited paintings in collective samples of two, three pictures; but never it had realized a exhibition thus, this would come to be the first sample only and here in Jujuy also?.


In reference to which it means the artistic activity in his race, Taritolay reflected that the important thing is to show the public the own sensations of the artist.


“The important thing is that the art is what one feels can express and it through the colors, when wants it to a person to sell is plus a commercial question and it already stops being art? mentioned the artist who presents/displays among others, some of the works that are exhibited are “So liberal?, “Legitimate king?, “Small glory?, “Adventures?, “Compatible?, “heard themselves?, “Eloquence?, “My history?, “Existence?, “Obstructed?, “I am not?, “you do not forget?, “Embroidered suderías?, “Spent times?, “To see him happen? and “A single visitor?, among others.

Inaugural debut and concert 2010 Symphonic of its new director


The Symphony orchestra of Jumps will offer, Thursday 15 of April, the first concert of Artistic Season 2010. It will be, without doubts, an evening for the memory, since the new director Enrique Roel will realize his debut in front of the grouping and the public salteño.


The appointment is to 21,30 in the Provincial Theater of Jumps. The public will enjoy the interpretation famous works of the universal repertoire, selected especially for the Inaugural Concert.

Firstly, Overture will be interpreted the Hébridas de Felix Mendelssohn, will follow Spanish Whim to him of Nikolai Rimski Korsakov, will close the first part. In the second part, Symphony of the New World of Antonín will be interpreted Dvorak.

From Monday 5 of April, the Symphony orchestra of Jumps, tries daily in the Provincial Theater of Jumps, under the baton of its flaming musical conductor. Roel declared to feel great expectation facing the beginning of activities and said to feel to taste with the Orchestra, with which it has obtained empathy and communication.

It also advanced, that in May will be able to announce the annual programming, with the fundamental objective to establish the system of installments that wishes to implement and that outside announced weeks back in press conference.

The entrances for the inaugural concert will be next on sale in Ticket office of the Theater (Zuviría 70).

One remembers that pensioners, disabled and students can accede to a 50 percent of discount in the value of the entrances crediting properly, in ticket office, their quality of such with the corresponding instruments (membership cards, certainties of students, etc). This discount get ready by means of Resolution Nº 84 - 09 of the Institute of Music and Dance, which also runs for the rest of the artistic bodies of the Institute.

This resolution on the other hand, promotes the subscription in particular agreements with institutions official or deprived properly credited and representative of disabled pensioners, students or, in order to allow the gratuitous access more to the needed sectors.

Opening Academies of Dance 2010


22 Tuesday 13 to hs. the spectacle will be realized opening of Academies of Dance 2010.

This presentation will count on the participation of diverse academies of dances of our province. It will be a promising show where they will fuse classic dances, Arab, jazz, free dances, Caribbean dances, tango and reggeton.

General entrance of $25 on sale in the ticket office of the Theater.

Raul Olarte in the first concert of the Miter Theater

The presentation has shared in common characteristics since it will collect bottoms to carry out works in the sanctuary of Liberator.

Tonight to 22, recognized vientista quebradeño Raul Olarte will appear like first artistic number of season 2010, in the greater scene of the Miter Theater.

Due to the participation flood of feligresía in this religious space, it is that Ortiz father is working for the construction of the “House of the Sanctuary?, destined to serve to pilgrims, priests and the equipment of pastoral.

With the aim of presenting/displaying this work and collecting bottoms for its accomplishment, this encounter in the coliseo was organized jujeño, with the action of the musician jujeño of international prestige Raul Olarte who will offer his spectacle dedicated to the folklore of the Argentine and Latin American plateau next to special guests.

“The idea arose from the father and friend mine Fernando Ortiz and is a special concert, the reason is the construction of a work in Ledesma for the pilgrims of the Virgin of Guadalupe, a work that is going to resort sanitary services because people every time add themselves more? expressed Olarte that will share its art after five years with the local public.

The compositions of Ricardo Vilca, Justiniano Aparicio Towers and “Nail? Branches will be the great proposals for a loaded evening of surprises and Andean rates.

“One of the guests at night will be bishop Marcelino Palentini and singing he since we have been able to see that zambas has a very pretty voice for some jujeñas and a subject especially; also it comes a pianist from the Silver, Eva Carranza, the guitarist Norberto Pereira; Leonel Key in charango and Alexander Vilte de Purmamarca and Gustavo Cross of capital? said the artist of winds.
The concert will be the first spectacle of season 2010, for this reason, is everything a pride the folclorista abrir the artistic billboard of the year.

“I always consider that the public jujeño is very demanding and, on the spectacles that the Miter Theater presents/displays, the public jujeño knows and knows that we are going to propose the best thing to him. We are trusting in which we are going to offer a little while of relaxation, to enjoy the sounds of quena, the piano, the song and of the instruments which they form part of our patrimony? emphasized.

In reference to his previous presentations, the musician commented that he was in different scenes from Humahuaca, his native earth; in Hornaditas in support for a native community, the Festival of the Churqui and the Teasel and in the province of Buenos Aires.
However, the immediate projects of the vientista are two, on the one hand the new album of study that is in recording and, on the other, a trip to Japan in the month of October to which it will go like guest of the embassy of Argentina in the Eastern country. The entrances will cost 20 and 30 pesos.

Shared in common festival “Jujuy helps Chile?

The entrance will be a nonperishable food for the affected ones by the earthquake that shook to the neighboring country in February.

In order to collect shared in common aid for the victims by the earthquake that whipped to the neighboring country of Chile during the month of February, the next Sunday the festival “Jujuy will be carried out helps to Chile? in the ex- Station of Trains.

The musical encounter, that it will initiate to 11 and it will extend until the 21, is organized by Damián Paco and Juan Carlos Ribolini, neighbors of our city which “they took brings back to consciousness? of the situation that suffers the inhabitants of the center and the Chilean south; and they count on the support of the Honorary Consulate of Chile in Jujuy, the Center of Chilean Residents and the Direction of Culture of the Municipality of San Salvador de Jujuy. Besides diverse ocal centers.

The initiative taken by both neighboring must to that “as jujeños we see ourselves in the necessity to collaborate since by our geography we were not other people's to that it happens the same? it indicated Ribolini.
As entertainers of the event participate the group of mariachis “Toluca?, Marcelo Branches and their set, the dancers of the School of Dance and Ballet “the Jujeño?, the group of Latin music “Locoto? and the Infernal ones of Güemes that stops the opportunity will present/display a new disc, among others artistic numbers.

Important donations
Until the moment without number of institutions they collaborated and they continue it making with shared in common collections of foods and diapers to be sent to the cordillerano country.

It is why the holder of the Center of Chilean Residents, Ana Aha Gual, was thankful by the donations of the associations of Armenia, Greek, Switzerland and Siciliana, among others.
In addition it emphasized the work of the students and of the managers of the school Remedies of Scaling that realized the day of food collection under the motto “solidarity does not have borders?.

Like thus also of the members of Rotary Club Jujuy by the campaign where they throughout received diapers the month of March in the pedestrian Belgrano.

While by he was thankful for the donations realized by the schools of the Orchard and Jose Hernandez, like thus also of all the people who anonymously collaborate on a daily basis.

Theater piece on the legend of the soul in pain


To call “Hortensia, a soul stone? and will appear east Saturday to 22 in the Theater of the Return of the Century.

“Hortensia, a soul stone? is a history based on the northern legend of the Soul in Pain, that Flavia Oil mill took to a theater script some years ago, as a result of a scholarship that it obtained to specialize in Theater Anthropology with the group the Wasteland of Buenos Aires.



After some years and delays of the project for personal reasons, the actress jujeña of great talent retook east work, that came working with Sergio Diaz Fernandez, and finally the last year, began itself to work in the definitive putting under the direction of another great artist of our means, Maria Peace.



The result is a work of theater dances, that arrived at this point without seting out it, which east Saturday to 22 in the Theater of the Return of the Century will be released (Senator Perez 178), and the next Saturday 17 will recover to the same hour.



It says the synopsis of this work: “A vague soul that, that suffers, that calls. A lost soul, almost transparent crosses the way that it has left in the earthly world to go towards beyond. It is watched in the mirror than it was his life next to his godmother and the pain his dead boy.



At the end of the way one is with the old Anastasia, with gifts of divination and a miner in his daily work, like predestining his death. No longer there is more weeping in his bones, no longer there are more complaints, no longer to vagar more by hills, no longer are but pains ".



The Tribuno de Jujuy talked with the artists of this putting to know details the work. “After the scholarship, the theater script was ready and spent long time?, tells to Flavia Oil mill and makes a small parenthesis to mention its maternity and the care of a small daughter, that was some of the reasons for impasse, “until the last year, sharing a work of training with Maria (Peace), took to me to propose to him that it directs this work?. In addition Diaz counted on the collaboration of Sergio Fernandez and Safe Diego, comments this actress, who promises with this work to return to give all their talent, that she is much, after to have consecrated at national level with the unipersonal interpretation of “Jamuychis? in the National Celebration of the Theater of year 2003, where she arrived representing Tucuman, province in which she was studying at that time. In this piece, Flavia Oil mill, unfolded an impeccable work of action, expression, song, color, lights, that took the applause standing up to their professionalism.



At his time of study in Tucuman, or it shared training with Maria Peace, that is worth to stress that it comes from the wood of the dance, but that also or penetrated in numerous proposals related to the theater.



For that reason this encounter in an extremely promising putting. Although Maria Peace recognizes, that antecedent of “Jamuychis?, did of some form “more difficult to do' Hortensia', but this actress (by Flavia) that sings, it acts and it causes that a pile of things in scene happens, causes that it transforms itself into a spectacle that the public has to do, mainly because we spoke of a legend of the Argentine north, who we felt like whom we must rescue, the legend of the Soul in Pain?.



“The Hortensia name was a whim because mine is related to the name of an aunt but is not its history. I chose that name because liked as she sounded I?, explains Flavio, “and' a soul stone' arose later because when I began to work with the first text, I occurred whereupon they appeared the stones like detonating element and the soul in pain much that is a legend of Jujuy. Both concepts were conjugated in this spectacle, still being very antagonistic. The soul like a etéreo being, and the stone like an Earth element, hard, cold?.



The language
On the other hand Maria explaya in the chosen language, the one of the theater dances. “It seems to Me that the language of the theater dances, very it is controverted, and we decided to put east language to him because sumatoria of events is one that are in scene. It appears the plastic, the line of vision, and everything fused with the work of the actor who in the case of Flavia is also half dancing because he has conditions practices and it. The language is sumatoria of these two arts, and it can very solve it to Flavia or in scene, it gives all their talent to us, and that does not make think us about every moment of the work if it is dance or theater. We work the dramatic art like a strong tool that cost to construct it to us enough?, assured.



And finally it defined this work like “a great poetry, because it has much metaphor, does not have much spoken text, but other textualidades that are crossed?.



The particularitity
The putting counts on a resource of music in Japanese, that needed the aid in the translation Mariano Yamada. Thus Maria explains: “Anthropology is a search of world-wide ethnic groups. It fell in my hands makes like fifteen years, a Japanese music because I have relatives who live in Japan, and is because it served to this music and a text to us that by back of her says something on this viejita Anastasia. It is a music that transports to you but that simultaneously it is like very ours, we used that music and that text in Japanese. It is like saying that the borders are but they vanish when to compose?.
 
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