Brighten Single Millionaires Lyrics

We return to Casino! Magic Blues

So, after a period of drought dates back to play at home Casino ambiguous in Palma del Río (Córdoba). To mark the birthday of our dear friend Tori, local manager, on Saturday June 6 which possibly give the show which closes a cycle, since input and in summer the thing tends to loose, like it should be Hagall to go to rehearsal, the temperature in the summer months surrounding the "staggering" number of 50 º.

Once again, we are confident that audiences will respond Palma as always, and will spend another Saturday night to remember. With this concert we bid farewell to our dear friends palmeña until after the summer. So you know, hope to see you all next day 6 at around 23:00 in the Casino!

A hug!

Do You Get An Erection During Waxing

"A body invaded by words"

http://www.imaginacionatrapada.com.ar/Teatro/2009/05/26/octubre-un-blanco-en-escena-un-cuerpo-invadido-por-palabras/

Aeneas

representation and there exists as such, because that which is never represented is the work . Everything is triggered as an unexpected sequence of events that show the before the performance, and that's representation. The nude scene is a skeleton that, at times, crumbles and falls to reassembling otherwise.

"October" as a work proposes a metalanguage. The same director involved in the scene to fill empty phrases transcendental projection, that is nothing. It reflects on the action before, during and after being executed . The work is part of a network of imaginary contents of world of dance, some of which are reflected in the returns made by the director to the performers ("- how does by the way, be more effective. ") The place d director, dancer, the public, representation and dance is questioned, the latter being one of the great questions that basic functions: What is dance? How should it be a dance piece ? When does the part where they dance? "Any dance is art? Is this a dance piece ?

The public is called to share . Some objects are arranged on the seats to be brought to the stage. The director makes use of its role and leads to new entrants. Microphone in hand, displays a short list and says, "in row 3, seat 4. " The purpose of participation wallow in themselves, reasons not discovered until the end. The result: the representation of a crime made public. (?)

Within the public also are some intruders. That is, actors beyond dubious membership. But we do not realize this until something sticks. The difference is given by the eccentric trait that exceeds any behavior on this side of the stage. The scenario unfolds, and we realize that not everything is what appears .

The participation takes two qualities. On the one hand, participation the public, a kind of helper / builder of a scene, the results have little to do with what was growing, but function as a wink or joke in the play. For another, the performers in the audience that, through his speech and his actions, reconfirm sites that were already questioning pose. The place of critical eye is constructed in the eyes of the public, but not for him.

danced Small fragments (in response to the question, when will the dance ?) Form, in contrast with all this meta-discourse, moments of pure sensuality. One of the dancers to a viewer chooses to devote a dance. For this calls for the others to close their eyes. And, as one resists the temptation to look , the dance becomes a big dedication of sensuality, guided by the pure dance desire to dance and to create that intimate moment, guarded by many, but led to one. At other times the body get carried away by the music and flows within that time and space accurate musical performance is also part of the scene, leaving pure matter exist as full of energy, full (again) of desire.

Reflection is the cutting that energy, that returns the body to the head, and opens new Compartments include it. And we talk of compartments, because we could take each issue of which we speak, and which is operated under a concept framing. The discussions are extended and we are facing common places, places and somewhat exhausted, because the answer does not exist if not as a new art form, to renew in us a bond of undecidability with art.

Do You Think This Is Awesome??

later

Last Sunday my brother and I we went to the slide at about 17:00 pm, where we hoped Jochop, our spiritual adviser, to see some of the concerts that have the Blues Festival This year ... but to our misfortune, when we had finished everything ...

Back in someone jokingly said, "Well, then let the Jazz Café to play for a while" ... the fact is that while passing through the gate of the famous venue, we looked out and saw a group of wise improvising blues with a guitar, bass and harmonica, and since we had missed the concert, what the hell, we to be satisfied with good music.

My brother Antonio was the first to break the ice, approached the group and asked them if they cared to accompany them on drums ... they at first distressed by the possibility of that it was a young man brought up in the euphoria of any alcoholic beverage did not hesitate to give the nod ...

And so began an unforgettable evening ... we were about two hours improvising blues, swing, bossa ... with formidable rates emanating blues all sides, including the organizer of the Festival de Blues de Córdoba.

Anto, Jochop and I, along with them, we were inserting the guitar, bass and drums, and we agreed to meet again on Tuesdays in the same place where they gather to improvise.

No doubt we'll be there!

Bulk Powdernattokinase

Octubre.Morir to be born in the fragment of a moment

O http://www.danzanet.com.ar/index.php?option=com_content&view=article&id=92:octubre&catid=41 :-contemporary dance-and-society & Itemid = 63 Ctu rope. Dying to be born in the fragment of a moment

Contemporary Dance and Society

Written by Ana Gonzalez Vañek

October, the latest offering from Luis Biasotto, allows us to make an approach to certain concepts before trying to be understood from a purely intellectual position, invite us to reflect on the relationship between theory and practice. Because as we know, the concept does not exist unless it is in and by a practice that makes it possible. October (white on stage) allows us to inquire about what happens inside the field of contemporary dance in Argentina from a story that, although it has the necessary structure that allows its existence as an artistic object, it brings us closer to a completely different way. In addition to generating a break with the representation and structure of the traditional work in the creation of Biasotto, who first instead takes a job directly related to the public, scenic breaks time showing real time. The same happens with the space, whose limits are continuously deleted and appear and disappear breaking the conventional stage space. Biasotto 's work is presented as a mental and reflective work, which in turn contains visual elements clearly confused the viewer. Because that's the intention, an intention no less ambitious and risky which involves the possible lack of questions by a public often accustomed to a particular interpretive logic in other formats used to show ties to the entertainment. The October director considers that often the work of art is to give answers, questions but no answers. And though at times is revealed in this way, theirs is not a work designed to entertain but to open questions. In this sense, it is interesting to note that Luis Biasotto articulated the creative development of his work with the idea of \u200b\u200bthe death of actor Heiner Muller, an idea that refers to the possibility exists for the viewer to see the real subject of a work. "For me the important thing is to find the time, that second you stop to see the character to see the real person. That it relates to the death of the author of Barthes. This is the general pose nearly all the work, "he says. In The Death of the Author, Roland Barthes argues that a text consists of multiple writings from various cultures. Thus, they generate a parody dialogue, an answer. Then states that there is a place where this multiplicity is collected, and that place is not the author but the reader. Given article by Arthur Danto, The End of Art, where the author tries to think what kind of boundaries separating the real objects of art by proposing a reflective rather than visual recognition, Biasotto has a job that also allows us to discover figure of an artist committed to his space and time, thus approaching the need to generate a thought, an active discussion, as such, favors a form of dialogue with the artwork. October, which features reviews, self-critical and references through which the viewer is recognized and re-meets his own experiences, has its analogy with an unsolved case, no conclusion. Like life itself, but through historical and cultural evolution has made us children of a Cartesian tradition, facing up and constantly to the need to define and answers, is incomplete and indecipherable in each of the fragments a moment that, paradoxically, also must die to exist and thus manifest in what we call "meaning." So Biasotto presents a work in which different languages \u200b\u200bare interwoven to show a place where there are no more goals ... or where perhaps the only goal, is the most difficult to generate a route that includes, in its eternal becoming, looks they want, yearning, seeking to understand not defined, trying to see beyond what meets the eye. Cultural Cooperation Center Corrientes 1543-Tel: 5077-8077 Thursday, 21 hs. Locations: $ 25

Gay Cruising Etticate

Balletin DANCE MAY 2009

COMMENTS

Motion Interactive

By Valerio Cesium

The final assembly of Luis "Krapp" Biasotto is proposed as open and informal game, released in late March at the Cultural Center of Cooperation

O ctober-a Scene White has his script and its look decontract two fundamental traits construction your profile. situations preserving what would reiterate random signals or movements improvised changes of roles and characters that embody so seemingly oblivious to the axis of the piece, both ingredients reported postmodern identity.

October ... reflux suggests a certain aesthetic. On the one hand most of what appears to be improvised or casual, reveals studied and repeatable. On the other hand everything that belongs to the apparent fixed structure is swimming in a casual way and improvised in performance.

An avenue of two hands that generates wealth dramatic. Many problems that staging of this kind must face, starting finishing the script and acting. In the first challenge is Biasotto overcame his line of argument is organic and articulated. The second time will tell, for now the casting does not end with the proposed fine-tuned. Sure to be enjoyed many moments of staging, by his wit and honesty that shines through even in the most naive, justifying them as valuable for placing significant, which prioritizes the veins conversational and interactive.

Interactivity is a concept that "the agenda" of contemporary thought, and thus legitimized as an important tool for the performing arts. There are cases where it is recorded as a substantial tool for the creation and there are others in lso works as a crutch, as a means outside the organic expression of a creator.

The nature of October ... is interactive, not only because it offers many bridges with the audience (which incidentally are the most fragile artistic passages), but the fabric of your script, yarn exclusively with experiential lines involving interpreters and members of group director.

When working directly with the fourth wall (the audience) there are many codes that change. Starting with the attitude (art) that the situation puts the performer and culminating with the ability to react and use of the material that appears, and the performers have to develop (after, of course, a comprehensive resolution training situations as require this type of work).

Biasotto The troupe did not escape the barriers that block the flow of the narrative stage.

Certainly in the season be secondary assembly will gain its own timming, regardless of its duration (at its premiere just over an hour) and you can win communication.

Finally remains whether it is a dance performance. Perhaps not (is that even scary?). And maybe not even try a show about dance, despite numerous citations and commendations. What it is-certainly a spectacle of dance, and choreography by the existence that he is, and gets recommended as a valuable vaccine at stylistic skepticism, endemic enemy of renewal. _

Hair Style Phtograph Of Vegina

NOTICE TO PARISHIONERS

Hello. Good:
As you have seen, I have published the outcome of the two long stories. And they've finished the first year of the Pub (# Happy, happy in your day #)

Although not the aim of this project, I paralyze to devote to other issues that prevent me from these be as regular updating and publication of accounts. (And NO. not prove with active bifidus,-P).
Quiet is not a final goodbye. I thank these people for almost 1000 visits (Vale, Aunt Sorrows. I know 990 of them have been you. A kiss from your favorite nephew.,-D)
Jokes aside: For those who have declared followers of the blog, send them a big hug and lots of "Wednesday" to continue with their projects, not just virtual, also in life in general.
Good luck to all. Some day soon (I hope it) the New Moon Pub will reopen its cocktail menu with new and passionate. For those who come for the first time: Welcome and sorry for the mess, I recommend you do not judge this tiny space in the blogosphere for this latest entry.
Here are some stories to read. Without any other claim you'll have a good time.
And now I close the blinds and hung the sign: "Closed for the publican leave, to head for my new tasks and only I have to write my sentence emblem

Kisses to all

PD: That does not mean they do not come to your blogs. And as a consolation gift I offer a beautiful song from a movie super freak " The origin of love" performed by Hegwid and the hungry inch "Seek the Courage Pub Jukebox is free!;-D

Individual Investor In Frontier Market

newspaper Clarin. April 24, 2009

http://www.clarin.com/diario/2009/04/24/espectaculos/c -00702.htm

DANCE: INTERVIEW WITH LUIS Biasotto

entertain Banning

presents a play, "October", in which questions about the parameters and contemporary dance.

By: Laura Falcoff

dance there? It seems that yes, the twentieth century has proven to be an independent language with its own specificity, incalculably large and diverse and has the ability to say, or suggest things that other languages-stage could not. However, in different ways and not necessarily new, the dance is often called into question. Luis Biasotto, Cordova and co-director of the independent group known Krapp, embarked on its own the gestation of a show that follows this path: it is called in October (Thursday at 21 at the Cultural Center of Cooperation) and although it was produced with a grant from Prodanza-agency of the Government of the City that supports independent dance-no, before our eyes, a dance production. Biasotto, in any case, presents a reflection about the dance.

What
understand how reflection in relation to "October"?

At first, I wanted to depart from my usual sense of a show: do not think a show just for fun, I say this as self-criticism because my spectacles tend to entertain.

I think it was purely commercial entertainment, dance, theater, music contemporary film or do not seek only "entertainment."

I mean the viewer in almost any show is passive, so I thought from what point of view could generate something more reflective, and interested me express what I see happening in dance: what happens when a being created. And there are other points: I did a reading of Heiner Muller in which he speaks of the death of actor, and also Roland Barthes, when dealing with the disappearance of the author. Before, I was in a very French alternative festival and the work I saw there can not be categorized as dance, what happens then when one thinks of a spectacle "Contemporary", and I say in quotes, "contemporary art". Pay the entrance but do not know what you'll see.



Is not a concept at this point, quite outdated?

I tell you what I think, you draw your conclusions. I mean, when you go to the theater pay to see something you probably already know her, in October , no. I dealt with that was not contained in previous newsletters who was going to work or how many people participate.

Why did you call for dancers for a work in which there is no dance?

Because they are the only people who understand me and because they a thoroughness that the actors, at least the ones I know-nots.



Despite this profound reflection of the speaker, the tone of your work is funny.

I do not know, I get well. Is it because I'm from Cordoba.

Is It Possible To Drive With Mouse In Tdu?

Target Shooting: the viewer almost a conspiracy

http://lunapugliese.blogspot.com/2009/04/tiro-al-blanco-el-espectador.html

When we're dancing we wonder why we're doing ? Dancing gives us pleasure because it can bring a feeling of fullness, freedom.
Sometimes our attitude refers to the study, and this may make the dance more attractive. Appreciate the permanent control of our actions and movements obsessively perfect and timed.
When dancing sometimes we combine the enjoyment to the study. And by building a work, it might ask itself, for its meaning. Thing that happens all the time "October, a white scene , in which a group of dancers and the director does not do more than ask questions and throw them to the public that is sometimes shocked, sometimes confused or ashamed but quite entertaining.
We dance because we can not do anything else: "It is impossible not to hear this music and dance," Vicky said while moving. Then at the end of an impressive solo Florence just over two minutes, Luis (director) asks, "What do you feel?". And she explained that she could not say whether it is 'emotion' ... in that case, satisfaction by checking that the body responds to certain signal she sends to the brain. But 'feel', I felt nothing, he said.
The work wonders, say, by the very representation of the mechanics of reading the viewer, the dance itself. ("Contemporary dance is one that is asked by his own sense?) So, there are interpretation problems that arise whenever the viewer participates in a show of dance or drama. Address which it said. Risky move if any. Exposed to such an extent that the director himself choose to receive public feedback on the scene. This show is intended as a fun experiment, at least for the performers and creators, and not just spectators. Without denying some who, when given the opportunity to participate with the nextel in hand, also contributed: "You think they're smart?". Sometimes the works
not want anything to be interpreted, especially in dance, with all its forms and possibilities of abstraction. Why must always be something you have to play? How can break into the spectator this year, these mechanisms that usually always see all the works? Is it not possible to think, perhaps, that the work, each piece has its own mechanisms for reading, interpretation? You always have to 'read' anything? Celebration that question all these things. I am grateful that I break the story with an unexpected show of brilliant virtuoso (whose dancers missed not seeing me in greeting.) It amuses me to involve the people (in a contemporary dance work, a surprise). I was attracted by this attitude of risk involved in each function, I checked in I saw and I suspect in all I will not see.

LUNA PUGLIESE

Can I Buy Schwarzkopf Online

http://www.revistallegas.com.ar/mayo09/notateatro1.html

IF A WORK IS CALLED OCTOBER AND ALSO POSES A break with traditional structures, it is impossible not akin to the events of 1917 and 1945. LUIS Biasotto, its ideologist and DIRECTOR, discard it. Anyway, October is an experience worth living.

With a good background in theater and dance, ten years ago came to Buenos Aires Luis Biasotto for further training because he had won two scholarships (Torches and National Endowment for the Arts). His idea was to return later to continue your search Cordoba or abroad. Here she studied drama with Daniel Veronese and Alejandro Tantanian, and acting with Ricardo Bartís. "I studied a lot with Susana Tambutti, which opened my mind about watching the dance, for me, is one of the most important of this activity, along with Roxana Grinstein."
When in 2001 the group Krapp (Edgardo Castro Fernando Tur, Gabriel Almendros, Luciana Acuña and the same Biasotto) premiered not kiss me?, the public began to have many questions and they, to gain recognition in the city's scene. Since then, alternating work and seasons together with projects that each faces. "What we're about Krapp is that we need to take away, like a family, everyone has to do things, take a breath, learn elsewhere. It is a matter of personal growth, "says Biasotto that without such" family ", just released in October (white on stage). And he explains: "I speak from me, from what I get off the dance today, what I see of dance today, its language and what is happening to the language itself. So it makes self-criticism, criticism and references that are not grievances. As I pointed out some friends, October is an approach that is half a thesis, a clear silly little boy of the dance language. " Not stupid or tiny: Biasotto "performs a deep look at the creation of a dance that, while it is applicable to the genesis of any play As a group emerged from the proceedings.
In October 2007, the team began a search relaxed about deadlines but intense in its objectives: a further step in the language of dance to the conceptual and display such a radical step. But that step did not respond to a formula nor had certainty about him, so much of the work consisted of a persistent series of trial and error, I try and discard, armed and back to zero. Certainly no dogma is the challenge of giving money to any method that shortens the road because the road is essential to the certainty (and this is contrary to faith, that can jump over gaps, and how much is being in the City stages). Besides, in October, the path of error is bright because lead is allowed to play judge the error, and so demonstrate the patterns and pitfalls that have created processes. Processes, as we know, and we, at times, their results seem to procedures.
Luis Biasotto says: "Heiner Müller said that when an actor is confused, you start to see who acts, led the dance, the slightest mistake makes you stop seeing the dancer and you see the person dancing. This idea is in part what triggers this pose, and that I associated with the death of the author and the idea of \u200b\u200bwho leads and who is not. As a start, was walking a bit lost. " A no doubt his words, because October is a pretty stingy quagmire happy when providing support points, whether to the public or performers, and yet (and thankfully!), Or about the temptation to be a tight show, exclusive to understand or complacent snobbery.

- and from that go missing, how to organize? Because in the middle of it all broken that plants, me, the viewer, you're carrying in her arms.
- There are several lines that begin to associate, on one hand, the rupture, the autonomy of the stage, so that I will invade and you do not know how far. At first we thought it much stronger, with cameras at the entrance and interviews to the public at the exit, leaving at all clear, but greatly extended. On the other hand, once we begin to venture ideas and interested in a basic format of assembly, was organized in connection with working in real time. Then, in the format, it was ordered according to what I was having a logical channel related to space and time.

of logic and hobbies
The mere sound of the word "logic" would appear as an attack in the midst of this confusion, this flirting with the absurd. However, once submitted some breaks and freedoms, October is heading in a proposed railroad along the rails. It's like talking to a madman, it will be very crazy for us, but not crazy but has twenty one, and since then always linked.
And speaking of crazy, there is a game and the story unravels tangled intimacies of almost manic need for returns and corrections, just away from your site / original time, manifesting as tics acquired known in advance, perhaps even rehearsed.
It seems necessary to point out that if I have hitherto spared even give hints about what happens in October was not because it is a work in which the leak of one fact would be enough to topple. Not so. The shift of all limits, space exploded, ambiguous roles, the author in construction rather than the text itself, the director diffuse and even the public does not know if it is such, generate such collusion between the show and the viewer that this well can go home knowing also the creator, so little will to bring you to come and take the post, namely his seat, because the successor likewise have the opportunity to do their part. So in October can be understood and enjoyed as a post-encompassing conspiracy, related in no small way to another conspiracy occurred randomly in a not so distant October. And although not by chance referring to those Octobers in which stormed the town as the protagonist, the 1917 and 1945 - it is impossible to think of revolution, which resonates in the very name of this month. Of course the same Biasotto states, both personally and chat scene, the title should be the month in which began the search that led to this show, but is it true? "He tells me in response or as quoted what was said in the play? While the billboard
alternative circuit provides increasingly find jobs that can sense, when there is no evidence-even the attempt to achieve results, Luis Biasotto proposed in October, but are not an informer, as an excuse to take a group embarked on this attempt and, instead, get him a result he did not know when you start the creative process, but that was thanks to the confidence that he and his team have had on the seriousness of your search. FIGHT

Bordegaray

Levis In The Loop Belt

New members in Glasses Rock & Roll Rock

This afternoon my brother and I have gone to rehearsal after a time without going to carry the team and the way trying to put some order to the chaos that reigns from there the last concert.

Going back cleaning we have had a pleasant surprise ... we have friends in the area and we not know! Yes, and the new team members are called mice!. These cute rodents have crept into the room, have eaten away the egg cartons on the walls, there have been a feast of pipes in the carpet and then have defecated on the couch later invited to take flight for yet know where.

funny thing is that apparently the visit of rodents on the premises was known to all tenants at least for us ... however, to go back tomorrow, this time armed with all kinds of products aniquilaroedores, to make life miserable for the panda of heartless.

, I suppose this is the musician's life until it comes out, tested in rodent-infested cages at the risk of disease ... damn I love the life of the musician.

PS: The guest sofa will be a time in quarantine.