Tiene La Cara De Estar Mal Fo Letra – La Manzana de las Luces celebrates Carnaval on Monday, February 28 and Tuesday, March 1 at 8:00 p.m. with concerts, music and open-air dancing with free admission. Empty because of the rain.
The “Carnaval des Senses” holiday starts on Monday the 28th. La Manzana de las Luces welcomes the blind performer Ariel Astrada from Córdoba who, together with the blind DJ Jonathan Mazzeo, gives body, color and music to the award-winning one-man show Deshojado, directed by Marcela Etchichury and Aldo Castillo. production.
Tiene La Cara De Estar Mal Fo Letra
The electronic music will end with a great dance performance by DJ Jonathan Mazzeo aka Blind Project.
Anuario Csa 2020 By Chiang
It is a party that wants to expand awareness and bring people closer to the world of invisible blindness: prejudice, false beliefs and discrimination. Leafless is the horror story of a clown who finds humor, laughter and essential desire. And this, together with the sound of Mazzeo’s electronic music, envelops the public in an experience that shocks the mind. Hear, dance and especially feel.
The next day, Tuesday, March 1, the Manzana de las Luces continued its Carnival festivities with an outdoor dance staged by Sudor Marica.
Only Deshojado won the 2021 Regional Theater Award in Córdoba in three categories: “Best Play”, “Best Actor” and “Best Director”. To learn more about this production, we spoke to its director, Markela Etchichurri, who spoke about the experience of directing a production without a script, first from scratch. Etchichurri was born in Córdoba and now comes to Unquilo. He trained as an actor and director in Barcelona under theater director and actor Lorenzo Mijares. Nine years ago he returned.
Ariel and I got to know each other from a previous game that Ariel played and I directed a few years ago. Later we met and he told me he was going to do a monologue about blindness. He tried to put it together for several years, looking for a director, and when we met, we started working on improvisations, shows, plays to see what would happen. That’s when articles, actions, views about their situation and history started to emerge. This is the origin of Leafless. It all went sour until we managed to sort out what happened in these dramas, put together the text and start working.
La Albirroja Inspirada En El CampeÓn De La Copa AmÉrica 1979
I have been asked this question many times and I usually say that it is like any other actor or actress. Each show, each production, each production, each direction by an actor or actress presents different challenges. Oftentimes, directing is about seeing how you can help an actor or actress bring out the best. Ariel is a very creative actress, very calm, very responsible, strict laboratory assistant, let’s say. It was really fun, especially when the work was created: we met twice a week, we tried things, we had fun, we were excited. It’s a job to find creative freedom and sincerity, which I think is the most interesting thing I can give him as a director: helping him find what he wants to say instead of many other constructions. , sometimes, a person is contaminated by others, and here is the understanding of the essence of personal experience.
No. In fact, the number one play when I started dedicating myself to theater was Let Me Kill You If I Hurt You by Juan Trigos (Mexican Director) from Mexican Culture Hemofiction . The drama is about a family with a child with a neurological disability, and it tried to show how difficult it is for a family to have a relationship with a disabled person. And then I worked with Ariel. I lived abroad for many years, and when I came back, I met Ariel nine years ago for the first game I wanted to put here, and I thought it would be interesting to work with a blind actor. I also found it interesting because Ariel lost her sight a year ago and hasn’t moved since she became blind. So I feel his desire to return to acting and there is no reason not to. This was my experience with two pre-disabled leaves, one of which was Ariel.
This piece meant many things, because it was my first time directing something like this, directing a part that was not written and had to be done from scratch. This meant a lot of process changes, because managing pre-written pieces, which are often written by non-communicating third parties, is not the same as managing creative works. this time. Many times, in the beginning, the management of Desfoliado must be seen as necessary to be able to work. Later it means a lot of fun, a lot of emotions, we received a lot of love from many people at the end of each show and gave us three theater awards from Córdoba, winning the best show, the best . actor and won best director. In addition, for example, it gave me the opportunity to go to Manzana de las Luces. Work that has its own life and has taken us to many places, in many examples.
Of course, I received them with joy and surprise, because it was a ceremony, and we won the last three awards, and there was a lot of noise around. First, Ariel won the best actress award, then I won the best director award, and then the best performance, so we were very happy. For me personally, it’s confirmation that other people appreciate everything Ariel and I have worked for and everything I’ve worked for as an artist over the years. The value of years and years of work has turned into a statue. Unfortunately, the awards don’t come in cash, which is a shame, because the money we make from the awards helps us produce more independent theater.
El Imparcial (10 Oct. 1950) By La Colección Puertorriqueña
First, the desire to be free. After that, I think it is very important to be able to tell the actors, actresses, hosts, costume designers, technicians what is needed for the show. It helps a lot. If an actor is doing something wrong in the performance, in terms of artistic reality in general, the director should be able to tell him. This is very important. It is also necessary to be able to say respectfully that one’s work is worthy, but also to search for truth, sincerity, personal truth and the truth of work. Don’t stop talking so you don’t make others sad. Don’t be easy on others. This is very useful. You also need to be in touch with your private and personal life to see the theater, read, socialize with others. Then, every director or director has his own resources or equipment, and every actor, actress and every job has different challenges. But staying connected to the work means that these new challenges can be overcome in a creative way, and when they first come out, we know that we have come to the stage with the truth to tell the all. When the truth is true, the people will always find something to inspire them, to challenge them, to make them laugh, to cry.
Mostly because I’m hyperactive, so I multitask. I manage the municipal company in the town of Unkilo with Paula Susperregui. I am working on a piece about (French sculptor) Camille Claudel. With Lyudmila Hernández and Paula Susperregi, we have a theater company dealing with women’s issues. We perform the works of (Italian actor and writer and Nobel Prize in Literature) Dario Fo and (Italian actor, writer and politician) Franca Rame. We will also perform a performance based on a text presented by the Faculty of Psychology at UBA: it is a play with a psychoanalytic office, and the actors will change sick people in the office. I’m also staging Waiting for Godot with Fede Tapia, and I’m revising Henrik Ibsen’s A Doll’s House, which is a personal passion, which we’re doing with the Unquillo fan group. Apart from always reading new stories, writing something else, playing something else, always acting.
Like Ariel Astrada, Jonathan Mazzeo lost his sight due to diabetes. In both cases, they followed their passions, acting for one, music for the other. Mazzeo talks about it in this interview
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