David Amitin
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Cuarteto De Cuerdas Buenos Aires
Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CUARTETO DE CUERDAS BUENOS AIRES Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. En junio de 1984, cuatro instrumen Buenos Aires, le otorgaron el Premio tistas de la Orquesta Filarmónica de al "Mejor Conju nto Argentino". Buenos Aires, decidieron formar un En 1988, el Cuarteto de Cuerdas cuarteto de cuerdas, para compen Buenos Aires, realizó la grabación sar la falta de una agrupación de de los cuartetos de Juan José Cas este género en la ciudad de Buenos tro y Constantino Gaito. Aires, además de concretar así una necesidad personal de realización En 1989, actuó en el Teatro Colón artística. para el aniversario de Radio Clá sica, en el Teatro "El Círculo" de Desde su debut, en noviembre de Rosario y en el ciclo de conciertos 1984, el cuarteto actuó en los prin del S.O.D.R.E. de Montevideo (Uru cipales ciclos del Mozarteum Argen guay). También realizó conciertos y tino y Amigos de la Música. clases didácticas, con el auspicio de la firma Zanella S.A. en Rosario, Invitados por la Secretaría de Cul en San Juan, Córdoba, Bahía Blanca, tura de la Nación y por el Mozarteum Tucumán, Santa Rosa, La Plata yen Argentino, actuó en Salta, Tierra del el Teatro Presidente Alvear de Bue Fuego, Olavarría, Tandil, Bolívar, nos Aires. Jujuy, Catamarca y Cataratas del Iguazú. Obtuvo, también en ese año, el Pre mio Konex (Diploma de Honor). El Centro de Divulgación Musical de la Municipalidad de Buenos Aires, le Durante 1990, el conjunto tiene pro encomendó la presentación del ciclo gramada una gira latinoamericana y completo de los Cuartetos del Opus la realización, en Buenos Aires, de 76 de Haydn. -
PSC-CUNY Research Awards (Traditional A)
PSC-CUNY Research Awards (Traditional A) Control No: TRADA-42-229 Name : Willinger, David Rank: Professor Address : Tenured: Yes Telephone : College: CITY COLLEGE Email: Panel: Performing Arts Performing Arts Discipline : Scholarship Human Subject Use No Animal Subject Use No Supplementary Materials No List of Supplementary Material Department THEATER Title of Proposed Project: IVO VAN HOVE: A MAJOR THEATRE ARTIST AND HIS WORK Brief Abstract This is a proposal for a major book-length retrospective study of Ivo Van Hove’s career as a theatre director. It would take on his design innovations and his revolutionary approach to text and theatrical ambiance as well as chart the relationships with specific theatres and theatre companies of this, one of the most prominent theatre iconoclasts alive today. Van Hove is particularly important in that he acts as one of the few long-time “bridges” between European and American praxis. His career, in itself, represents a model of cross-fertilization, as he has brought European radical interpretation of classics to America and American organic acting to Europe. This book, as conceived would contain a generous number of images illustrating his productions and archive a wide cross-section of critical and analytical responses that have engaged in the controversies his work has engendered, as well as posit new, overarching hypotheses. Relevant Publications PUBLICATIONS & Scholarship BOOKS A Maeterlinck Reader (co-edited with Daniel Gerould) New York, Francophone Belgian Series, Peter Lang Publications, 2011 Translations of The Princess Maleine, Pelleas and Melisande, The Intruder, The Blind, The Death of Tintagiles, and numerous essays, with an extensive historical and analytical introduction, 358 pp. -
Javier Weintraub Cv Ingles
JAVIER WEINTRAUB Argentine versatile violinist started his studies at the age of 8 at the National Conservatory “López Buchardo” in Buenos Aires, from which he received the degree of National Professor of Music specialized in Violin. His teachers were Cristina Monasterolo, Ljerko Spiller and Rafael Gintoli. He took part in many chamber and symphonic orchestras as Orquesta de Cámara Crescendo, Orquesta Sinfónica Juvenil de Radio Nacional, Orquesta Sinfónica Franco-Argentina, Orchestre de Chambre de Lyon in France, Orquesta de Cámara Scherzo. Javier performed widely as a soloist, playing many of the most well-known pieces from the violin repertoire, like the Mendelssohn violin concertos, Tchaikovsky, Vivaldi’s Four Seasons, Bach concertos, etc. In 1996 he obtains through public contest his currently position as first violin at National Orchestra of Argentine Music Juan de Dios Filiberto. From that moment, he started an intense activity as a Tango violinist, performing concerts with many important groups in the Buenos Aires music scene such as El Arranque, Decarísimo, Osvaldo Piro’s nonet, Fernando Marzan’s sextet, Weintraub-Greco duet, among others. He took part in important Tango shows such as Rojo Tango at the Faena Hotel, Tango Dance Premiun, presented in 60 different cities in Japan and “Los Ojos de la Traición” - a Tango Opera presented at the Auditorium at Hotel Sheraton, co-directed by Verónica Vidán and co-written with Fausto Lomba. Between 1997 and 2013 Javier toured the United States, Japan, Spain, Germany, Switzerland, England, Italy, France, Sweden, Holland, Finland, Venezuela, Chile, Colombia, Vietnam and Cuba, among other countries, presenting Argentine music to the foremost music halls of those countries. -
Rewriting Theatre History in the Light of Dramatic Translations
Quaderns de Filologia. Estudis literaris. Vol. XV (2010) 195-218 TEXT, LIES, AND LINGUISTIC RAPE: REWRITING THEATRE HISTORY IN THE LIGHT OF DRAMATIC TRANSLATIONS John London Goldsmiths, University of London Grup de Recerca en Arts Escèniques, Universitat Autònoma de Barcelona Although the translation of dramatic texts has received considerable scholarly attention in the last twenty years, a great deal of this energy has been devoted to theoretical or practical issues concerned with staging. The specific linguistic features of performed translations and their subsequent reception in the theatrical culture of their host nations have not been studied so prominently. Symptomatic of this is the sparse treatment given to linguistic translation in general analyses of theatrical reception (Bennett, 1997: 191- 196). Part of the reluctance to examine the fate of transformed verbal language in the theatre can be attributed to the kinds of non-text-based performance which evolved in the 1960s and theoretical discourses which, especially in France, sought to dislodge the assumed dominance of the playtext. According to this reasoning, critics thus paid “less attention to the playwrights’ words or creations of ‘character’ and more to the concept of ‘total theatre’ ” (Bradby & Delgado, 2002: 8). It is, above all, theatre history that has remained largely untouched by detailed linguistic analysis of plays imported from another country and originally written in a different language. While there are, for example, studies of modern European drama in Britain (Anderman, 2005), a play by Shakespeare in different French translations (Heylen, 1993) or non-Spanish drama in Spain (London, 1997), these analyses never really become part of mainstream histories of British, French or Spanish theatre. -
By Fernando Herrero-Matoses
ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body. -
Olga Pinchuk (Lola Pinchuk)
Olga Pinchuk (Lola Pinchuk) Olga is an Argentinean violinist, born in Kazakhstan. She began to study music encouraged by her father and led by her mother, the cellist and pedagogue Tatiana Kachanova. Being three-years old, she began to study violin, successively learning from teachers Nina Nazimova, Lazar Bendersky, and Vera Nyezhentseva (in Ukraine). Later, she traveled to Argentina and, in Buenos Aires, she studied with maestro Szymsia Bajour; she currently optimizes her knowledge with maestro Oleg Pishenin. She graduated with high grades from the National Conservatory of Music of Buenos Aires "Carlos López Buchardo" (currently the UNA, National University of the Arts), with a title of Senior Professor in Music and as Graduate in Musical Arts, specialized in Violin. She has participated in major continuing education courses, with scholarships granted by the Alberto Lysy and the El Sonido y el Tiempo Internacional foundations, led by maestros Ljerko Spiller, José Luis Juri and Daniel Goldstein. She also participated in the Martha Argerich Festival of Buenos Aires, editions 2001 and 2002. She took part in several orchestral ensembles, some of them being: Teatro Colón Permanent Orchestra, Tango Orchestra of the city of Buenos Aires, Teatro Colón Philharmonic Orchestra, Provincial Center for Arts of the Teatro Argentino de La Plata Permanent Orchestra, La Plata Municipality Chamber Orchestra, Municipal Symphony Orchestra of Avellaneda, Teatro Colón Academic Orchestra, and Cámara Mayo Orchestra. She performed at the most important halls in Argentina and Brazil, as well as in cities of the United Kingdom and Germany. She recorded her first CD, that is completely focused on Argentinean music for violin and piano. -
'Two Arrabalesques: a Surrealist Café'
PERFORMING ARTS 'Two Arrabalesques: A NEW YORK Surrealist Café' Sun, November 10– Mon, November 11, 2013 9:00 pm Venue Bowery Poetry Club & Cafe, 308 Bowery, New York, NY 10012 View map More information Performa 13 Credits Co-presented by Spain Culture New York-Consulate General of Spain and Performa as part of Performa 13 in collaboration with the Martin E. Segal Theatre Center and A celebration of the carnivalistic and provocative work created the Bowery Poetry Club. Organized by Fernando Arrabal featuring poetry, cabaret interventions, by Marc Arthur, Charles Aubin, Mel Gorden, with additional support from and impromptu performances, as part of the Performa 13’s Frank Hentschker. Surrealist Weekend. The singular work of Paris-based Spanish ?lmmaker and poet Fernando Arrabal de?es categorization, utilizing humor, shock, and confrontation while embracing excess, irrationality, and the grotesque. In a celebration of his provocative oeuvre, Performa and Martin E. Segal Center, CUNY host two evenings of poetry, cabaret interventions, and impromptu performances at the Bowery Poetry Club, all presided over by this legendary and controversial ?gure. These Two Arrabalesques will feature unexpected juxtapositions, confounding non-sequiturs, and raucously liberated psyches. Participating poest, musicians and artists include Todd Colby, Joseph Keckler, Jacolby Satterwhite, Jamie Isenstein, Cyril Duval. ABOUT FERNANDO ARRABAL Fernando Arrabal (born 1932), is a Spanish playwright, screenwriter, film director, novelist and poet who settled in Paris, forming the anarchic Panic Movement with Alejandro Jodorowsky and Roland Topor there in 1962. This second generation Surrealist group took inspiration from Luis Buñuel and Antonin Artaud to create spectacular happenings and theatrical events with the goal of employing Surrealism to explore fundamental, primal Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. -
Saturday Purpose, Generating Explorations of Altered States of Consciousness Through Art and Sound
MORE details AND Updates CAN BE Uncovered at 8p Cesar Vallejo. KBOO poet Barbara LaMorticella reads from the 9p Cable Access Dada/Surrealist Film Simulcast. As we 10:30p Antonin Artaud’s Artaud the Momo. After It’s 1918. You’re young and living in Berlin. You’re a works of this great Peruvian poet who helped to invent surrealism, pronounced it go to press, KBOO has coordinated time with Portland Cable Access for Channel 23 spending 8.5 years in insane asylums, Artaud reemerged to literary Paris in 1946 www.kboo.fm/dada little dazed to have survived the mass-slaughter of World War I. dead, and then produced a body of passionate Communist/Surrealist work. from 9p-3a. We plan to show silent Dada and Surrealist films and invite any and all to with this account of his Phoenix-like rise after receiving massive electro-shock You feel sorrow and anger that so many of your friends and fam- come to our radio station at 20 SE 8th to help us provide soundtracks for the films. treatments. “In Artaud the ancient, black springs of poetry are graspable, like a ily were killed, mutilated, driven mad by the first mechanized 9p provide music and spoken word. writhing piece of star gristle. Antonin Artaud is the stamina of poetry to enact in maginewar with weapons of mass slaughter, the first with a new mental damage called “shell shock.”• The Dead Air Fresheners a machine-gunned hearth the ember of song.” A radio-theater dramatization of Like your surviving friends, you have only contempt for your “civilization” and its masters whom 11p Naughty Bits: Ubu Roi by Alfred Jarry. -
Front Matter, Vol. 37, Issue 2
Studies in 20th & 21st Century Literature Volume 37 Issue 2 Centroamericanidades Article 1 6-1-2013 Front matter, vol. 37, issue 2 Follow this and additional works at: https://newprairiepress.org/sttcl This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation (2013) "Front matter, vol. 37, issue 2," Studies in 20th & 21st Century Literature: Vol. 37: Iss. 2, Article 1. https://doi.org/10.4148/2334-4415.1801 This Introductory Material is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Front matter, vol. 37, issue 2 Abstract Editorial board and Advisory Council, masthead, contents, and an index to published articles of vols. 1 - 37, issue 1 This introductory material is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/ vol37/iss2/1 et al.: Front matter, vol. 37, issue 2 Special Issue Centroamericanidades Guest Editor: Arturo Arias Articles Abstracts 4 Arturo Arias: Centroamericanidades: Imaginative Reformulation 11 and New Configurations of Central Americanness Ana Patricia Rodríguez: Diasporic Reparations: Repairing the 27 Social Imaginaries of Central America in the Twenty-First Century Regan Boxwell: The Disembodied Subject: Resistance to Norms 44 of Hegemonic Identity Construction in Carmen Naranjo’s Diario de una multitud Junyoung -
Ouvrage Fernando Arrabal Et Serge
Travaux communs Écritures / Photographies S erge A ssier l F ernando A rrabal L’erreur, comme le rire, est le Exposition propre de l’homme. Mais infiniment plus créatrice. Arles / Marseille Roland Topor SERGE ASSIER l FERNANDO ARRABAL SERGE ASSIER l FERNANDO ARRABAL LE PETIT ROI DE MALICE Ici et là devant derrière pour les 80 ans de Fernando Arrabal le fou devenant cavalier l’évêque escaladant la tour Depuis les malheurs de l’enfance tandis que tous les pions ricanent dans un pays de barbelés les dames avec leurs princesses courant toujours après son ombre défilant sous les yeux du roi dans un paysage roulant les assassins dans l’escalier aiguisant couteaux et rapières traversant frontières et murs qui s’accumulent en des grappes De l’autre côté des barrières comme des étendards qui claquent le capitaine du vaisseau lors de la mort d’un dictateur perd sa casquette dans le vent qui la dépose sur le quai Sous l’avalanche des médailles où les enfants se précipitent que nul parapluie ne détourne pour la traiter comme un ballon qu’il faut agréer souriant dans un terrain vague où s’exercent comme on traverse une avenue les tramways reprenant service attendant la fin de la grêle qui cabosse carrosseries Dans le musée imaginaire déchirant nos imperméables les tableaux descendent des murs mettant les vitres en éclats pour échanger leurs personnages avec gardiens et visiteurs en provoquant maintes rencontres Se faufilant dans les couloirs avant que dans la nuit déserte des hôpitaux remplis d’urgences chacun retrouve son décor réapprenant à respirer -
1 Denison University Span 430- Otoño 2010 Cuerpos Vivos
DENISON UNIVERSITY SPAN 430- OTOÑO 2010 CUERPOS VIVOS: MATERIA Y ESPIRITU EN LAS ARTES DE LA ESPAÑA CONTEMPORÁNEA Dosinda Alvite, Ph.D Fellows 301 R, [email protected] 740- 587 8502 Descripción del curso: El seminario dedica su atención a múltiples manifestaciones artísticas de dos períodos del siglo XX en España: principios y finales de siglo, con especial atención a la pintura, el cine y la literatura. Estos dos períodos son conocidos como la vanguardia y el postmodernismo. Durante el semestre estudiamos los autores, obras y movimientos en torno a los cuales se aglutinó la actividad de la vanguardia y que fueron relevantes para el asentamiento de la modernidad en España (1907-1937). Relacionándolo con la vanguardia, examinamos la continuación o no de los modos específicos, rompedores y originales que continúan activos en décadas recientes (Arrabal, de la Iglesia, Rodríguez). Buena parte de nuestra investigación la dedicamos a examinar maneras diferentes en que el concepto de cuerpo se incorpora o no a nuestros modos de conocimiento: la mirada y los sentidos reciben especial atención, así como la intuición. Objetivos del curso: Algunas preguntas orientarán nuestra indagación, análisis y evaluación de los textos: ¿Cómo afectan contextos culturales diferentes los modos que tenemos de entender el mundo? ¿En qué modo se integran, relacionan, compenetran o no mi materialidad corporal y mi espíritu? ¿Qué modos diferentes hay de concebir la relación cuerpo/ espíritu y cómo se diferencian entre sí? La idea de Modernidad que hubo en España, -
Camilo José Cela Y Francisco Umbral: Historia De Una Amistad (1961-2002)
LETRAS DE HOJE LETRAS DE HOJE LETRAS DE HOJE LETRAS DE HOJE LETRAS DE HOJE LETRAS DE HOJE LETRAS DE HOJE http://dx.doi.org/10.15448/1984-7726.2016.2.23972 Camilo José Cela y Francisco Umbral: historia de una amistad (1961-2002) Camilo José Cela e Francisco Umbral: história de uma amizade (1961-2002) Camilo José Cela and Francisco Umbral: the history of a friendship (1961-2002) Anna Caballé Universidade de Barcelona – Barcelona – Espanha Resumen: El artículo reconstruye la relación mantenida entre los dos escritores a lo largo de cuarenta años, amistad sometida a los vaivenes de la vida literaria y a la de sus propios intereses y reservas. El punto final a dicha amistad lo puso Umbral publicandoCela: un cadáver exquisito, una obra que el artículo analiza, ubicándola en el contexto de su relación literaria y personal. Palabras clave: Camilo José Cela; Francisco Umbral; Amistad Resumo: O artigo reconstrói a relação mantida entre os dois escritores ao longo de quarenta anos, amizade submetida aos vaivens da vida literária e a de seus próprios interesses e reservas. O ponto final dessa amizade foi colocado por Umbral ao publicar Cela: un cadáver exquisito, obra analisada neste artigo, situando-a no contexto de sua relação literária e pessoal. Palavras-chave: Camilo José Cela; Francisco Umbral; Amizade Abstract: This paper reconstructs the relationship maintained between the two writers over forty years, friendship subject to the difficulties of literary life and their own interests and reservations. The end of this friendship was laid by Threshold to publish Cela: un cadáver exquisito, the work analyzed in this article, placing it in the context of his literary and personal relationship Keywords: Camilo José Cela; Francisco Umbral; Friendship 1 atronadora y vibrante, un anticipo de Toreo de salón, libro que por entonces preparaba Cela y que reunía una serie En Las palabras de la tribu, el libro que viene a de fotografías comentadas.