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El Actor En El Star System Argentino ¿Trabajador Privilegiado O Mero Producto?
ISSN 1669-6301 245 DOSSIER [245-254] telóndefondo /27 (enero-junio, 2018) El actor en el star system argentino ¿Trabajador privilegiado o mero producto? Marta Casale " Instituto de Historia del Arte Argentino y Latinoamericano “Luis Ordaz”, Universidad de Buenos Aires, Argentina [email protected] Fecha de recepción: 30/03/2018. Fecha de aceptación: 23/04/2018. Resumen A pesar de que las investigaciones sobre el cine clásico-industrial argentino han Palabras clave aumentado considerablemente el último tiempo, aún son relativamente pocas las Star-system; que abordan el tema, muchos menos las que hacen foco en el sistema de estrellas estrella; actor/trabajador; en particular. Los escasos trabajos que lo hacen, por otro lado, suelen centrarse en cine industrial; determinadas figuras o en los films que éstas protagonizan, sin dar mayor relevancia sistema de estudios a las condiciones que lo posibilitan o al contexto económico del cual es fruto. En casi todos ellos, se resalta la condición de “producto a consumir” de la estrella, dejando de lado su calidad de trabajador, en parte, porque para algunos esa categorización parece oponerse a su condición de artista, en parte, porque para otros el desempeño interpretativo de la star es casi nulo, siendo ésta un producto basado solo en su físico y su personalidad, ambos especialmente pulidos para su “venta”. El siguiente artículo se propone analizar el sistema de estrellas en Argentina, prestando especial atención a los actores y actrices que lo conformaron, como así también a las razones de su aparición y formas particulares que adoptó en nuestro país. Ambiciona, además, plantear algunas preguntas sobre la específica condición de trabajador de la estrella, dentro de un sistema indudablemente capitalista. -
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond If you walk on and on, you get to your destination. If you question much, you get your information. If you do not sleep and idle, you preserve your life! (Maung Htin Aung 1959:87) So go the three lines of wisdom offered to the lazy student Maung Pauk Khaing in the well- known eponymous folk tale. A group of impoverished village youngsters, led by their teacher Daw Khin Thida, adapted the tale in 2007 in their first attempt to perform a play. From a well-to-do family that does not understand her philanthropic impulses, Khin Thida, an English teacher by profession, works at her free school in Insein, a suburb of Yangon (Rangoon) infamous for its prison. The shy students practiced first in Burmese for their village audience, and then in English for some foreign donors who were coming to visit the school. Khin Thida has also bought land in Bagan (Pagan) and is building a culture center there, hoping to attract the street children who currently pander to tourists at the site’s immense network of temples. TDR: The Drama Review 53:1 (T201) Spring 2009. ©2009 New York University and the Massachusetts Institute of Technology 93 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.1.93 by guest on 02 October 2021 I first met Khin Thida in 2005 at NICA (Networking and Initiatives for Culture and the Arts), an independent nonprofit arts center founded in 2003 and run by Singaporean/Malaysian artists Jay Koh and Chu Yuan. -
Betty White Vately on the Ing.” Particular Characteristic: They Are Falsifi- More Than Half a Century Ago, a Inside
page 2 ..................Opinion page 14................Senior Safety page 4 ..........................Weird News Coming Up! page 15............SRDA Menu page 5..................Health Happy Father’s Day page 16.............Finances page 7...............Social Security & You Congratulations Class of 2008 page 18...............Senior Classifieds page 8............Light for the Journey page 22..............Fremont/Custer Menu SeniorIF YOU ARE 50 OR OLDER YOUBeacon SHOULD READ IT!! SB JUNE, 2008 Vol. 26: No. 11 Established Aug., 1982 311 Consecutive Months! Potpourri Of Subjects To Tickle Your Fancy by James R. Grasso, Publisher, Chief Cook/Bottle Washer for Senior Beacon flexologist extraordinaire comes Yes, those were pictures of my daughter, Robin the following: Lynn you saw in the Pueblo West View and The Pueblo Here is something not Chieftain in late May. She is the same child that many of many of us get to see, unless you prayed for and continue to pray for beginning in early you live near there - Mt. St. Hel- 2000. It has been eight-plus very demanding years for Rob- ens at sunrise. in Lynn and her immediate family as well as our extended Mt. St.. Helens contin- Senior Beacon family. I’ve tried to keep you all updated ues to spew ash, while it is form- over the years while still trying to keep Robin’s privacy intact. ing a lava dome in the crater and Through all of her trials and tribulations she has persevered and flourished. still having minor tremors. My family and I are very proud of her and her many accomplishments, most espe- Here in this sunrise cially finishing as Valedictorian of her class at Pueblo West High School. -
An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
Historia Y Memoria De Los Estudios San Miguel Por Rocío
561 Entre plátanos y melodramas: historia y memoria de los Estudios San Miguel * ** *** **** Por Rocío Espínola , Sebastián Mattia , Ariel Navarro y Maximiliano Ponce Resumen: En este trabajo se abordarán dos cuestiones referidas a la historia del cine argentino, en el período comprendido entre 1937 y 1955. Por un lado, la historia de la productora cinematográfica Estudios San Miguel. Por otro, se analizará la construcción del género melodrama desde una perspectiva semiótica. Traer al presente la historia de Estudios San Miguel nos permite ahondar en la historia del ex partido de General Sarmiento, y pensar el carácter de proximidad con el territorio, a partir de la construcción de la memoria. El melodrama será entendido como un género autónomo y reconocido socialmente en el período señalado. Analizaremos, entonces, dos películas: Los isleros (Lucas Demare, 1951) y La dama duende (Luis Saslavsky, 1945), producidas por Estudios San Miguel. Este análisis nos permite indagar no sólo sobre la discusión en torno a su categoría como género, sino también analizar su estilo clave en la época de oro del cine argentino. Palabras clave: cine argentino, melodrama, Estudios San Miguel, industria cinematográfica, género. Entre bananas e melodramas: história e memória dos Estúdios San Miguel Resumo: Neste artigo abordaremos duas questões relacionadas à história do cinema argentino no período entre 1937 e 1955. Por um lado, a história da produtora cinematográfica Estúdios San Miguel. Por outro, a construção do gênero melodrama será analisada a partir de uma perspectiva semiótica. Trazendo ao presente a trajetória dos Estúdios San Miguel, poderemos mergulhar na história da antiga região de General Sarmiento, e pensar sobre o caráter de proximidade com o território a partir da construção da memória. -
Dance, Senses, Urban Contexts
DANCE, SENSES, URBAN CONTEXTS Dance and the Senses · Dancing and Dance Cultures in Urban Contexts 29th Symposium of the ICTM Study Group on Ethnochoreology July 9–16, 2016 Retzhof Castle, Styria, Austria Editor Kendra Stepputat Copy-editors Liz Mellish Andriy Nahachewsky Kurt Schatz Doris Schweinzer ICTM Study Group on Ethnochoreology Institute of Ethnomusicology, University of Music and Performing Arts Graz Graz, Austria 2017 Symposium 2016 July 9–16 International Council for Traditional Music Study Group on Ethnochoreology The 29th Symposium was organized by the ICTM Study Group on Ethnochoreology, and hosted by the Institute of Ethnomusicology, University of Music and Perfoming Arts Graz in cooperation with the Styrian Government, Sections 'Wissenschaft und Forschung' and 'Volkskultur' Program Committee: Mohd Anis Md Nor (Chair), Yolanda van Ede, Gediminas Karoblis, Rebeka Kunej and Mats Melin Local Arrangements Committee: Kendra Stepputat (Chair), Christopher Dick, Mattia Scassellati, Kurt Schatz, Florian Wimmer Editor: Kendra Stepputat Copy-editors: Liz Mellish, Andriy Nahachewsky, Kurt Schatz, Doris Schweinzer Cover design: Christopher Dick Cover Photographs: Helena Saarikoski (front), Selena Rakočević (back) © Shaker Verlag 2017 Alle Rechte, auch das des auszugsweisen Nachdruckes der auszugsweisen oder vollständigen Wiedergabe der Speicherung in Datenverarbeitungsanlage und der Übersetzung vorbehalten. Printed in Germany ISBN 978-3-8440-5337-7 ISSN 0945-0912 Shaker Verlag GmbH · Kaiserstraße 100 · D-52134 Herzogenrath Telefon: 0049 24 07 / 95 96 0 · Telefax: 0049 24 07 / 95 96 9 Internet: www.shaker.de · eMail: [email protected] Christopher S. DICK DIGITAL MOVEMENT: AN OVERVIEW OF COMPUTER-AIDED ANALYSIS OF HUMAN MOTION From the overall form of the music to the smallest rhythmical facet, each aspect defines how dancers realize the sound and movements. -
Uhm Phd 9205877 R.Pdf
· INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewri~er face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikeiy event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact liMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9205811 Political economy of passion: Tango, exoticism, and decolonization Savigliano, Marta Elena, Ph.D. University of Hawaii, 1991 Copyright @1991 by Savigliano, Marta Elena. -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Social Tango
Social Tango Richard Powers Argentine tango has been popular around the world for over a century. Therefore it has evolved into several different forms. This doc describes social tango, sometimes called American tango. The world first saw tango when Argentine dancers brought it to Paris around 1910. It quickly became the biggest news in Paris—the 1912 Tangomania. Dancers around the world fell in love with tango and added it to their growing repertoire of social dances. When we compare 1912 European and North American tango descriptions to Argentine tango manuals from the same time, we see that the northern hemisphere dancers mostly got it right, dancing the same steps in the same style as the Argentines. Then as time went on, social dancers had no reason to change it. It wasn't broken, so why fix it? Today's social tango is essentially the continuation of the original 1912 Argentine tango. There have been a few evolutionary changes over time, like which foot to start on, but they're relatively minor compared to the greater changes that have been made to the other two forms of tango. Ironically, some people call this American Style tango. This is to differentiate it from International Style (British) tango, but it's nevertheless odd to call the nearly-unchanged original Argentine tango "American," unless one means South American. Many dancers in the world know social tango so this is worth learning. That doesn't mean it's "better" than the other forms of tango—that depends on one's personal preference. But social tango is a very useful kind of tango for dancing with friends at parties, weddings and ocean cruises. -
3671 Argentine Tango (Gold Dance Test)
3671 ARGENTINE TANGO (GOLD DANCE TEST) Music - Tango 4/4 Tempo - 24 measures of 4 beats per minute - 96 beats per minute Pattern - Set Duration - The time required to skate 2 sequences is 1:10 min. The Argentine Tango should be skated with strong edges and considerable “élan”. Good flow and fast travel over the ice are essential and must be achieved without obvious effort or pushing. The dance begins with partners in open hold for steps 1 to 10. The initial progressive, chassé and progressive sequences of steps 1 to 6 bring the partners on step 7 to a bold LFO edge facing down the ice surface. On step 8 both partners skate a right forward outside cross in front on count 1 held for one beat. On step 9, the couple crosses behind on count 2, with a change of edge on count 3 as their free legs are drawn past the skating legs and held for count 4 to be in position to start the next step, crossed behind for count 1. On step 10 the man turns a counter while the woman executes another cross behind then change of edge. This results in the partners being in closed hold as the woman directs her edge behind the man as he turns his counter. Step 11 is strongly curved towards the side of the ice surface. At the end of this step the woman momentarily steps onto the RFI on the “and” between counts 4 and 1 before skating step 12 that is first directed toward the side barrier. -
Introduction to Latin Dance
OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance. -
Experiencing Tango in Istanbul: an Assessment from a Gender Perspective
TR YILDIZ TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES HUMANITIES AND SOCIAL SCIENCES M.A. PROGRAMME M.A. THESIS EXPERIENCING TANGO IN ISTANBUL: AN ASSESSMENT FROM A GENDER PERSPECTIVE MELİS MERİH KILIÇ 10728003 THESIS SUPERVISOR ASST. PROF. DR. KEREM KARAOSMANOĞLU ISTANBUL 2013.. TR YILDIZ TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES HUMANITIES AND SOCIAL SCIENCES M.A. PROGRAMME M.A. THESIS EXPERIENCING TANGO IN ISTANBUL: AN ASSESSMENT FROM A GENDER PERSPECTIVE MELİS MERİH KILIÇ 10728003 THESIS SUPERVISOR ASST. PROF. DR. KEREM KARAOSMANOĞLU ISTANBUL 2013.. ÖZ İSTANBUL’DA TANGO DENEYİMİ: TOPLUMSAL CİNSİYET PERSPEKTİFİNDEN BİR DEĞERLENDİRME Melis Merih Kılıç Ağustos, 2013 Bu tez İstanbul’daki tango dansçılarının ‘toplumsal cinsiyet’ kavramı algılarını ortaya çıkarmayı amaçlamaktadır. Özellikle, dansçıların tangodaki ‘kadın’ ve ‘erkek’ rollerine nasıl büründükleri, bu rolleri nasıl yorumladıkları ve bu role geçiş için onları ne tür faktörlerin motive ettiği araştırılmıştır. Tangoda, kadınların normalde kaçındıkları erkeğin boyunduruğu altına girme; erkeklerin ise maço olarak anılmak istemedikleri için kendilerini vazgeçmeye mecbur hissettikleri kadınlara hükmetme rollerine büründükleri varsayımıyla hareket edilmiştir. Bu varsayımı değerlendirmek için katılımcı gözlem ve sezgisel araştırma yöntemleri kullanılmıştır. Dansçıların duygu ve düşüncelerinin derinine inmek için derinlemesine mülakat yönteminden yararlanılmıştır. Elde