Oxygenating Toothpaste And Mouthwash

PREMIERE OCTOBER 9 - THE RED DOOR IS

IN THE THEATRE OF THE RED DOOR - Lavalle 3636.

SATURDAY at 20 pm!

http://puerta-roja.blogspot.com/

Speak! Tell stories. But he wants to tell a single story.

A Brazilian woman who lives her life like a movie, journeys in life and lived in stories already told, has no history, borrows the best scenes that seem to portray his fateful states. She is alone, also borrows replicas of strangers on the street. Her strange and weird in their own home.

A French guy has discovered that what is living all his life is not real, but is too cowardly to say it and decide to write a letter. A letter had already written Marguerite Yourcenar: Alexis or futile combat treaty gives the perfect speech. There is a woman who will receive your letter and look at the mirror and not know who or how the hell has got there.

A Chinese legend tells a story that also tell our story. There were people behind the mirrors and we could all come and go through them, until those things mirror decided to invade the earth without warning, and there was chaos.

SPEAKS! It is a story where everyone has chosen from the beginning to live a life that he has been told, to know how it will end. That stuff always prefer the known tangible even have decided, that the plan to happen randomly.

Blueprint For A Small Scale Wave Machine

SAEED Pezeshki playwright and director. CARLOS

Linsey Mckenzie Doctor

PICTURES IS assistant director. MIRIAM

Vietnamese Movies 2010 Free

CASTANEDA IS MONICA. ESTEBAN

Gallbladder Surgery And Yoga

PILAR STREET IS THE SINGER. MARIANA

Full Set Kates Playground

NOBRE is the narrator. SURA

What Does Ringworm Look Like

SEPULVEDA CAROLINE IS. HERVE

Squash Court Cost To Build

Segato IS ALEXIS AND ANDY. Marguerite Yourcenar

Daeth Watch By Robb White

IS IN TALKS! TRAILER

ALEXIS take more than a year to finish writing a letter to his partner, Monica.

A long letter in which it has its vain struggle to suppress their desires and instincts.

"Stronger than I've been my instinct.

My body has healed me of having a soul.

always believed you capable of understanding, which is harder to forgive."

SPEAKS! Yourcenar revisits the letter and wants to give a theatrical dimension.

Glory Hole Locations Sacramento 2010

"contempt" of J.-L. Godard. COMPANY

http://www.youtube.com/watch?v=IT7P7ijpAPY

"contempt", a wonderful love story in a decor tragic.

"contempt." One of the many films in which Caroline imagine living.

To forget their wounds.

O to give a sense.

SPEAKS!

Cramping And Egg White Cervical Mucus

have sought to create performance pieces from organic event in which the action / movement leading the scene, thereby creating common language shows : the body.

The purpose is to share creative processes and spaces and teaching in the search for contemporary performing forms. Lichen circuit includes actors, dancers, performers of bodywork and aerial techniques. The company's headquarters Mexico and Buenos Aires, Argentina.

Surge in Mexico in 2003. Since its inception we have sought the unification of the contemporary scene, understanding the risk and aesthetic factor of each set, risking in plastic compositions that promote action and interaction with the audience, creating environments and atmospheres to own unique experiences. Each representation bet to break the limits of imagination.

SPEAKS!. It is the eighth show of the Company. Precede:

Ÿ MEASURE FOR MEASURE William Shakespeare, Theatre Workshop of the Angel, Buenos Aires Argentina 2009.

Ÿ JACQUES AND HIS MASTER Milan Kundera produced by the Instituto Cultural de Aguascalientes, Mexico 2008.

Ÿ say goodbye. Theatre Air Show produced by the Festival Cultural de Aguascalientes, Mexico 2008.

Ÿ THE Nomenclature. Tribute to Fernando Pessoa in the Alley Theatre Space in the City of Buenos Aires, with the participation of guest directors: Ana Alvarado and Alan Robinson. Buenos Aires, Argentina 2007.

Ÿ CLIP CLAP, CLOP. Show Street Theatre and Circus produced by the International Cultural Festival, Mexico 2005. Ÿ

THE FLIGHT OF SUNFLOWERS. rooftop one-man show. Teatro Morelos, Aguascalientes, Mexico 2004.

Ÿ SWAN ALL THERE IS A SNAKE of Sylvia Plath. Produced by liquid circuit. Teatro Leal and Antonio Romero, Mexico 2003.

Bible Black Streaming

Yawar Yawar

CLOWN WORKSHOP FOR CHILDREN OF MARY LAURA

"COLOR AND LIGHT" - Pataclaun
CHILDREN SUNDAY 19 - 11:00 am AAA

A POINT

1. BY WAY OF INTRODUCTION

contemporary educators say that our children become an extension of our life experience. But when we say: I want the best for them, say in truth: the best for us. Unavoidable and harmful for children if they pass the false values \u200b\u200bof a materialistic society where alienation and art is proscribed.

And what the kids deserve is to experience the value of things through facts rather than abstract verbal promises. The child learns best by example. If we live in a society where our healthy values \u200b\u200batrophy what will transfer?. Fortunately, in the superstructure of any society there are open spaces, small, but free, as are the art workshops.

art workshops for children are independent efforts of theater groups, as is the case of Maria Laura Vélez and clown workshop for children. Maria Laura knows the secrets of puppetry arts, This allows you to also open doors to clown territory.

artists perceive, first, the importance of art as a teaching tool in the field of education.

communicators But not all artists are working effectively and others are in error, lack of experience, preparation and excessive enthusiasm, many are greedy Phoenician candor to stage the stories of the TV or the movies. Sure, why try it on Cinderella, Donald Duck and the Mouse King crazy already solved the Aristotelian cathartic story, costumes, songs, etc. How easy None of painstaking research, technical preparation, organization and search for cultural and national identity. Not so with the artists on the other side, like Mary Laura Vélez.

2. MARIA LAURA'S WORKSHOP

She places the younger children in the aftermath dominated glósicos and other interests. They are children of second childhood, but can now communicate verbally, better not do it to make communication and other sensory channels such as sound and playful. It is important as resources are coordinated sensory opening clown, because here is preparing their future school. Egocentric stage matches in the child she cares to meet your personal desires and have little interest in what happens to others, which does not exclude the master clown to direct them toward love of neighbor. Here the child does not use rational ways to address goals. The little boy goes straight to the point.

Maria Laura encourages emotional ingredients, but the dosage carefully, it is always important to be something selfish to consider in future also and have no inferiority complex. This is the inquisitive toddler stage: And where are the numbers? He asked, Einstein child.

clown The games are intended to enhance memory, attention and sensibility. Children in this age group had a simple argument work, directly and bluntly as "Abobibobibop." Interestingly, young girls forgot to start putting the world's smallest masks, clown noses.

Children of the third child of 7 to 11 years, showed more communication with the environment, is the stage where the child is about without asking. It is less self-centered, here is beginning to develop elements, objects, and has developed fantasy. Children in this age group had more elaborate numbers like "What brothers", "The gallant and the dancer" and "musical work."

3. THE STAGING

In the introduction to the presentations, Maria Laura settled with other traditional workshops, where the director says, "Stand like this," "Let's see you walk like me," "Laugh - cry." No, here the products presented by the children show research, professionalism and above all the deliberate provocation gags for answers. The entire presentation is deductive and scenic drive leads to little stories with nuclei simple dramatic, the characters appear, there are necessary conflicts and resolution. The music and voice of Maria Laura is a prerequisite for achieving several semantic levels: it creates atmosphere, gives confidence, narra, prompts, dialogue, causes and maintains a crescendo rhythm.

very successful the presence of two clowns aged workers, that are of Hungarian Dances, the scenery changed and modified to keep the necessary rhythm clown.

The appearance of light opens and closes the story: "At the beginning, nothing existed, and was born of darkness, allowing us rest. But the darkness does not live alone, so came the light and the light occupied the space, and traveled around the world, played with time and deposited in human hearts, so ... born clown ... and children lived in forever .. "This is the initial stimulus for children to gradually behind a screen trigger lights combined with shadow puppets. how the light is born as claimed by the master Jerzy Grotowski.

"Song for Elizabeth" by Beethoven, gave rise the the story of sisters who have to sleep, the brother dancer and the corrupt cop, always to the clown with unexpected endings, contrary to reason.

"La Donna Immobile" Rigoletto - Verdi, was another song detonate with a very graceful dancer cook next to the flower lover with a lot of stage presence, force us to watch. There's a love triangle. Jazz music reinforcement for the leading man, rock for the second. Dance competition, fake fights and surprise ending, with techniques that always provoke laughter in the magical space of the theater.

musical works, was the last painting for many unemployed artists: General gum, lettuce ballerina slipper broke, etc. in the rhythm of Charleston, Loutrett Tolousse just had, all crammed into a single bank of waiting, the premise that "every Peruvian is the enemy of another Peruvian" on stage.; the final, varying according to the Limelight employer opts for the love of the outsider candidate. Everyone returns to the light.

the end, Maria Laura thanks all, for she believes that theatrical work is a combination of efforts.

Thanks, Maria Laura

----------------------

The Irma sends deputy blog and is an allegory Beraún by the Fiestas Patrias.

"Peru, the foot of the world, I concur" César Vallejo.

------------------------------ Thank you, Irma ¡............. ...............

15
INTERNATIONAL BOOK FAIR GUEST: THE INDEPENDENT THEATRE MOVEMENT OF PERU
MOTIN edition books PERU

Friday July 30, 2010 - 4:30 to 5:30 pm Auditorium CESAR VALLEJO



ROUNDTABLE : TEATRO PERUANO INDEPENDENT

INVOLVED:

- Mario Delgado (Cuatrotablas)
- Willy Pinto (Maguey)
- Edgar Guillen (Little Theatre)
- Mary Stewart (Singing Editors)
- Thomas Temoche (Yawar)
- Bruno Ortiz (Bruges Productions)
Close the program
: Fragments of the play, "Arguedas, or suicide of a country," Cuatrotablas.

LOCATION: The Esplanade Park Heroes - Av Salaverry - Jesus Maria. -------------------------------------------------
NATIONAL FESTTA
-----------------
LIMA What?

My mailbox is saturated with teacher consultations theater directors of school groups Lima And where is the Festta in Lima?, Who to call? Why not leave the Call for Lima school theater troupes?.

Well, come to me, but I do not know the National Board of Festta, I began to investigate to answer to these questions and only Julio Gonzales replied, in Lima call Mr. Jean Cotto: 993273738 - July is the phone: 043-943997189 - RPM * 976033.

Well, thanks to Julie, I heard that there is an Executive Coordinator of the National Collegiate Festta: Ruben Manrique (East Zone) - Julio Gonzales (North) - Edilberto Sacha (Central Area) - Jean Cotto (Lima Metropolitana) - Cicero Osorio (South).

Lucky Lima theater teachers to hard to get out of invisibility and participate in the National FESTTA. -------------------------------------------------
--------------------------------------------

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Temoche
carlos thomas v. Yawar ac

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News 28 News 27 News 26



NEW SCHOOL SHOWS Last Wednesday July 14, 2010, I was invited as a jury to evaluate the school parade in the district of San Miguel. Now is the wisdom to accompany the traditional school parades with theatrical parade. As everything that happens is immersed in a context, caused me to accompany this point the video attached to the University of Lima, sent earlier this year by Lucho Paredes and kindly provided by Rafael Hernández. Enjoy the video:



http://videos.pucp.edu.pe/videos/ver/5c19fc34a97b4a4902a411b72f4f40c5


Yes, you can also reverse the destructive powers - which marks the video - in constructive energies the presence of art as a need for communication at all times and places. I mean, so to speak ... The school parade and parade held in the district of San Miguel, is a good measure House of Culture of the district, ably led by Carmen Márquez. I realized that was a touch of color and warmth in the winter cold in Lima. I was attracted to the invitation saying - among other things - "Faced with the glorification of military values \u200b\u200band military parades of school, here are highlighted democratic values \u200b\u200bbelonging to a culture of peace." should add that the psychology of the child is sui generis according to their age, where not only are changes in physiognomic variations, organic and biological. The child's psyche is not equal to adult. So in these parades, it is well to emphasize the awareness in the defense of our borders, also the defense of our values \u200b\u200band deep sense of patriotism, so now some schools also parade with colorful banners. These creative activities channel children's energy and youth to achieve psychological maturity that both claim. was nice to visually see the lady of Cao, the Lord of Sipan and Chullachaqui jungle. Film school now Live. So the thought is materialized, the abstract becomes concrete. Children and young people having fun creatively and feel good. Most dances and refer to the work of man of the sea, the mountains and jungle. COUNTRY ARE ALSO OUR BROTHERS Farming. I put it in capital letters. A rescue our ancestral dances are as the color of the Devils who started clapping sound. The boys are very sandunga, the fine grain of salt Lima waltz. Here the exiled tenderness if present. Is the alternative to social environments and atmospheres ungrateful violent destructive. If we can foster more of these activities provide alternatives to insecurity, anxiety, mistrust, fear and rascismo depths, lower values, unjustified rebellion, hatred of others, discrimination, etc.. But in the school curriculum the cultivation of art should not be a gift, or offered for good measure and at times inadequate. Recreation exists as a human right, sponsored by the United Nations. Touch the state to promote and further promote these activities and parents support. When I developed a theater workshop in San Martin de Porres invited parents to attend as spectators. They saw Live as the art develops attention, sensitivity, observation, memory and turns children into sponges for learning other subjects. Goodbye lack of reading comprehension with drama. Especially art gives emphasis on cooperation, solidarity and love of neighbor. Parents agencies novel communication techniques with their children, were most amused and promptly attended. If humanity has always suffered from generational conflict, art has always been the engine of progress. Today there breakneck speed with the technological development of the audiovisual media. The world is a village where we learned right away to the existence of a cephalopod witch. But this speed is not consistent with the slow progress in philosophical, sociological, political and moral, but art can reduce this dissociation. recognize, look in our ancestral dances of striking rich, earthy power, also counteracts the distortion of truth in society, which provides coverage to the scandal in most media. Fear and violence are generated when these means are used only for commercial purposes. And the media are neither good nor bad, either channeled to develop a constructive, educational and cultural. If the TV breaks down the art part. Art is a glimmer of hope. Finally, why not turn to art and culture now that gangs are no longer a problem in the city center. Sociologist Jorge Yeshayahu estimated that there are 539 gangs in the country, I think more. If the gang is developed through a code of loyalty to the head of it and a place that welcomes them in this feeling of separateness that comes to our youth, the cultivation of art in a holistic manner can be one of the solutions. To conclude this point in the parade are present points with the popular culture of the Andean world view: - ALLINTA MUNAY encompasses in a single word values, morality, the principle of integrity, self esteem the desire of improvement which was the starting point of the Inca Empire. - ALLINTA LLACHAY, knowledge, learn the good, and demolition training to overcome obstacles. - ALLINTA RUHAY, who is doing what we do must be done good, do it with love, love of work, saving ..... Carlos thomas
v. Temoche Yawar ac

Butter Canola Equivlent

ACTIVITIES

Yawar - EVERY SATURDAY JULY: "WORKSHOP MUSIC Yawar "Sikuris: tarkas, implementation of band for parades, Latin American music. 10:00 a.m. Piérola Nicholas Avenue from 757 to 203. Starts Saturday 10th July.


- SATURDAY 10 JULY: Yawar THEATRE: "Erase once a king, "U.S. College Comas.

3:00 pm - SUNDAY 11: PARTICIPATION IN THE DAY SHELTER OPERATION, Costa Azul slum, coordination with the Mothers Club Bernadette.

10:00 a.m. - WEDNESDAY 14: JURY in the parade on Independence Day SAN MIGUEL - 189 NATION ANNIVERSARY - Cross Media Luna - Bertoloto. 10:00 amTextualmente, the invitation says "against the glorification of military values \u200b\u200band military parades own school, here are highlighted The relevant values \u200b\u200bto a culture of peace. "


- THURSDAY 22: THEATRE Yawar: Paco Yunque, on the anniversary of the Colegio Particular Paco Yunque de San Juan de Lurigancho. 10:00

am - SUNDAY 25: SHARE OF JOINT Yawar and MUSICAL THEATRE: "plastic" Ruben Blades in Art Day assistance pro XV National Congress of Folklore - IX International Congress of Folklore in Piura. Av Nicolas de Pierola 757 - 3:00 pm
.
- WEDNESDAY 28: Parade on Independence Day in Solidarity with the People Young Juan Macías, window track. 3:00 pm



AUGUST THEATRE SHOWS REGIONAL SUR - PUNO, begins on regional samples, due to the XXIV NATIONAL THEATRE SHOWS IN PERU
5 - 6 - 7 - 8. Thomas attends Temoche, representing the National Board MOTIN PERU and Mary Soto, by the Bureau of Critical.

THEATRE SHOWS REGIONAL CENTER LIMA, for the first time in the charming town of Ica. 5 - 6 - 7. Assists Eduardo Espinoza, president of MOTIN PERU.

FRIDAY 27 - THEATRE IN SCHOOLS HUACHO Yawar. Coordinator: Luis Botin, Manuel Garcia.

SATURDAY 28 - PARTICIPATION IN THE OPENING OF SPACE "TEATRO DEL BARRIO" in Huacho, with groups of Huacho, Chancay, Lima, Huaura. Pakaritambo organized, directed by Julio Montesinos. Barrio San Bartolomé, Huacho. -------------------------------------------------
-------------------------------------------------- ----------
MINISTRY OF CULTURE


As indicated by our colleague Elvira de la Puente, the text on the creation of the Ministry of Culture was passed in haste. Not my words are verbatim from the letter of Elvira Santiago Alfaro.

The opinion did not return to committee for further consideration.

"Although it goes wrong you have to support it, better than nothing," says Pink Muchik that changes to yellow with ease.


The central issue for us all the playwrights and artists in general: it was not considered a vice-ministry dedicated to the promotion of Living Culture, Arts and Letters.

This would complete the trilogy with a Deputy Minister of Science and Technology and Deputy Minister of Cultural Heritage (tangible and intangible heritage .)

Santiago Alfaro says: "Unfortunately the bill passed in the first instance is far from the international technical STANDARDS matter and if left as is, be an obstacle to the protection and promotion of the cultural sector."

is now being proposed to change the organizational structure of the draft Executive Vice Intercultural create and Heritage and Cultural Industries. That means that only devoted to bringing together different activities such as conservation of ruins and cultural industries such as film. And we, where are we? Quo vadis dominate?.


Others pose - in this gap - to annex the INC to the Ministry of Culture take confessed God
thomas

--------------------------- ------------------------
"The model of Jerzy Grotowski, the actor saint" by Raul Kreig

Jerzy Grotowski's model: holy actor.

by Raul Kreig
Treasures of poverty

The actor is the absolute and exclusive character in the theater of Grotowski. In its conception, the theater is not that the relationship between actor and viewer. Its tenets are poor theater as a reaction to the invasion of technical, as opposed to the notion of theater regarded as a synthesis of various creative disciplines: literature, art, music .-
Stripping the fact
theatrical everything superfluous, only an actor to solve what in the "theater rich" placed upon the technology and the help of the various arts .-

It dispenses with the traditional plant and every new proposal is trying a different way of treating space and stage-audience relationship is enhanced and its multiple variants. Are abandoned lighting effects are the actors that "light up" personal techniques, thus becoming a source of "artificial lighting." The rejection of the artifices of makeup and costume allows the actor to switch characters, types and shapes using only your body and the mastery of his craft. The composition of facial expressions replace the need for masks. The elimination of the music allows the representation itself into melody by the voices of the actors and the pounding of the objects. The actors create the environment and transform it with the sole help of gestures: a fabric is the sea, then a cloth and then a bird .-

This aesthetic universe and rejection of the superfluous material, poverty and asceticism, can only be inhabited by a being willing to self-sacrifice, the renunciation, demanding act of love, the supreme spirituality of a saint .-

secular holiness

The actor is a man offering his body works publicly. If you do just for money or for the audience for their craft is about prostitution .-

The difference between the actor and the actor courtier saint is the same as that between the ability of a courtesan and attitude of give and take that comes from true love (1).

The actor does not act, not pretend, or imitated. Must itself be a public act of confession. The representation should serve the demonstration what each actor is in it. So when Ryszard Cieslak, perhaps the only actor who strictly complied with the model grotowskiano says: I'll show you my man, and Grotowski replied: Show me your man and your God will show you want to say that the actor in the play, entertainment , offered his confession, his naked body and soul, his intellectual self and biological. Show everything that the culture and daily life prevent you from displaying .-

In religious terms, the representation of (his) way of personal atonement, in artistic terms, is a situation to the limit by voice and body , in terms psychological means to achieve self-realization, in dramatic terms is a catharsis for both the audience and for the actor. (2)

The art of acting is to get naked, free masks, externalized. No order to show off, but to self-penetrate and thus self-revealed. The performance is not only an act of love, but also an act of knowledge. This does not mean an abandonment of artifice, in the sense of character and the construction of fiction, by contrast, are these "artifacts" which, paradoxically, allow the actor to undress and reveal his inner truth .- We

a personal process that is not supported or expressed in a formal articulation and a disciplined structure of the paper is a release and may fall into the amorphous. (3)

As there is no contradiction between artifice and personal revelation, but rather vehiculización of the second through the first. The character is a springboard, a tool to explore the hidden within the human actor.

We found that the artificial composition not only spiritual but not limited leading to it (4)

Importantly, this model does not aim to conduct "natural" the actor, in the sense of naturalism. The behavior "natural" obscures the truth, is the fiction that allows such behavior to show what hides and masks.

In moments of psychic shock, terror, of mortal danger or tremendous joy, a man does not behave naturally, a man who is in a heightened state of mind used rhythmically articulated signs, begin to dance, sing . A sign, not a common gesture is the essential element of expression for us. (5)

Grotowski compared to the artificial production of the sculptor's work, in the sense that the forms sought-images, gestures - existing in the actor's psychophysical organism. This, like the sculptor, not build, but it removes to reveal the hidden form. That's why acting technique will be aimed at "cleaning up" the way of all obstacles that prevent the disclosure of the hidden form .-

representation constitutes an act of transgression of the self of the actor, a definitive break with everyday masks and find the same with his true self. Must sacrifice the depths of his being, displaying before the eyes of the world that should not be displayed. The viewer will feel then that this ceremony is an invitation addressed to it to do the same; to unveil your inner truth he also

.- The technique and ethics

By the contribution of elements from the Eastern and Western theater-especially-Stanislavski and Meyerhold, Grotowski preparing a series of physical exercises, plastics and vowels that constitute a rigorous training of the actor, aimed at achieving maturity .-

educate a pedagogy grotowskiana actor does not mean to show you something, but to eliminate all resistance that opposes the body's own release intimacy, all that hinders the violation of self, necessary for the act of communion that is the theater total .-

The technique is a negative way, it aims to develop skills, but to eliminate obstacles. Rather than learning new things the actor should get rid of old habits. The technique will allow you to detect and remove what blocks it .-

These exercises are not recipes, and each actor will suit your own needs. The starting point is the same for everyone, then everyone tries to find a personal justification for each year. In turn, the coordinator will attempt to create an atmosphere of comfort, confidence, to allow the actor to be quite honest .-

Grotowski on several occasions refuses to use the word ethics, preferring instead to talk about art. Despite this at the bottom of his reflections lies a deeper understanding ethics:

* Teach delve into the depths of the actor in order to discover what prevents the creation of art, not to hide what is actually because the actor consist ethics expressed through their personal motives .-
* Boost to take risks. To create, he says, is necessary to run each time the risk of failure .-
* Advises never think of the result. To achieve a result, paradoxically, not to be found .-
* postulates that the actor should not work for himself but to be delivered completely. But who is the recipient of this delivery? If the public, the actor runs the risk of falling into a sort of flirting tends only to satisfy their need for affection, acceptance and affirmation, his own narcissism in the final. If the recipient actor himself, if he works for himself, observing, seeking the wealth of their mental states, it is likely that this will lead to hysteria and hypocrisy, and that all states not seen live and what can not be lived imitated, and this is hypocrisy. But if it must act or the public, not for himself yourself, what do you have? Grotowski recognized that the answer is not easy and gives it a great mystery. Then proposes the concept of secure partner:

this to be special to the actor who does everything, which acts against the other characters and to whom he reveals his most personal problems and experiences. This man, this fellow sure can not be defined ... just say "you give yourself totally" and many actors understand - (6)


MALDOPI Celular: 99568-1414
http://www.youtube.com/juanlmm

Can You Put Potatoes In With Raw Chicken

Yawar Yawar Yawar

SPECTACULAR: Ravel's Bolero


http://www.youtube.com/v/3-4J5j74VPw & hl = en

http://www.youtube.com/v/3-4J5j74VPw&hl=es


-----------------------
---------------- MUSIC WORKSHOPS Yawar

First, reported that e temochev@gmail.com, for those rare things in life, does not work. Please contact me at tomaste96@hotmail.com. -------------------------------------------------
---------------------------------------

Yawar, Cultural Association, has always developed three lines of work: THEATRE - MUSIC - AUDIOVISUAL. Musical discipline is developed through Parade and sikumorenos troops, who had intentions towards mobilizing theatrical presentations.

This year Yawar meets 47 years of uninterrupted work cultural, educational and artistic. And the first students who came in diapers now are talented musicians, as is the case of siblings Bautista Rubio. So, to paraphrase Jesus of Nazareth, we can say that "good trees bear good fruit", as in the case of Joan Alday, Manuel Jaime Bautista Bedregal and Saturday 10 start the music workshop from 9:00 to 11:00 am at Piérola Nicholas Avenue from 757 to 302.

PROGRAM SATURDAY 10 JULY



- basic ideas on music theory (reading of the staff). Students will gain knowledge of the instruments that will happen to dominate, both in practice and in the origin of it. METHODOLOGICAL PROCESS



1. - MUSIC THEORY

- Research on the siku bipolar plateau.
- Research instruments included the native genre: snare -
dishes - hype.
- Small rhythm assessment.

2. - Practical

- Mounting Sikuri N 1 and Diablo. SATURDAY 17



1. - MUSIC THEORY

- Research tarka the highland native instrument called serrano
clarinet. "

2. - Practical

- Mounting
tarkas song - Home of the twisted siku * SATURDAY 24



1. Individual trials, in duo and group. SATURDAY



31 - Review general theoretical
- Evaluation, practical performance of individual instruments dominated.
- Assessment - Written exam.
- Practical assessment.
- Certificate Yawar.

* SIKU, is the real name of the bagpipe.
.................................................
- THEATRE: ONCE UPON A TIME A KING " That same Saturday July 10, afternoon, presents this play at school Comas United States at 3:00 pm adventures are back the ragged recyclers Watusi, Nafl and rattles the text of Aleph Chilean citizen. Of how the theater through the stage writing gives voice to the voiceless in a spectacular show that was presented successfully, also in Machala Ecuador.
------------------------------------------------
-------- THEATRE

: PACO YUNQUE you know that in San Juan de Lurigancho, an intelligent director of a private school called the name of the famous story of the eponymous César Vallejo. If the College which presents Paco Yunque, is also called Paco Yunque. This work is now over 25 years of uninterrupted season in the National Library of Peru and this time - as every year - occurs in this school in San Juan de Lurigancho at 9:00 am




PASSACAGLIA Yawar Julias for the holidays, they turn the muñecones to the streets of San Juan Masi, past the airport Jorge Chavez, working with local policy of this neighborhood. 3:00 pm Wednesday 28 July.

----------------------------------------------- ---------------
REGIONAL THEATRE SHOWS ICA LIMA CALLAO organizers sent me the blog of this shows that for the first time presented in the sunny city of Ica.

information for this event: http://tercerallamadaperu.blogspot.com

A Viada all

Temoche v. Thomas Yawar ac

Does H Pylori Cause Aches And Pains?

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THE NEW GENERATION OF DESIGNERS CULTURAL is comforting the emergence of this new generation of goldfinches singing, thinking and struggling for bread and beauty: Rebeca Ráez - Mauricio Delfin - Guillermo Cortes - Mónica Carrillo, Jorge Miyagi, Bruno Ortiz, Eduardo Espinoza, Paloma Carpio , etc. If will join Miriam Reategui, Delfina Paredes, Ernesto Ráez, Aureo Sotelo, Enrique Victoria, Luis Gonzales, Duller Vasquez, Arturo Valero, Edgar Perez, David Ortiz, Luis Tolentino, Jaddy Gamero, Marjorie Evans, Mary Soto, Mavi Marquez ... Well, stop counting, no one would win in any fighting global education, art and culture. Exactly , Rebecca Ráez, despite being away, lives with his ear and mind put into our hearts. Many, we are close and - paradoxically - we are far, and we believe they do not keep silent about the events of these days that are shaking and shaking all of our artistic world. If the concept of culture is not well understood by anthropologists, less so will our Founding Fathers. What frightens them most is to believe - erroneously - that culture is a "cost" and a "fun" more (?). On the contrary, gentlemen, when well managed, is a source of foreign exchange in any country and not confuse fun with entertainment. MPs - not to be an athlete - you jumped to the pole of international treaties: the Declaration of Mexico (1982) - Agreements of the World Commission for Culture - UNESCO (1998) - the Stockholm Conference, all, all raise the participation of the people, nothing should be imposed from above. No. All social sectors must be involved, suddenly, with few organized sectors. other hand, all we say and where are the so-called historical drama groups? And if we do not agree, a fortiori, to show our disagreement, but not just protests, but proposals. Well, here's the proposal Ráez Rebecca Reategui, which lives up to its illustrious theatrical name: Talk Rebecca:

After reading the summary of the meeting convened 29/06/2010 by Amateur Artists Association and the valuable assistance of their representatives, as well as studying the document "Strategic Directions for the promotion of cultural policies of Peru" in 2008, generated by 300 cultural managers from different specialties; present this contribution As a model of action between the Ministry of Culture and Performing Arts Guild, a model can be considered for other genres, and adapted to the needs of each region.

The Ministry of Culture should be conceived as a coordinating body and organizer of any artistic endeavor, without the bureaucratic obstacles formidable tradition in our country. We can not imagine the artists behind the desks full of files Kafkaesque. Similarly, we can not imagine a culture run by an accountant. Sui generis force of this organism is that it is composed of creative people, generating ideas. Thus, the dynamics of the organization can be only in relation to other existing ministries and own history. It's about creating the conditions so that logistics managers and cultural operators, educational institutions, tourism promotion agencies, producers and administrators can all gather at one table and raise the conceptual axes that can be designed and printed in concrete reality. All activities covered within a constitutional framework nationally and internationally.

The structure of the Ministry of Culture requires a third Deputy Minister: the contemporary arts. The Vice Ministry of Heritage is in some ways a continuation of the policies implemented by the INC Monumental Heritage both (with aberrations already mentioned in earlier documents), the Multicultural work closely with regional municipalities placing value on each of the traditional terms of cultural heritage and intangible heritage of our nation and promote the dissemination and sharing them. This is a broad topic that deserves another article and discussion in due course. None of these ministries take into account the contemporary arts and all the guild of artists who work and play in this area: the performing arts (dance, theater, circus, performance), music, photography, architecture, cinema. Why

consider the performing arts and what is the importance of their presence in our cultural activities?

will lay out a concrete example of crossover work of culture as a central hub that brings together non-exclusionary policies with other ministries, of how you can create new jobs, making an investment culture and a source of income, production new mechanisms of social and artistic. By way of guidance, this document is a proposal.

THE PERFORMING ARTS, CULTURE MINISTRY AND MINISTRY OF EDUCATION

Students in primary, secondary and university level should experience the theater in its various stages of creation: the trial process, the final result presentation in their classrooms or on the campus of study and experience acting as a tool of artistic practice and personal development.

observe a process or laboratory test, the possible construction from an empty space and the relationship between a director and actors, helps find a concrete and tangible work of creation. The exchange is necessary because the theater needs to create an audience and keep the children are few active spectators, nothing escapes them, are alert to details. This new age (child, youth and university theater has ever seen) can ask questions, discover and respect the work stage, the artistic work. The opening dialogue between two worlds creates a bridge and a necessity. The student who has experienced the theater again another day. Being professional means that behind much of the artistic work, be a spectator and consumer potential of cultural events throughout his life.

To produce this model, the cultural structures that have rooms - AAA, Vichama Center, Japanese Peruvian Theatre, Teatro Segura, Larco Auditorium, Plaza ISIL, U Catholic Cultural Center, Zoom U de Lima, among others nationally that MOTIN brings the best way-that are responsible for production contemporary theater, devote an open space for these meetings school. We know that an open trial has minimal costs and that if each group shares a test, many students will benefit. Likewise, the theater companies can come up with proposals for schools, and made on the spot. All schools in Peru should embrace our art forms at least once a year and cultural structures should promote this spread. The cultural directions municipalities can build a network of exchange and generate artistic presence in its territory. A play, out to museums and education of our traditional dances will be mandatory in educational curricula, and this is the best partnership that the Ministry of Education can achieve with our Ministry, as required cross budgets of both parties. All cultural structure will focus its actions to the promotion, distribution, programming, evaluation and teaching of arts education in the country.

The representation of a play is a magic moment of art and every student has the right to experience this event. The theater and questions, generating dreams and new ideas. Basa their stories on real events and transforms them into possible universes. The public observes the theater learn to think and discuss, because they enjoy a play means understanding a language of multiple dimensions. So

performing artists from the world of dance, theater, circus, will have to carefully analyze what messages they want to stage for our children and college students. I take this opportunity to question the work relating to corporate brands such as Disney or Barbie, prompting an audience of children and anonymous consumers, away from our rich culture and history. Peru's theatrical scene is the living experience of our cultural diversity and needs to strengthen this road. Our identity and our writers have been represented by groups that have been doing in a quiet but steady work. We can not deny past efforts, nor those to come.

Finally (but not end) the practice of drama provides the tools for leadership and personal development for our children and college students deserve. A presentation with personality and clarity of tone, speak no panic in front of an audience, being a natural person without complex communication overcoming any obstacle, that is the value that a student needs to excel in the classroom and in the near future, in their workplace. Peru needs creative leaders, and new generations reflective and self-management. Art experience is key to national education, and provides a holistic view of student training, and thus proposes to overcome the limits of academic training of our education. The student is not a repository of information, is a creative, generating ideas and solutions. Is a critical citizen, and transform their society.

None of these practices exclude the participation of the private sector through sponsorship and other formulas applied successfully in neighboring Latin American countries.

The presence of the theater in the classroom is a small contribution which gives us an idea of \u200b\u200borganization of interest between civil society, artists and agreements between the Ministry of Culture and Ministry of Education. It poses a communication between all cultural structures (in a democratic and non-elite) and the need for a national census of independent artists, associations and cultural institutions. We need to know how we are, what we do and what our area of \u200b\u200baction; statistics study. At the heart of our community of actors suggests new production and management proposals for education - cultural, the challenge is to project quality and budget expenditures and revenue generating. The government officials claim the immediate need to restore arts education in the compulsory conceiving artistic presence as a generator of employment, economic activity and new ideas, in mutual relation to education and tourism policies, strengthening the cultural presence combining the needs of our three deputy ministers: multicultural, heritage and contemporary arts. Rebecca Reategui

Ráez



July 2010 Gift Pictures Rebecca: (l) is brewing chicha "- Histrión - (2) Parade unforgetable - Trujillo - (3) FESTINF - to the theater early education is organized Peru - Huánuco 2010 (4) The theater inside the country - Huacho (5) The Book of the Sample ( 6) First Congress on Cultural Policy (7) Artists theater of all time ...

A Viada all

Temoche carlos thomas v. Yawar ac




PROPOSALS CULTURAL AND MUNICIPAL ELECTIONS The scheduled meeting on Tuesday, June 29, 2010, the Amateur Artists Association was a success not only by the number of attendees, but also by the quality and representation of them, noted the presence of Aureo Sotelo, Miriam Reategui, Delfina Paredes, Enrique Victoria, Arturo Valero, Juana Medina, Daysi Sanchez Marquez Mavi, Marjorie Evans Luis Paredes, Ximena Arroyo, Martin Medina, Martin Molina, Paloma Carpio, Jorge Miyagi, Juan Del Mar, etc. most of them intervened after the excellent exhibition of cultural animator Guillermo Cortes. summoned and were at the presentation Mary Stewart, Thomas and Bruno Ortiz Temoche representing Sing Editors, Cultural Association and Bruges Yawar Productions. As usual Eduardo Espinoza - Trujillo - President of the Independent Theatre Movement of Peru, presided over the meeting. Juan Vilches also attended, representing the Southern Regional Show Theatre - Puno. Guillermo Cortes, promises provide exposure for publication, mainly for other groups within the country. The undersigned these lines, made notes taken on the fly - not always accurate - about some interventions, which were mentioned proposals. Many were not limited to the subject, but also addressed the issue of the Ministry of Culture: - OSWALDO CARHUALLANQUI, editor - I'm the printing industry, president of graphic artists. - Authorities imposed by law while the needs of society. - We are uprooted, we have no representation. - Municipalities are the main entities to implement the cultural scope, so do not go in the Law of the Ministry of Culture. They only care about charging fees, taxes. The authority is not listening. - MAVI MARQUEZ, cultural promoter - It is difficult to promote in our culture. - I am concerned that the Ministry of Culture, is equal to the Ministry of Environment, which does nothing without a budget. - We must participate and not leave them all alone. - PALOMA CARPIO, cultural community and encourage - My questions are: how to strengthen our cultural sector ? How we function as participatory sector? . There is no political will for participation. - That put a big screen in the Plaza Mayor, to watch the World Cup was something unnatural. - If we merged the cultural creators would have a political action how do we reverse the disinformation? - Miriam Reategui, actress, director Theatre - is a very generic culture project, implemented in the former it does not relate to cultural management. Has nothing to do with our identity, our folklore, cuisine, literature, etc. - We have to organize, organize all - not just the performing arts - all linked. Do not leave everything to bureaucrats. - We must speak what is culture? , You must have a unified concept of culture. About us . We need a cultural census, we do not. How many are we? Where are we?. - From this meeting, we must organize. Make several meetings. - Aurea SOTELO, playwright, theater director - You have to prefer the culture and cultural heritage education. - visible the culture, respect the authors and creators cultural. - See also and worry about what happens inside the country, the school play, respect for the values. - ENRIQUE VICTORIA, actor - As we speak now is the Ministry of Culture, if it is created, we are delays. - The project forget the culture alive, I'm not interested in defending cultural heritage, not defend what I do, I'm an actor, I defend mine. - Only two vice ministries: multiculturalism and heritage and living arts "? How many eat poetry?. - The Law of Patronage does not include sanctions. That does not happen what happened with earlier grants for projects, presentations, promotions, took silver and no one was penalized. - DELFINA WALLS, actress - What attitude we take off the municipal elections? What's the big deal?. The budgets are intended to spend on infrastructure and monuments and then put them plaques and posters. Why there are no plates in schools with the names of the teachers?. We are filled with plaques and posters, there is a grace why do we accept?. Make statues of horses, the condor ... - With the participation of a Japanese president unions were the hole. - What basement placed this ministry?. - Culture and education are linked. - Why gas is sold and we pay 35 soles? - The players should worry about what happens in Bagua in Inambari. - Delivering a document to sign. - DAYSI SÁNCHEZ, actress, cultural manager - I do as cultural management in the north. - Many pull for proposers mill. I was quoted for many town hall meetings and nothing happened. Case different with Spain Cultural Center. - The municipalities do not know where to go. - Bureaucracy is not going to provide the best conditions. - We do not just fun. - up to us, hear us of our strength and we are taken into account. - ARTURO VALERO, actor, cultural manager - Ministry and Municipalities are distinct entities. In the project, it is referred to as the performing arts. - We are not organized. - participate as neighbors do not know. - There are many art institutions that never manifest, so the mayors do what they want, so get to anyone. - Where are the organized sectors to complain? How can we organize to complain? How can we organize ourselves and protest when the law is not fulfilled?. - PEDRO LEO - I protest against bullfighting. - According to an organization. - Some companies only support what they consume chicha and perverts. - ANGELA, communicator - no spaces for meetings - With William, we agree, there are differing views, seek consensus. - They, the director of the INC and the President of the Republic does not think like us. - The state has an obligation to the public. - Not only is role of business and patronage. Today the law of patronage has been included in the Law of the Ministry of Culture. - MARJORIE EVANS - Actress, promoter (sent - later - a precision writing) - A Ministry will for what, to apply for grants? "To sort of culture?. I do not see ... "So that there is more supply? Consensus "? Conventions? "Agreements between countries? what else ... "so that there is an item that announced it will not be, or if any, would be minimal? "Streamline the laws of the Artists. Exist and the Ministry of Education has not been able to achieve anything. Is achieved through a Ministry of Culture? Argollero is it? that already exists without ministry. Art in politics will remain the same for the poor, but with another look, the new look of the offer "more choice? of the existing one is there? or will be for the same groups but now stuck or moving through the ministry. - It is not pessimism. Rather than offering policy seems to me there should be POLICY to create demand and we have a ministry to that, that only so can the Ministry of Education. - should establish policies to ensure that culture is consumed, from schools, colleges and universities, that is, being obligatory, they imagine all schools in the theater, the concerts, ballet, the symphony, etc. That would be more useful because it also would be governed by the law of supply and demand with public insurance and income for all, but instead from the Ministry of Culture, will remain the same filter that already exists without the ministry, the ring. He talked politics (ha ha), my friends is my humble opinion. - I thought that one of the most Delfina was sensible and the exhibitor. In other words, do a procedure for the exclusion of the performing arts and do a project, bringing the two together. ------------------------------------------------ ------------------- At the end of the interventions, Guillermo Cortes made clarifications given in the document promised, what most stood out was the phrase "we must go beyond protest, must arrive at the proposal. " The final heat had several offers: Oswaldo pledged to work on prints, Angela to create a blog, select a network for communication to another meeting invite with the other arts, etc. -------------------------

Here are two statements on the subject of the Ministry of Culture, Language and Rebecca Alex Ráez. For Rebecca, only add to be taken into account in his speech, also advanced by the Independent Theatre, Theatre Samples Peruvian National Workshops, the Independent Theatre Movement, the FESTTAS, FESTEPYS; Theatre Festivals of the cones, which are real networks and not mentioned ... Thomas

In the same spirit: "Creating

Ministry of Culture an unknown process?

First, the generation of a bureaucratic entity, not at all unknown in Peru. To quote a recent

example, the Ministry of Ecology, with a respectable character in front, which he defended, passionately, as if it were life-Decrees 015 and 073, if I remember correctly, which resulted in the fatal Baguazo, a minister who is supposed to move in another sense, as promoting and selling the Lotización Rain Forest especially oil and gas interests. And so consistent and conscious of their actions when presented with a fait accompli and revealed the government reverses the blessed decrees he continues to minister.

Why Baguazo Jungle and the here and now? We'll see.

There is indeed a complex problem concerning the myriad of relationships that are between the comforting social groups and their products, beliefs, artistic expression, cosmogpnía, way of looking at death, in short, everything that can be considered cultural. In other words, the Peruvians, which he mentions, does not amount to a culture, but a complex mosaic of ethnic groups and nations that are different cultures, many of which develop and persist and survive in this rich and wide area Peru to our many interests will have their eyes, and whose scholars, usually from outside the region or foreign, show us two truths and one not. Some agree that it is delayed in a population where the hand of the state has never been present. Hernando de Soto entered with other interests, readily apparent when reading his latest book. But to keep the compass should be made clear that relations must be viewed in a transverse horizontal axis, not vertical. By coordinating bodies of the various areas that are intended to engage in a ministry that embraces all who believe, do, say, move and / or transformed by man.

"There is only one truth: the culture in our country is ancient, vast, complex? First we

recognize that this is not mentioned peruanidad CULTURE excipient but many, many.

And if everyone has their own ways of seeing life, their own philosophies, to which we put in front of the Ministry of Culture?

Our libraries are great works that the very poor reading comprehension level of our country makes very few that understand what is said and endorse them as true those "truths" that even threaten them. This great "achievement", the reading comprehension level where we are as a country, to which we can attribute Ministry? "MINEDU?

Is this, achieving a single government? I do not think it is of importance have been attributed to various ministries of education through the history of the educational process. And why we are where we are. Unable

an important ministry and central to the development of the country and will create one that will affect, in each case, in administrative proceedings and of itself should be included in the TUPA in other sectors.

quite complex.

The Ministry of Culture that artists should embrace the Recovery Ministry, Promotion, Sponsorship and Broadcast Arts. If included in the ENSAD, ENF José María Arguedas, Los Conservatory of Music, the ENB in order to the managing bodies of the activity of artistic training and were returned by the same artistic level university professional training, we can discern what the real intention of doing something positive for the cultural arts in Peru and not the hidden desire to increase bureaucratic population of the country.

Otherwise, Where do I submit my CV? ALEX





With the intention of opening a space for all opinions and positions on the government's proposal that we all agree.

From: Rebecca Raez
Date: June 30, 2010 5:56
Subject: The Ministry of Culture of Peru
The creation of the Ministry of Culture of Peru deserves our thinking and our delivery. Like any unknown process, the new structure causes confusion, doubt, questioning. There is only one truth: the culture in our country is ancient, vast, complex. To study and address it in all its magnitude, one must understand cross. That means, as a central vertical axis across other ministries. Our culture is present in education and in the way we are educated, in our communication and how we express and propagate messages in our daily lives and our celebrations. This culture is in studies of sociology, anthropology, history, philosophy and all those sciences that allow us to deepen it. In our country there is a most excellent research tradition, our great libraries containing works that make us understand more clearly and precisely because we are where we are and what we are.

Similarly, the culture produces many artistic. I speak from the world of creators of contemporary art. I speak of our arts, our cinema, our dancing, our great painters are a breed of teachers visually the sculptors, I speak of music in all its expressions, rock, classical music, the waltz, huayno, salsa. These expressions are also included our architects of the nineteenth and twentieth sui generis shaping the profile of our city and documentary photographers of the recent past. Culture is not only the transverse axis of our identity, it also helps us understand and focus our peruanidad. Only by understanding our culture we see a concrete future, tangible. An assessment, rescue each of these events because they represent the face of our country. Put another way, without them we would be anonymous, a bad copy of something far away, a mask that speaks for others.



We must concentrate our forces. You have to understand the creation of a Ministry as a historic act and we must transcend political act. The Ministry will survive to other governments and it is imperative that artists make it their own, in its proposals, in their debates. The Ministry of Culture of Peru must be understood as an institution that recovers, evaluates and projects the local civic and artistic initiatives that have been done in recent decades. NGOs, universities and cultural centers, associations of education through art, CONACINE, the International Theatre Institute, the ENSABAP, the APDAYC, any institution that performs a task in the field, with an enriching and unique Gender has to assist in this ministry project, contributing their knowledge and value, and analyzing how the ministerial hierarchy can help strengthen the structures that comprise it. The Ministry of Culture of Peru will be based on these columns ... without them its collapse is likely.

can not say that has not done anything for the culture in the country. On the contrary, there have been Herculean efforts and achievements that deserve our respect. However, these merits are isolated, because there has been no umbrella organization that covers all the work of civil society in a compelling and pragmatic. The cultural policy of the National Institute of Culture was the notion of historical monuments and folk tradition, while supporting our National Ballet and Symphony Orchestra. The INC has to recognize that the dynamics of dialogue with contemporary artistic expression has been limited without creating opportunities for exchange, challenge, motivation, support and financing for the generation of cross-cultural projects. The INC continues to grant permits for the destruction of architectural heritage of Lima, our beautiful old houses are being destroyed by impersonal buildings that could well be erected in other new areas, not in our historic neighborhoods, symbols of our identity, such as happened to the beautiful home of Avenida Arequipa Marsano, today called Compuplaza. That's the great contradiction of the INC unforgivable. The people and the artists we demand proper accountability, otherwise, the facts speak for themselves.

This issue deserves our attention and raises the dialogue between individuals and organizations. Learn from the best of each experience, we risk something that can bear fruit. Understand the benefits in the short, medium and long term. The pension rights of performers, the pension in recognition of the cultural work, for example, are issues that must be lifted in due course. The investment in culture is urgent and requires a human commitment. Not repeat the story of the dairy and the pitcher, on the contrary, this work is step by step, stone by stone. Notice how the brick masons are passed from hand to hand, think of how our ideas can be a piece of something bigger. Thus, our ministry needs of a minister. This person must have an action profile in the field of culture. And their actions must demonstrate a work of cultural strategies, this person is required to have a cross section of our art. At the same time, the Minister Minister has to understand he can not work alone but as a team. You must be surrounded by the most outstanding that have been doing exemplary work each in his field. I speak of the architects, actors, filmmakers, musicians, educators, photographers, dancers, painters, sculptors, anthropologists, sociologists, philosophers, archaeologists, journalists, writers and all those who feel it is time to transcend cultural project together in a total the complexity of our history, with all the efforts that this demand.


Rebecca Reategui
Raez


Actress and Director Studies in Management and Cultural Policy