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Dance: Ballem: in the House of the Arts of Lagoon of Duero (Valladolid)

IT Dansa is a pedagogic project led by Institut del Teatre of the Delegation of Barcelona. A quarry that there ends up by nourishing the most select of the world contemporary dance: Nederlands Dance Theater (Holland), Batseheva Ensemble (Israel) or The Veronal (Spain). From Barcelona, it comes to us «Ballem!» (in Castilian: Let's dance!) a dance spectacle.

The Belgian Catherine Allard directs this spectacle integrated by the brief pieces A Ballo, choreographed by Jirí Kylián, Wad - Evenness, joint work of Montse Sánchez and Ramón Baeza, and Minus 16, which takes the stamp of Ohad Naharin.

The work released in February, 2015 in the Mercat of them Flors (Barcelona) and last December 16 it ended up at the House of the Arts of Lagoon of Duero (Valladolid).

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you photograph: Chuchi War


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Critical movie Mishap of Oriol Paulo

Movie Mishap of Oriol Paulo

Not everything has to cost

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Original title: Mishap

The director: Oriol Paulo

I distribute: Mario Casas, Bárbara Lennie, José Coronado, Ann Wagener, Francesc Orella, Paco Tous

Year: 2016

Duration: 104 min.

Country: Spain

Script: Oriol Paulo, Lara Sendim

Music: Fernando Velázquez

It photographs: Xavi Giménez

Producer: Atresmedia Movies / Think Studio / Nostromo Pictures / Colosé Producciones

Genre: Thriller

Synopsis

Adrian Doria, a young businessman, wakes up one day in the room of a hotel along with the corpse of its lover. Accused of murder, he decides to hire the services of Virginia Goodman, the witnesses' best trainer of the country. The appearance of a new witness for the prosecution threatens to destroy the strategy of the defense forcing them to mend to against the clock the pieces of an impossible puzzle. In the course of one night, assessor and client will work to find a reasonable doubt that frees him from the jail.

 

Comment

It is difficult to speak about the new delivery of Oriol Paulo (The body, 2012; scriptwriter: Julia's eyes, 2010; Sequestration, 2016) since it is of these movies of which the less they are known before coming to the room, much better. The temptation is very big. I will have to do a severe exercise to speak about her but without spoiling it.

A man, prestigious executive, entrepreneur of the year, Adrián Doria (Mario Casas) is accused of murder. The corpse of its lover, Laura (Bárbara Lennie), it lies along with its body in the room of a hotel. Nobody seems to have entered, nobody seems to have gone out of the room. As if of a logic game, as if of a bad pastime of a Sunday supplement it was talking each other, there is nobody more. But the true thing is that he has to convince even his own lawyer of its innocence. For its defense it is going to be provided with one of the best in its field, Virginia Goodman (Ann Wagener). It is a question of a specialist in extracting from troubles (the justice) to those that more difficult have it. It has not lost any case, and this one, the last one, before its retirement, does not want that it is the exception.

Mishap has classic elements of the thriller as they can be: an accidental death, an affectionate trio, the threat of the jail, lawyers, the entire ruin … One of the precedents that comes to my mind is that of Death of a cyclist (Juan Antonio Bardem, 1955), but also it has something of the movies of Alfred Hitchcock or of histories of Agatha Christie, without leaving the stela of its previous movie, its prime opera, The body, where it already left its stamp.

contratiempo_2

To the share-out many peros cannot put themselves him. Bárbara Lennie convinces because the camerawoman wants it (unforgettable its role in Magical Girl). But it is not a femme fatale. The same happens with José Coronado. I do not know if it is that these roles him go like ring to the finger or it is he the one that gets into them. But he emphasizes like anxious father that he wants to know the truth. Ann Wagener has a big weight in the history. He can provide to its lawyer's role this necessary freightage so that its duel with Mario Casas is credible. Mario Casas keeps on growing removed from the juvenile fans. Its diction sometimes extracts me of the history, but I admit that it is more convincing than in previous proposals.

The setting is outstanding. As well as the photographic aspect. The team has been able to look for a few location worthy of big proposals in charge of the best directors. This way the hotel of the Vale of Nuria (to which zipper one gains access for the train) us sends to the famous hotel stage of The big Hotel Budapest of Wes Anderson. The music, to charge Fernando Velázquez helps in the climax (especially with the final scene).

1366_2000

The movies is a big lie. We all know that and in spite of that, all of us come to the rooms to enjoy this art. The director has the whole resources suit of armor to present its history to us. One of those that more I detest is that they present the history to you and when you are put directly in her go out for you with that this is a sleep. It is a coarse manipulation. But …: what is the movies? The proper director Oriol Paulo has confessed that directing is to manipulate and that you have to cheat and convince the spectator. Yes, but not. Not everything costs to seduce the lovers of the movies. The doubts, in this case, on whom did it commit the crime do not have why to come from the hand of artful pitfalls. You live through the tape with tension, get directly into the history and continue it with relative facility, in spite of being a mirrors game. But when everything concludes, the body is stirred in the seat and in the head one begins gearing all the pieces and you exclaim (with true unease): ah: was it this?! That's why, some of the protagonists, it warns you on the importance of the details. Although the alert, for them, is to avoid the jail; for us it is not to feel completely defrauded by the use of small pitfalls.

4

In the fund, Mishap is the history of a quite schemed revenge and a clear unproved statement in favor of which the justice should be safe of possible trapicheos of the lawyers' hand without conscience that for a good tickets bundle are capable of making to eliminate records or prepare exculpatory false tests. Because if not when the justice trumps or weakens the revenge desires they increase.

Technically it is quite decisive and the visual proposal is more than correct with this air of black movies. Paulo is one of the film makers most representative of the Spanish thriller and big scriptwriter. Mishap is a movie with lights and shades, which catches you with an excellent rhythm, but the bad resolution prevents him from shining with proper light beyond the new tape of Oriol is Paulo.

I leave a tráiler to you:

Square Luisjo

Magazine Atticus


ON JANUARY 11, 1601: VALLADOLID, THE CAPITAL OF SPAIN

 

Monumento a Felipe II en la plaza de san Pablo. Foto LJC

Monument to Felipe II in the square of san Pablo. Photo LJC

Valladolid, against any ideas that still circulate between nations with scarce interest to know the truth on past facts, was not the capital of Spain by chance and the election of moving the court to this city has excessive historical and cultural motives.

Not to fall down in a mere historical relation, we will quote only some important and significant strokes:

In the Xth century, liberated of the Moslem domain, it happens to be part of the County of Castile.

In the XIth century, Alfonso VI grants the dominion of the city to its valid one, the count of Saldaña and Carrión, Pedro Ansúrez. This one builds a palace for he and its wife, Mrs Eylo Alfonso, who does not survive. Also they construct the Collegiate church of Santamaría and the church of the Antigua, what grants to the city the town status. It stops being this way a rural establishment and knows its first important economic growth.

In the XIIIth century, king Alfonso VIII names court city, Fernando III is crowned king in the Main square and Alfonso X grants him the Real Jurisdiction. The city keeps on prospering thanks to fairs and economic privileges. Also it turns into possible head office of the courts and real residence. The University is founded, third more ancient than Spain.

In the XVth century, Juan II of Castile establishes its real and permanent residence in Valladolid. Its son, Enrique IV, was born in the ignominiously eliminated one by greed, House of the Door knockers, call like that for possessing right of asylum granted by Carlos I. Two centuries later it will be inhabited by don Rodrigo Calderón, to whom it did not serve the immunity of the building.

Ayuntamiento de Valladolid en la plaza Mayor. Foto: LJC

Town hall of Valladolid in the Biggest square. Photo: LJC

Elizabeth de Castilla and Fernando de Aragón marry secretly in the Palace of the Vivarium, later Real Hearing and Chancery. He installs the first printing to himself in the Monastery of the Meadow. The economic and cultural impulse is enormous with the flowering of the university and the creation of the biggest schools of Santa Cruz and San Gregorio.

XVIth century: in 1500 the court of the Inquisition is established definitely.

In 1518 the Spanish Parliament of Castile swears like king to Carlos I. After the War of the Communities, Valladolid stands out for its economic, judicial and political importance, turning into one of the most special capitals and the darling of the King, who settles in the beginning in the Palace of the Vivarium.

Due to the numerous stays of Carlos I in Valladolid, its secretary and right-hand man, don Francisco de los Cobos marries Mrs Maria de Mendoza and Convent of San Pablo chooses to build a proper residence in the court environment opposite to the Church. With the idea of conditioning its house like future real lodging, it hires the architect Luis de Vega. The project is growing and in the end one makes construct a palace with royal air, which seems to augur future events and inhabitants …

In 1527 future Felipe II is born. Here he lived through its first marriage with its cousin Maria Manuela of Portugal and the birth of its first son, Carlos. During the numerous campaigns in which it stayed away from Spain, its sisters were exercising the regency from Valladolid.

In 1550 the Controversy of Valladolid took place in the School of San Gregorio, on the rights of the natives of the New World, which presages future declarations on the human rights.

Palacio de los Condes de Ribadavia, en la calle Angustias. Foto: Haciendo Clack

Palace of the Counts of Ribadavia, in the street You Distress. Photo: Doing Clack

In 1559, in May and October, the faith cars were celebrated against more famous heretics by its severity. Agustín de Cazalla, ancient Chaplain of Carlos I, adopted and expanded Lutheran ideas, what brother Domingo de Rojas or the archbishop Bartolomé de Carranza led him to the bonfire along with its family, a nourished group of nuns and followers, between whom they were. Felipe II afraid of the consequences that the expansion of the Protestant ideas could provoke, decides to annihilate them without considerations with a model punishment.

King Prudente gets upset very much for the heretics' nest in the city that saw him being born and there seems to be this one one of the motives that cause the election of the town of Madrid as headquarters of the court the same year.

 

One year and a few months later, Juan de Granada, in the street of the Costanilla, could not suffocate the fire of its silversmith's workshop one dawn of the day of san Mateo of 1561 and two days later they had burned for it 440 houses of the whole center of the city. It was doing a little time that Felipe II had moved to Madrid, stopping to its home area in frank depression, but not for it left, as it tried after receiving letters of Luis de Ossorio, major chief magistrate of the city, before a fire of such dimensions.

Felipe II entrusted the achievement of the new town-planning tracing to Francisco de Salamanca ordering the streets to be rectilinear and differentiated by unions. From here there was born a new way of seeing and of doing the cities: A Major big proportion square was created sesquilátera, then adopted, without flush, for Farrier in its project of the square of the Suburb, Major rebaptized square, of Madrid or for Churriguera in that of Salamanca, more than one century later. Also edges were placed in the houses, with brick or stone of Campaspero as fire-break.

The King granted to its native town the city title and obtained of pope Clemente VIII the creation of a diocese in 1595.

Especially, one tried to project an impression of strong city and of future. Valladolid was always a ground of good reception, although it fries for beginning and its inhabitants, born or settled down, they demonstrated a capacity of adaptation and a vocation of growth that it persuaded, forty years later to Felipe III.

King Piadoso, son of the previous monarch, across its valid one, Francisco Gómez de Sandoval and Red, I duke of Lerma, he became convinced of that that place was the suitable one to establish the new capital. They were fleeing of the scarce and dirty waters of Madrid, or this was the main excuse of the prime minister.

Also Valladolid was the center of a new artistic movement: the baroque, which so much there liked an esthete as that leader of so scarce moral tasting and so many diplomatic vision. Thanks to its peaces and agreements Spain possessed more territories that never and without scarcely blood spilling.

Vista aérea de Valladolid. Foto: Jason Hawkes

Air sight of Valladolid. Photo: Jason Hawkes

With these premises there was born the idea of a modern, beautiful and adaptable city, of hard and thick inhabitants, as it was the Españas then. And with the singularity of a river, the Esgueva, which was splitting into two on having entered the city and was ending in two branches in wealthy and clean Pisuerga. This abundant river was a witness of summer holidays of the third one of the Felipes, sometimes with fluvial bullfights. Also he was present at such prodigies like subaquatic immersions or you astonish of engineering like the created ones by Juan de Nates to raise water to the garden, first of the duke and after the King. It was then the only one of Spain with real stamp to cultivate chick-peas, and to water the beautiful gardens of its summer residence, the Palace of the Bank, today nonexistent thanks to the pillaging carried out by the count duke of Olive groves and its friend Velázquez and stopped destroying for painful Carlos III, beginning of the big ruin of Spain due to its abandonment of the empire to center on doing only of Madrid something more than a poblachón of La Mancha.

But the important thing of this is that Valladolid demonstrated to Spain and to the world the aptitude to be reborn of its ashes and to create on them a beautiful, place strong and worthy of the whole kingdom that was including territories in four continents acquaintances of that time and all this concluded with the capital decree of Spain of January 11, 1601.

 

Pilar Cañibano Gago

Carlos Ibañez Giralda

Magazine Atticus

 

Kemp Dances «inventions and reincarnations»

Theater Caldron of Valladolid

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In the 70s and 80s Lindsay Kemp along with Lindsay Kemp Company they made a fuss and astonished simultaneously, to the world scene with an extraordinarily heterodox crossing of styles, which were mixing theater, caress and dance, tradition and experimentation, subtle irony and powerful sensations.

 

Then (as now) the magic of the spectacles of Kemp, they were turning fundamentally environment to its personalísimo interpreter's charisma, the same way in roles of woman, man, marionette or any other.

 

Its presence in scene transcendía any genre or category, as it always keeps on doing it today, overcome seventy years.

 

It continues with the story telling across its dance atemporal, without age and can do it because the only rules that it must continue are theirs and the only skill that it must keep intact is that of transmitting emotions. “An immobility loaded with emotions costs more than hundred mechanical gestures” Kemp always affirms.

 

Kemp Dances, is a series of “inventions and reincarnations”, that is to say new creation mixed with some piece classic recreated and checked today. A spectacular and exciting mosaic of personages and fantastic stories realized in scene along with its collaborators – new ones and of some time ago - with a powerful eclectic mix of music and story, and since it always happens in the creations of this saltimbanqui of the soul, there are fixed elements but always a constant reinvention of stories and gestures.

 

Lindsay Kemp studied theater and dance from its first years. After parentheses in the naval school where its family wanted that it was studying the marina studies, it moved to London, where it studied its studies of theater, dance and caress. After an eclectic period of learning (being employed at productions of theater, of contemporary dance, cabaret, musicals, “One man shows”) in 1.964 Lindsay Kemp Company formed.

 

At the end of the 60, its process of synthesis of diverse scenic languages, it culminates with its first production of “Flowers … To Pantomime For Jean Genet”. He is followed by versions of “Salomé“, “Woyzeck“, “The Servants” and diverse original and avant-garde productions. In 1.974 it released in Bush Theatre of London, a new version of “Flowers“, which came up to Broadway in New York. There began the golden period of Lindsay Kemp Company, with tours without end all over the world and with special success in Italy and Spain. In the following years Kemp it was established internationally like an essential influence in the culture of the theater - dance, creating a varied repertoire with “Flowers“, “Salomé“, “The Sleep summer De Una Noche”, “Mr. Punch's Pantomime“, “Poltergeist“ “The Big Parade”, “Nijinsky“, “Alice“, “Onnagata“, “Cinderella“, “Varieté“.

During the last weekend, January 7 and 8, released vallisoletano he could have enjoyed, in the Theater Caldron, this spectacle headed by the Briton Lindsay Kemp who at its 78 years seems to be an inexhaustible ingenuity source with its visual poetry, with its mimicry and its dance.

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you photograph: Chuchi War


The silly lady in WASHES (Laboratory of the Arts of Valladolid)

 

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The company Left Foot that there directs Esther Pérez Arribas, actress and philologist recognized by its infantile adaptations of the outstanding figures of the golden century, represented in He washes last January 8 its most emblematic assembly, the comedy of the blockhead Finea who rested on songs, choreographies, marionettes and shades, claims the love as way necessary for learning.

 

Esther Pérez Arribas makes sure that what more illusion does to him after walking this assembly for festivals and fairs of so much weight as I Color with red ocher, classic Olmedo, FETEN or City Rodrigo is to be part of the municipal programming of Valladolid: "After all one of the main tasks that I marked myself does already more than twelve years, when I founded the company, it was to contribute to the cultural and social textile of my city”.

 

The silly lady is the work of Left Foot that more has been represented. Codirector of the festival was born in 2008 coproduced by the international festival of Classic Theater of Olmedo, where Pérez Arribas was working like teacher during interpretation that then Fernando Urdiales was directing, to the ripeness.“ He was fascinated by my way of understanding and of teaching the classic poem to the infancy and youth when I told him my project and hence its determination in which the festival should produce this spectacle for all the publics”. The vallisoletana that now directs the interpretation course actoral of Olmedo Clásico - and that takes the name of Fernando Urdiales since it is historical of the theater was disappearing - was then also a teacher of the School of Dramatic Art of Valladolid and its work as company was aiming fundamentally at the infantile public. It gained itself the confidence of the directors and the result was more than satisfactory. The children were capable of following Lope's plot with its almost original text and, also, they were amusing themselves of the pretty thing.

 

But how does it obtain an assembly that scarcely has the original text to maintain the attention of the children? “The wealth of the personages is fundamental, but also it it is the use of the colors, the designs of scenery and wardrobe that it realized with so much I am right Mario Pérez Tapanes, the marionettes and shades of Eva Lago (nise in the work), the light of Félix Fradejas … everything is thought to receive the attention of the child without having to resign from the rigor that needs the adaptation of Lope's work”. Because that one is different of the maxims of the director: to respect the children, to trust in its capacity of comprehension, of entire experience of the function.“ For it we use a series of hardware that mark the work of Left Foot from its beginnings: the dance, the songs, the marionettes and the shades”. Enriqueta Morejón (Petra in the work) is the choreographer. For the songs they were provided with Verónica Ronda like teacher and the musical topics belong to the classic composers Häendel and Lluis of the Milan, and the composers for the sung letters Arben Zeneli and Rubén Villadongos.

 

Pérez Arribas, who plays the part of the servant Celia, admits that the text must be slimmed in some measurement, removing load and putting a lot of care with expressions and messages, the most important of which, nevertheless, stays intact: the love is necessary for learning, only with love there is possible the future, a liberating education that it helps the children to develop at full freedom, and this is a transverse message, because also it is directed for the adult public: "Finea (Evangelina Valdespino) is stopping being silly simultaneously that discovers its love for Lawrencium (Rubén Ajo), but it is not necessary to lose of sight that she was only silly in the ignoramus's sense, because our blockhead is very ready from the beginning”, points the director.

 

“The teacher Rufino (Ángel Téllez) introduces the children in the world of the XVIIth century and the way levels them so that they understand the conflict of The Silly lady: Octavio (Borja Semprún) has decided to marry its daughter Finea with Liseo (Víctor Cerezo), but this one is in love of nise and her of him. From here on it fights to change the decision of its father there being created situations much entertained in those that we enjoy ourselves to the maximum, and in that secondary roles as that of Anahí Van der Blick (Clear servant) are vital to maintain the free tone of the work”.

 

The company of theater Left Foot the outstanding figure has carried out another two works that they bring over to the infantile public: the adaptation of “The big market of the world”, of Caldron, and the work with complete script of Esther Pérez Arribas “Sonnets between all”, that has walked these past Christmases for the provinces of Segovia, Valladolid and Salamanca. Its last spectacle is an outstanding figure of Red Zorrilla, “Between fools it walks the game”, although this time is not directed to the infancy “It treats, with the whole possible humor that the current situation allows, the condition of the small companies, to which they are making it so difficult to us as if there was had interest in which we were returning to the epoch of the comics of the league”, pronounces himself Pérez Arribas.

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Already to the sale the number FOUR

It ask for route mail in admin@revistaatticus.es.

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Dance: Ballem: in the House of the Arts of Lagoon of Duero (Valladolid)

IT Dansa is a pedagogic project led by Institut del Teatre of the Delegation of Barcelona. A quarry that there ends up by nourishing the most select of the world contemporary dance: Nederlands Dance Theater (Holland), Batseheva Ensemble (Israel) or The Veronal (Spain). From Barcelona, it comes to us «Ballem!» (in Castilian: Let's dance!) a dance spectacle.

The Belgian Catherine Allard directs this spectacle integrated by the brief pieces A Ballo, choreographed by Jirí Kylián, Wad - Evenness, joint work of Montse Sánchez and Ramón Baeza, and Minus 16, which takes the stamp of Ohad Naharin.

The work released in February, 2015 in the Mercat of them Flors (Barcelona) and last December 16 it ended up at the House of the Arts of Lagoon of Duero (Valladolid).

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you photograph: Chuchi War


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Critical movie Mishap of Oriol Paulo

Movie Mishap of Oriol Paulo

Not everything has to cost

353x502_13

Card

Original title: Mishap

The director: Oriol Paulo

I distribute: Mario Casas, Bárbara Lennie, José Coronado, Ann Wagener, Francesc Orella, Paco Tous

Year: 2016

Duration: 104 min.

Country: Spain

Script: Oriol Paulo, Lara Sendim

Music: Fernando Velázquez

It photographs: Xavi Giménez

Producer: Atresmedia Movies / Think Studio / Nostromo Pictures / Colosé Producciones

Genre: Thriller

Synopsis

Adrian Doria, a young businessman, wakes up one day in the room of a hotel along with the corpse of its lover. Accused of murder, he decides to hire the services of Virginia Goodman, the witnesses' best trainer of the country. The appearance of a new witness for the prosecution threatens to destroy the strategy of the defense forcing them to mend to against the clock the pieces of an impossible puzzle. In the course of one night, assessor and client will work to find a reasonable doubt that frees him from the jail.

 

Comment

It is difficult to speak about the new delivery of Oriol Paulo (The body, 2012; scriptwriter: Julia's eyes, 2010; Sequestration, 2016) since it is of these movies of which the less they are known before coming to the room, much better. The temptation is very big. I will have to do a severe exercise to speak about her but without spoiling it.

A man, prestigious executive, entrepreneur of the year, Adrián Doria (Mario Casas) is accused of murder. The corpse of its lover, Laura (Bárbara Lennie), it lies along with its body in the room of a hotel. Nobody seems to have entered, nobody seems to have gone out of the room. As if of a logic game, as if of a bad pastime of a Sunday supplement it was talking each other, there is nobody more. But the true thing is that he has to convince even his own lawyer of its innocence. For its defense it is going to be provided with one of the best in its field, Virginia Goodman (Ann Wagener). It is a question of a specialist in extracting from troubles (the justice) to those that more difficult have it. It has not lost any case, and this one, the last one, before its retirement, does not want that it is the exception.

Mishap has classic elements of the thriller as they can be: an accidental death, an affectionate trio, the threat of the jail, lawyers, the entire ruin … One of the precedents that comes to my mind is that of Death of a cyclist (Juan Antonio Bardem, 1955), but also it has something of the movies of Alfred Hitchcock or of histories of Agatha Christie, without leaving the stela of its previous movie, its prime opera, The body, where it already left its stamp.

contratiempo_2

To the share-out many peros cannot put themselves him. Bárbara Lennie convinces because the camerawoman wants it (unforgettable its role in Magical Girl). But it is not a femme fatale. The same happens with José Coronado. I do not know if it is that these roles him go like ring to the finger or it is he the one that gets into them. But he emphasizes like anxious father that he wants to know the truth. Ann Wagener has a big weight in the history. He can provide to its lawyer's role this necessary freightage so that its duel with Mario Casas is credible. Mario Casas keeps on growing removed from the juvenile fans. Its diction sometimes extracts me of the history, but I admit that it is more convincing than in previous proposals.

The setting is outstanding. As well as the photographic aspect. The team has been able to look for a few location worthy of big proposals in charge of the best directors. This way the hotel of the Vale of Nuria (to which zipper one gains access for the train) us sends to the famous hotel stage of The big Hotel Budapest of Wes Anderson. The music, to charge Fernando Velázquez helps in the climax (especially with the final scene).

1366_2000

The movies is a big lie. We all know that and in spite of that, all of us come to the rooms to enjoy this art. The director has the whole resources suit of armor to present its history to us. One of those that more I detest is that they present the history to you and when you are put directly in her go out for you with that this is a sleep. It is a coarse manipulation. But …: what is the movies? The proper director Oriol Paulo has confessed that directing is to manipulate and that you have to cheat and convince the spectator. Yes, but not. Not everything costs to seduce the lovers of the movies. The doubts, in this case, on whom did it commit the crime do not have why to come from the hand of artful pitfalls. You live through the tape with tension, get directly into the history and continue it with relative facility, in spite of being a mirrors game. But when everything concludes, the body is stirred in the seat and in the head one begins gearing all the pieces and you exclaim (with true unease): ah: was it this?! That's why, some of the protagonists, it warns you on the importance of the details. Although the alert, for them, is to avoid the jail; for us it is not to feel completely defrauded by the use of small pitfalls.

4

In the fund, Mishap is the history of a quite schemed revenge and a clear unproved statement in favor of which the justice should be safe of possible trapicheos of the lawyers' hand without conscience that for a good tickets bundle are capable of making to eliminate records or prepare exculpatory false tests. Because if not when the justice trumps or weakens the revenge desires they increase.

Technically it is quite decisive and the visual proposal is more than correct with this air of black movies. Paulo is one of the film makers most representative of the Spanish thriller and big scriptwriter. Mishap is a movie with lights and shades, which catches you with an excellent rhythm, but the bad resolution prevents him from shining with proper light beyond the new tape of Oriol is Paulo.

I leave a tráiler to you:

Square Luisjo

Magazine Atticus


ON JANUARY 11, 1601: VALLADOLID, THE CAPITAL OF SPAIN

 

Monumento a Felipe II en la plaza de san Pablo. Foto LJC

Monument to Felipe II in the square of san Pablo. Photo LJC

Valladolid, against any ideas that still circulate between nations with scarce interest to know the truth on past facts, was not the capital of Spain by chance and the election of moving the court to this city has excessive historical and cultural motives.

Not to fall down in a mere historical relation, we will quote only some important and significant strokes:

In the Xth century, liberated of the Moslem domain, it happens to be part of the County of Castile.

In the XIth century, Alfonso VI grants the dominion of the city to its valid one, the count of Saldaña and Carrión, Pedro Ansúrez. This one builds a palace for he and its wife, Mrs Eylo Alfonso, who does not survive. Also they construct the Collegiate church of Santamaría and the church of the Antigua, what grants to the city the town status. It stops being this way a rural establishment and knows its first important economic growth.

In the XIIIth century, king Alfonso VIII names court city, Fernando III is crowned king in the Main square and Alfonso X grants him the Real Jurisdiction. The city keeps on prospering thanks to fairs and economic privileges. Also it turns into possible head office of the courts and real residence. The University is founded, third more ancient than Spain.

In the XVth century, Juan II of Castile establishes its real and permanent residence in Valladolid. Its son, Enrique IV, was born in the ignominiously eliminated one by greed, House of the Door knockers, call like that for possessing right of asylum granted by Carlos I. Two centuries later it will be inhabited by don Rodrigo Calderón, to whom it did not serve the immunity of the building.

Ayuntamiento de Valladolid en la plaza Mayor. Foto: LJC

Town hall of Valladolid in the Biggest square. Photo: LJC

Elizabeth de Castilla and Fernando de Aragón marry secretly in the Palace of the Vivarium, later Real Hearing and Chancery. He installs the first printing to himself in the Monastery of the Meadow. The economic and cultural impulse is enormous with the flowering of the university and the creation of the biggest schools of Santa Cruz and San Gregorio.

XVIth century: in 1500 the court of the Inquisition is established definitely.

In 1518 the Spanish Parliament of Castile swears like king to Carlos I. After the War of the Communities, Valladolid stands out for its economic, judicial and political importance, turning into one of the most special capitals and the darling of the King, who settles in the beginning in the Palace of the Vivarium.

Due to the numerous stays of Carlos I in Valladolid, its secretary and right-hand man, don Francisco de los Cobos marries Mrs Maria de Mendoza and Convent of San Pablo chooses to build a proper residence in the court environment opposite to the Church. With the idea of conditioning its house like future real lodging, it hires the architect Luis de Vega. The project is growing and in the end one makes construct a palace with royal air, which seems to augur future events and inhabitants …

In 1527 future Felipe II is born. Here he lived through its first marriage with its cousin Maria Manuela of Portugal and the birth of its first son, Carlos. During the numerous campaigns in which it stayed away from Spain, its sisters were exercising the regency from Valladolid.

In 1550 the Controversy of Valladolid took place in the School of San Gregorio, on the rights of the natives of the New World, which presages future declarations on the human rights.

Palacio de los Condes de Ribadavia, en la calle Angustias. Foto: Haciendo Clack

Palace of the Counts of Ribadavia, in the street You Distress. Photo: Doing Clack

In 1559, in May and October, the faith cars were celebrated against more famous heretics by its severity. Agustín de Cazalla, ancient Chaplain of Carlos I, adopted and expanded Lutheran ideas, what brother Domingo de Rojas or the archbishop Bartolomé de Carranza led him to the bonfire along with its family, a nourished group of nuns and followers, between whom they were. Felipe II afraid of the consequences that the expansion of the Protestant ideas could provoke, decides to annihilate them without considerations with a model punishment.

King Prudente gets upset very much for the heretics' nest in the city that saw him being born and there seems to be this one one of the motives that cause the election of the town of Madrid as headquarters of the court the same year.

 

One year and a few months later, Juan de Granada, in the street of the Costanilla, could not suffocate the fire of its silversmith's workshop one dawn of the day of san Mateo of 1561 and two days later they had burned for it 440 houses of the whole center of the city. It was doing a little time that Felipe II had moved to Madrid, stopping to its home area in frank depression, but not for it left, as it tried after receiving letters of Luis de Ossorio, major chief magistrate of the city, before a fire of such dimensions.

Felipe II entrusted the achievement of the new town-planning tracing to Francisco de Salamanca ordering the streets to be rectilinear and differentiated by unions. From here there was born a new way of seeing and of doing the cities: A Major big proportion square was created sesquilátera, then adopted, without flush, for Farrier in its project of the square of the Suburb, Major rebaptized square, of Madrid or for Churriguera in that of Salamanca, more than one century later. Also edges were placed in the houses, with brick or stone of Campaspero as fire-break.

The King granted to its native town the city title and obtained of pope Clemente VIII the creation of a diocese in 1595.

Especially, one tried to project an impression of strong city and of future. Valladolid was always a ground of good reception, although it fries for beginning and its inhabitants, born or settled down, they demonstrated a capacity of adaptation and a vocation of growth that it persuaded, forty years later to Felipe III.

King Piadoso, son of the previous monarch, across its valid one, Francisco Gómez de Sandoval and Red, I duke of Lerma, he became convinced of that that place was the suitable one to establish the new capital. They were fleeing of the scarce and dirty waters of Madrid, or this was the main excuse of the prime minister.

Also Valladolid was the center of a new artistic movement: the baroque, which so much there liked an esthete as that leader of so scarce moral tasting and so many diplomatic vision. Thanks to its peaces and agreements Spain possessed more territories that never and without scarcely blood spilling.

Vista aérea de Valladolid. Foto: Jason Hawkes

Air sight of Valladolid. Photo: Jason Hawkes

With these premises there was born the idea of a modern, beautiful and adaptable city, of hard and thick inhabitants, as it was the Españas then. And with the singularity of a river, the Esgueva, which was splitting into two on having entered the city and was ending in two branches in wealthy and clean Pisuerga. This abundant river was a witness of summer holidays of the third one of the Felipes, sometimes with fluvial bullfights. Also he was present at such prodigies like subaquatic immersions or you astonish of engineering like the created ones by Juan de Nates to raise water to the garden, first of the duke and after the King. It was then the only one of Spain with real stamp to cultivate chick-peas, and to water the beautiful gardens of its summer residence, the Palace of the Bank, today nonexistent thanks to the pillaging carried out by the count duke of Olive groves and its friend Velázquez and stopped destroying for painful Carlos III, beginning of the big ruin of Spain due to its abandonment of the empire to center on doing only of Madrid something more than a poblachón of La Mancha.

But the important thing of this is that Valladolid demonstrated to Spain and to the world the aptitude to be reborn of its ashes and to create on them a beautiful, place strong and worthy of the whole kingdom that was including territories in four continents acquaintances of that time and all this concluded with the capital decree of Spain of January 11, 1601.

 

Pilar Cañibano Gago

Carlos Ibañez Giralda

Magazine Atticus

 

Kemp Dances «inventions and reincarnations»

Theater Caldron of Valladolid

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In the 70s and 80s Lindsay Kemp along with Lindsay Kemp Company they made a fuss and astonished simultaneously, to the world scene with an extraordinarily heterodox crossing of styles, which were mixing theater, caress and dance, tradition and experimentation, subtle irony and powerful sensations.

 

Then (as now) the magic of the spectacles of Kemp, they were turning fundamentally environment to its personalísimo interpreter's charisma, the same way in roles of woman, man, marionette or any other.

 

Its presence in scene transcendía any genre or category, as it always keeps on doing it today, overcome seventy years.

 

It continues with the story telling across its dance atemporal, without age and can do it because the only rules that it must continue are theirs and the only skill that it must keep intact is that of transmitting emotions. “An immobility loaded with emotions costs more than hundred mechanical gestures” Kemp always affirms.

 

Kemp Dances, is a series of “inventions and reincarnations”, that is to say new creation mixed with some piece classic recreated and checked today. A spectacular and exciting mosaic of personages and fantastic stories realized in scene along with its collaborators – new ones and of some time ago - with a powerful eclectic mix of music and story, and since it always happens in the creations of this saltimbanqui of the soul, there are fixed elements but always a constant reinvention of stories and gestures.

 

Lindsay Kemp studied theater and dance from its first years. After parentheses in the naval school where its family wanted that it was studying the marina studies, it moved to London, where it studied its studies of theater, dance and caress. After an eclectic period of learning (being employed at productions of theater, of contemporary dance, cabaret, musicals, “One man shows”) in 1.964 Lindsay Kemp Company formed.

 

At the end of the 60, its process of synthesis of diverse scenic languages, it culminates with its first production of “Flowers … To Pantomime For Jean Genet”. He is followed by versions of “Salomé“, “Woyzeck“, “The Servants” and diverse original and avant-garde productions. In 1.974 it released in Bush Theatre of London, a new version of “Flowers“, which came up to Broadway in New York. There began the golden period of Lindsay Kemp Company, with tours without end all over the world and with special success in Italy and Spain. In the following years Kemp it was established internationally like an essential influence in the culture of the theater - dance, creating a varied repertoire with “Flowers“, “Salomé“, “The Sleep summer De Una Noche”, “Mr. Punch's Pantomime“, “Poltergeist“ “The Big Parade”, “Nijinsky“, “Alice“, “Onnagata“, “Cinderella“, “Varieté“.

During the last weekend, January 7 and 8, released vallisoletano he could have enjoyed, in the Theater Caldron, this spectacle headed by the Briton Lindsay Kemp who at its 78 years seems to be an inexhaustible ingenuity source with its visual poetry, with its mimicry and its dance.

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Magazine Atticus

you photograph: Chuchi War


The silly lady in WASHES (Laboratory of the Arts of Valladolid)

 

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The company Left Foot that there directs Esther Pérez Arribas, actress and philologist recognized by its infantile adaptations of the outstanding figures of the golden century, represented in He washes last January 8 its most emblematic assembly, the comedy of the blockhead Finea who rested on songs, choreographies, marionettes and shades, claims the love as way necessary for learning.

 

Esther Pérez Arribas makes sure that what more illusion does to him after walking this assembly for festivals and fairs of so much weight as I Color with red ocher, classic Olmedo, FETEN or City Rodrigo is to be part of the municipal programming of Valladolid: "After all one of the main tasks that I marked myself does already more than twelve years, when I founded the company, it was to contribute to the cultural and social textile of my city”.

 

The silly lady is the work of Left Foot that more has been represented. Codirector of the festival was born in 2008 coproduced by the international festival of Classic Theater of Olmedo, where Pérez Arribas was working like teacher during interpretation that then Fernando Urdiales was directing, to the ripeness.“ He was fascinated by my way of understanding and of teaching the classic poem to the infancy and youth when I told him my project and hence its determination in which the festival should produce this spectacle for all the publics”. The vallisoletana that now directs the interpretation course actoral of Olmedo Clásico - and that takes the name of Fernando Urdiales since it is historical of the theater was disappearing - was then also a teacher of the School of Dramatic Art of Valladolid and its work as company was aiming fundamentally at the infantile public. It gained itself the confidence of the directors and the result was more than satisfactory. The children were capable of following Lope's plot with its almost original text and, also, they were amusing themselves of the pretty thing.

 

But how does it obtain an assembly that scarcely has the original text to maintain the attention of the children? “The wealth of the personages is fundamental, but also it it is the use of the colors, the designs of scenery and wardrobe that it realized with so much I am right Mario Pérez Tapanes, the marionettes and shades of Eva Lago (nise in the work), the light of Félix Fradejas … everything is thought to receive the attention of the child without having to resign from the rigor that needs the adaptation of Lope's work”. Because that one is different of the maxims of the director: to respect the children, to trust in its capacity of comprehension, of entire experience of the function.“ For it we use a series of hardware that mark the work of Left Foot from its beginnings: the dance, the songs, the marionettes and the shades”. Enriqueta Morejón (Petra in the work) is the choreographer. For the songs they were provided with Verónica Ronda like teacher and the musical topics belong to the classic composers Häendel and Lluis of the Milan, and the composers for the sung letters Arben Zeneli and Rubén Villadongos.

 

Pérez Arribas, who plays the part of the servant Celia, admits that the text must be slimmed in some measurement, removing load and putting a lot of care with expressions and messages, the most important of which, nevertheless, stays intact: the love is necessary for learning, only with love there is possible the future, a liberating education that it helps the children to develop at full freedom, and this is a transverse message, because also it is directed for the adult public: "Finea (Evangelina Valdespino) is stopping being silly simultaneously that discovers its love for Lawrencium (Rubén Ajo), but it is not necessary to lose of sight that she was only silly in the ignoramus's sense, because our blockhead is very ready from the beginning”, points the director.

 

“The teacher Rufino (Ángel Téllez) introduces the children in the world of the XVIIth century and the way levels them so that they understand the conflict of The Silly lady: Octavio (Borja Semprún) has decided to marry its daughter Finea with Liseo (Víctor Cerezo), but this one is in love of nise and her of him. From here on it fights to change the decision of its father there being created situations much entertained in those that we enjoy ourselves to the maximum, and in that secondary roles as that of Anahí Van der Blick (Clear servant) are vital to maintain the free tone of the work”.

 

The company of theater Left Foot the outstanding figure has carried out another two works that they bring over to the infantile public: the adaptation of “The big market of the world”, of Caldron, and the work with complete script of Esther Pérez Arribas “Sonnets between all”, that has walked these past Christmases for the provinces of Segovia, Valladolid and Salamanca. Its last spectacle is an outstanding figure of Red Zorrilla, “Between fools it walks the game”, although this time is not directed to the infancy “It treats, with the whole possible humor that the current situation allows, the condition of the small companies, to which they are making it so difficult to us as if there was had interest in which we were returning to the epoch of the comics of the league”, pronounces himself Pérez Arribas.

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Magazine Atticus

you photograph: Chuchi War


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