02/04/2014

NEXT POST
Americans Form As it rises in Europe realistic opposition to this discourse, logically it should be continued in America. Thus, criollismo and naturalism, as Venezuelan nativist poetry, are forms of expression of the new European wave. We agregariamos the indigenista concern, unfortunately analyzed from two angles contradictory and irreconcilable, given the presence of the class struggle, in the flat aesthetic. On this aspect, the leading Venezuelan researcher, Professor Italo Tedesco (2004: 130), tells us the following: sociological positions converge in the narrative indigenista. Alienation as subjection of man to the iracional is documented with the factors that cause it: religion, capital and labour. Together with the priests and landowners, the Justice of the peace, the Governor or the sub-prefect, are the power which acts on the community, seen as personaje-masa and on their individualities. The foolish Trinity referred to by Gonzalez Prada not only contributed with the complaint. It outlined a narrative syntax works irreversibly as an obstacle to the Aboriginal andanza. Since the conquest, religion was used as a weapon of domination. It replaced and created myths. With the same discourse of Gomara and generating praxis of divine fears reaching collective dread, the priest is a constant in the indigenista novel. Subsequently, appears magical realism as overcoming of earlier demonstrations. It wants to show the unreal and strange as something that belongs to everyday life. It also has a respectful attitude towards myths and other beliefs of Americans or pre-Columbian peoples. Magic comes to constitute a form of knowledge in the world. Like you have to dominate the forces of nature to achieve the happiness human, which has been a constant that will not disappear in the time continuum and as man has lost the animality that characterized him, appears the magician as effective entity. With the magic nature dominate. Once...
PREVIOUS POST
Joaquin Sabate To reach the nineties, now under the direction of Miguel Iglesias dancer, his largest creative source came from Lidice Nunez, although figures such as Jorge Abril and Isidro Rolando also developed a significant work. This choreographer dominated the scene dance company for almost a decade, until the advent of new generations of graduates of ENA, who brought the improntu creative to other areas already in the late 20th century and early years of the 21st, not to mention creative collaborations of outsiders as Jan time, Samir Akika, artists Joaquin Sabate and the own Mats Ek seconded by his wifeSpanish ballerina Anna lagoon. Today George Cespedes, Osnel Delgado and Julio Cesar Iglesias (son of the director of the company) are responsible for continuing the legacy of Ramiro from a contemporary discourse, using the resources that facilitates global and digital era today for the benefit of the Mise en scene. Countless are the prizes that earned the company over its almost fifty-two years of existence. Collective prizes and prizes individual, both for the choreographers who have worked on it during all that time, as for many of the dancers who have participated in his works. However, in their lines there is someone who has not been sufficiently recognised. It's the first dancers and Maitre of modern dance, Luis Roblejo Rivas. The world of dance is sometimes very misunderstood (and incomprehensible at the same time) and perhaps this is what has happened with this figure of Cuban modern and contemporary dance. Since his graduation from the national school of art in 1977 he participated in the vast majority of the dance repertoire of the company and despite this its importance and performance have been poorly evaluated, when not completely overlooked. Endowed with an impeccable technique, and despite his short stature he shone on...