El Corsario Ballet

Ballet en tres actos.

Primer Acto: El Naufragio 

El Corsario Conrad y sus amigos Birbanto y Alí naufragan durante una tempestad y son varados en una playa del Mar Jónico. Medora, su amiga Gulnara y otras compañeras encuentran a los náufragos y Conrad se enamora inmediatamente de Medora. Pero aparece Lankedem, el vendedor de esclavas, y las toma prisioneras. El Corsario jura rescatarlas. En el mercado, Lankedem ha reunido a los Pachás para realizar una subasta de esclavas argelinas, palestinas y también a Medora y Gulnara. El Seid Pachá queda prendado de Gulnara y la compra. Lankedem había guardado a Medora para el final y cuando el Seid Pachá le ofrece todo el dinero que le queda por ella, aparece un forastero (que no es otro que Conrad disfrazado) y logra comprarla. Mientras, los amigos del Corsario toman prisionero a Lankedem y liberan a las muchachas, menos a Gulnara quien ya había sido llevada al palacio del Seid Pachá. 

Segundo Acto: Los Piratas 

En la caverna de los piratas Medora intenta persuadir a Conrad que abandone la vida de bandolero y deje libre a las prisioneras, pero Birbanto y sus amigos no están de acuerdo pues ellos ya pensaban venderlas y repartirse las ganancias. Se desata una pelea y Birbanto pacta con Lankedem para darle un somnífero a Conrad y así poder llevarse a Medora. El plan surte efecto y los dos se llevan a Medora mientras Conrad duerme.

Tercer Acto: El Palacio 

El Seid Pachá está en su palacio rodeado de odaliscas que bailan para él. Llega Lankedem con una sorpresa: Medora, que baila tristemente pensando en Conrad pero se alegra luego al reencontrarse con su amiga Gulnara en el Jardín Animado.Conrad y sus amigos llegan al palacio disfrazados de peregrinos y logran liberar a Medora y Gulnara. Durante la fuga, el Corsario se entera de la traición de Birbanto y lo mata. Conrad, Medora, Alí y Gulnara parten en busca de la felicidad.

Frida y Diego

"Nadie sabrá nunca cuánto amo a Diego"

"No quiero nada para hacerle daño, nada que le moleste y le robe la energía que necesita para vivir - para vivir como quiera, para pintar, ver, amar, comer, dormir, estar solo, estar con alguien. Pero yo nunca quiero que esté triste. Si yo tuviera una buena salud, le daría todo. Si yo tuviera la juventud, podía tomar todo"

Frida Kahlo/Diego Rivera/León Trotsky

Para Will & Grace o Grace & Will o los mellizos o los mecillos

Los extrano, pero los quiero mas!

Smoking kids | Frieke Janssens

http://frieke.com/#!/projects/smoking-kids/37/

El pez de oro de Gamaliel Churata, Literatura Peruana

Pez de Oro

La simbologia de "El pez de oro" Simbología de El Pez de Oro

Lovearoid

Las 135 secuencias más bellas de la historia del cine

Películas (en orden de aparición, con el director de foto entre paréntesis): Man with a Movie Camera (Mikhail Kaufman), The Assassination of Jesse James by the Coward Robert Ford (Roger Deakins), Baraka (Ron Fricke), Koyaanisqatsi (Ron Fricke), Days of Heaven (Nestor Almendros), Akira Kurosawa’s Dreams (Takao Saito, Shoji Ueda), What Dreams May Come (Eduardo Serra), Legends of the Fall (John Toll), Lawrence of Arabia (Freddie Young), El Topo (Rafael Corkidi), La Dolce Vita (Otello Martelli), The Tree of Life (Emmanuel Lubezki), Daughters of the Dust (Arthur Jafa), Chinatown (John A. Alonzo), Hero (Christopher Doyle), Kagemusha (Takao Saito, Shoji Ueda), The Night of the Hunter (Stanley Cortez), Ugetsu (Kazuo Miyagawa), Songs from the Second Floor (Istvan Borbas, Jesper Klevenas, Robert Komarek), The Black Stallion (Caleb Deschanel), Vertigo (Robert Burks), Manhattan (Gordon Willis), Apocalypse Now (Vittorio Storaro), Lovers of the Arctic Circle (Gonzalo F. Berridi), The Duellists (Frank Tidy), Powaqqatsi(Graham Berry, Leonidas Zourdoumis), Ran (Asakazu Nakai, Takao Saito, Shoji Ueda), Bombay Beach (Alma Har’el), 2001: A Space Odyssey(Geoffrey Unsworth), The Thin Red Line (John Toll), Cave of Forgotten Dreams (Peter Zeitlinger), The New World (Emmanuel Lubezki), Solaris (Vadim Yusov), The Diving Bell and the Butterfly (Janusz Kaminksi), I Am Love (Yorick Le Saux), A Matter of Life and Death (Jack Cardiff), Onibaba (Kiyomi Kuroda), Blue Velvet (Frederick Elmes), No Country for Old Men (Roger Deakins), I Am Cuba (Sergei Urusevsky), The Fountain (Matthew Libatique), There Will be Blood (Robert Elswitt), The Human Condition (Yoshio Miyajima), The Proposition (Benoit Delhomme), Raise the Red Lantern (Lun Yang, Fei Zhao), The Godfather Part II (Gordon Willis), 2046 (Christopher Doyle, Pung-Leung Kwan), Beauty and the Beast (Henri Alekan), Melancholia, (Manuel Alberto Claro), Road to Perdition (Conrad L. Hall), Alexander Nevsky (Eduard Tisse), Sunrise (Charles Rosher, Karl Struss), Blade Runner (Jordan Cronenweth), Citizen Kane (Gregg Toland), House of Flying Daggers (Xiaoding Zhao), Wings of Desire (Henri Alekan), Atonement (Seamus McGarvey), The Last Emperor (Vittorio Storaro), Before Night Falls (Xavier Perez Grobet, Guillermo Rosas), The Last Picture Show (Robert Surtees), The Red Shoes (Jack Cardiff), Down by Law (Robby Müller), Amelie (Bruno Delbonnel),Chungking Express (Christopher Doyle, Wai-keung Lau), Children of Men (Emmanuel Lubezki), Black Orpheus (Jean Bourgoin), The Leopard (Giuseppe Rotunno), The Age of Innocence (Michael Ballhaus), Perfume: The Story of a Murderer (Frank Griebe), Raging Bull (Michael Chapman), The Fall (Colin Watkinson), The Pillow Book (Sacha Vierny), Martha Marcy May Marlene (Jody Lee Lipes), Nosferatu the Vampyre (Jorg Schmidt-Reitwein), The Third Man (Robert Krasker), Good Night and Good Luck (Robert Elswitt), The Scarlet Empress (Bert Glennon), The Man Who Wasn’t There (Roger Deakins), Talk to Her (Javier Aguirresarobe), In The Mood for Love (Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee), The Man Who Cried (Sacha Vierny), Santa Sangre (Daniele Nannuzzi), The Passion of Joan of Arc (Rudolph Maté), In Cold Blood (Conrad L. Hall), 8 ½ (Gianni Di Venanzo), Brazil (Roger Pratt)

Los 105 mejores planos de la historia del cine

Faces: 105 of Cinema's Most Beautiful Close-Ups from Flavorwire on Vimeo.

Películas (en orden de aparición con el director de fotografía entre paréntesis): Sunset Blvd (John F. Seitz), The Painted Veil (Stuart Dryburgh), Citizen Kane (Gregg Toland), Persona (Sven Nykvist), I’m Not There (Edward Lachman), Tokyo Drifter (Shigeyoshi Mine), Heaven’s Gate (Vilmos Zsigmond), Days of Heaven (Nestor Almendros), Satantango (Gabor Medvigy), Paths of Glory (Georg Krause), The Seventh Seal (Gunnar Fischer), Apocalypse Now (Vittorio Storaro), Badlands (Tak Fujimoto, Stevan Larner, Brian Probyn), I Am Cuba (Sergei Urusevsky), Written on the Wind (Russell Metty), Chungking Express (Christopher Doyle, Wai-keung Lau), The Double Life of Veronique (Slawomir Idziak), La Dolce Vita (Otello Martelli), The New World (Emmanuel Lubezki), L’avventura (Aldo Scavarda), House of Flying Daggers (Xiaoding Zhao), The Fountain (Matthew Libatique), The Unbearable Lightness of Being (Sven Nykvist), Sans Soleil (Chris Marker), In The Mood for Love (Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee), Last Year at Marienbad (Sacha Vierny), Kagemusha (Takao Saito, Shoji Ueda), The Godfather (Gordon Willis), Road to Perdition (Conrad L. Hall), The Man from London (Fred Kelemen), Lovers of the Arctic Circle (Gonzalo F. Berridi), Border Incident (John Alton), Romeo and Juliet (Pasqualino De Santis), Barry Lyndon (John Alcott), The Tree of Life (Emmanuel Lubezki), Contempt (Raoul Coutard), Amelie (Bruno Delbonnel), The Conformist (Vittorio Storaro), My Blueberry Nights (Darius Khondji, Pung-Leung Kwan), The Thin Red Line (John Toll), Ashes of Time (Christopher Doyle, Pung-Leung Kwan), The Assassination of Jesse James by the Coward Robert Ford (Roger Deakins), Mongol (Rogier Stoffers, Sergey Trofimov), Quills (Rogier Stoffers), Pan’s Labyrinth (Guillermo Navarro), All That Heaven Allows (Russell Metty), Children of Paradise (Roger Hubert), The Duellists (Frank Tidy), 2001: A Space Odyssey (Geoffrey Unsworth), Mishima, Baraka (Ron Fricke), Curse of the Golden Flower (Xiaoding Zhao), Onibaba (Kiyomi Kuroda), Memoirs of a Geisha (Dion Beebe), Searching for Bobby Fischer (Conrad L. Hall), Out of the Past (Nicholas Musuraca), Magnificent Obsession (Russell Metty), Far From Heaven (Edward Lachman), The Red Shoes (Jack Cardiff), Vertigo (Robert Burks), Bellflower (Joel Hodge), Come and See (Aleksei Rodionov), Night of the Shooting Stars (Franco Di Giacomo), The Reader (Roger Deakins, Chris Menges), Black Orpheus (Jean Bourgoin), Casablanca (Arthur Edeson), Nights of Cabiria (Aldo Tonit), Hiroshima Mon Amour (Michio Takahashi, Sacha Vierny), Delicatessen (Darius Khondji), Oldboy (Chung-hoon Chung)

Chavela, que mas decir?

Hay una fiesta en algun lado y estan todos juntos!

Teniamos unos LEDs...

The Luminarie De Cagna is an imposing cathedral-like structure that was recently on display at the 2012 Light Festival in Ghent, Belgium. The festival was host to almost 30 exhibitions including plenty of 3D projection mapping, fields of luminous flowers, and a glowing phone booth aquarium, however with 55,000 LEDs and towering 28 meters high the Luminarie De Cagna seems to have stolen the show.

Yo iria

The cavalcade of art projects surrounding the 2012 Summer Olympics in London continues today with the completion of this enormous book maze designed and built by Brazilian artists Marcos Saboya and Gualter Pupo (and over fifty volunteers) at Southbank Centre. Entitled aMAZEme, the stacked and twisting labyrinth based on a fingerprint belonging to writer Jorge Luis Borges was built using 250,000 remaindered, used and new books, most of which are on loan from Oxfam and will be returned after the exhibit. The piece covers over 500 square metres, with sections standing up to 2.5 metres high and will be on display in the Clore Ballroom through August 25th. Watch the time-lapse video above to see the entire project come together, the volunteers worked through the night for five days to finish in time.

TERRY GILLIAM: 10 LESSONS FOR DIRECTORS TODAY

1. Growing up is for losers.

As a child, I always drew funny creatures, funny characters. But I think the trick is not to grow up, not to learn to be an adult. And if you can maintain the kind of imagination you all had when you were babies, you would all be wonderful filmmakers. But the world tries to make you grow up, to stop imagining, stop fantasizing, stop playing in your mind. And I’ve worked hard to not let the world educate me.

2. Film school is for fools.

Live and learn how to make films. I didn’t go to film school. I just watched movies in the cinemas. And probably my greater education was actually making films, so that’s all I would ever say: watch movies, get a camera, make a movie. And if you do it enough times, eventually you start learning how films are made.

3. Auteurism is out. Fil-teurism is in.

Being an auteur is what we all dreamed of being, as far [back] as the films of the late ‘50s and ‘60s, when the idea of the auteur filmmaker arrived on the planet. And people kept using that term, and they do with my movies because I suppose they are very individual and they give me all the credit, so they say I’m an auteur. And I say no, the reality is I’m a ‘fil-teur.’ I know what I’m trying to make but I have a lot of people who are around me who are my friends and don’t take orders and don’t listen to me, but who have individual ideas. And when they come up with a good idea, if it’s one that fits what I’m trying to do, I use it. So the end film is a collaboration of a lot of people, and I’m the filter who decides what goes in and what stays out.

4. Put your ideas in a drawer. Take them out as needed.

I do have a drawer in my desk with all the ideas that I have and that I scribbled out. I put them in there and some day I use them. At the beginning of a new film, I often go in that drawer and look at everything I’ve done and see if there are some ideas that might apply to what I’m doing. But things grow, so I just start with a sketch and then refine it. And you do it with other people’s ideas coming in. That’s the fun part.

5. All you’ve really got in life is story.

I think the important thing is stay true to what you believe. I mean it’s much more important to make your mistakes than somebody else’s mistakes. Like too many other filmmakers have compromised because somebody advised them [that] if you change this, the film will be more successful commercially. And then the film isn’t successful commercially, and these people get so depressed and destroyed because they didn’t ever finish making their film the way they intended it. You’ve got to believe in what you’re doing. And you’ve got to be willing to take the consequences of whatever it is. If you succeed, fantastic. If you fail, you might have to get a proper job.

6. Command the audience with your lens.
I keep wanting to see more of the world always. When I’m looking through the camera, when we’re setting up a scene, I don’t feel like I’m in the scene. And the wide angle lens, because we see so much, it seems to wrap around me a little bit. I also like the fact that with long lenses, the director controls the audience much more because you show the audience only exactly what you want. Everything else can be out of focus. And I like it to be a little bit more vague so the audience has to be aware of the environment as well as what I want them to look at. I don’t want to really separate the character from the world that it’s in. So the world is as important, and the rooms and everything, as the character sometimes.

7. Nothing can defeat a director who is one with his actors.

I think the key is to make sure that the cast, especially if they’re big Hollywood superstars, likes the movie. My first film in Hollywood was The Fischer King, and Robin Williams and Jeff Bridges are playing the two leads. And I knew as long as Robin, Jeff and I were united, there was no way the studio could break it, and the film would go out. Same way with Twelve Monkeys. Brad Pitt, Bruce Willis and I were one. In both instances those films went very smoothly.

8. Surround yourself with improvisers.

I like the actor to surprise me all the time because the problem when you’re making a film, if you’ve written it and you’re directing it, you’ve been with it so long, it becomes a bit rigid. It can become mechanical when you’re shooting because you’re just trying to do exactly what you were thinking about for the last year. And what’s wonderful is when the actors come in and they do something that’s completely surprising, and suddenly every day becomes fresh. And it makes me stay awake.

9. Directing is not for the faint-of-heart. Or the sane.

What I love about Don Quixote is that he keeps misinterpreting the world. He thinks the world is either worse or better or whatever. He gets it wrong every time. But in the end he has these heroic, epic moments, and he seems to be unstoppable. He just goes on and on and on. I think it’s a great example for people, especially in film, in how to get through life, because film can often be incredibly disappointing. What I like about the Don Quixote documentary is that so many other filmmakers when they saw that, they started telling me their stories of equally horrible disasters. It’s a very difficult business. [Lost in La Mancha] should discourage anyone who is not willing to live in a world where disasters like that occur. Don’t make films if you’re not going to be able to deal with things like that.

I’m always working on it and one day it will happen. It’s changed me. If you’re going to make a film about Don Quixote, you’ve got to be as mad as Don Quixote, so the nature is helping me go crazy.

10. Be an enlightened despot.

I expect the actors to really be totally committed to the film and to their character and forget about who they are. Get rid of your vanity. Just be whatever the character demands. I think it’s horrible when I hear stories of actors coming and they bring their own makeup people and their hairdresser. Wait a minute, what’s going on here? The power is in the wrong hands. And if you let the power go to the actor, then you’re not directing the movie. And the actor is not thinking about the entire movie. Only the director is thinking about the entire movie.

I don’t ever want to be the guy that is saying, “this is the only way that it can be done.” I don’t want to be a dictator. That’s not interesting. It’s interesting if you can have a dialogue going all the time and trying to all agree to find what is the best way for this film to go.

Bonus Lesson: And whatever you do, don’t ever work with the Weinsteins.
I suppose it would have been nice to have made more films in the 71 years that I’ve been hanging around this place. And if I have a regret, there’s only one really, and that was working with the Weinsteins [giggles]. That’s the only one.

Samsara DIRECTED BY Ron Fricke

http://barakasamsara.com/

"A good film script should be able to do completely without dialogue." -David Mamet

Algunas despedidas se hacen de pie y aplaudiendo

GRACIAS OSVALDO FATTORUSSO!

Banksy Olimpico que las autoridades quieren borrar

Ineludiblemente Cortazar

Lo que me gusta de tu cuerpo es el sexo.Lo que me gusta de tu sexo es la boca.Lo que me gusta de tu boca es la lengua.Lo que me gusta de tu lengua es la palabra.

Rayuela

"Lo que mucha gente llama amar consiste en elegir a una mujer y casarse con ella. La eligen, te lo juro, los he visto. Como si se pudiese elegir en el amor, como si no fuera un rayo que te parte los huesos y te deja estaqueado en la mitad del patio. Vos dirás que la eligen porque-la-aman, yo creo que es al revés. A Beatriz no se la elige, a Julieta no se la elige. Vos no elegís la lluvia que te va a calar hasta los huesos cuando salís de un concierto."
Julio Cortazar - Del capítulo 93 de Rayuela

Marcel Curuchet

Porque el CHE también era Uruguayo

Trailer Una Bala para el Che from Gabriela Guillermo on Vimeo.