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Lagartijas Tiradas Al Sol

A theater provides way to explore snore eliminator issues to the public while at the same time bringing citizens in the same room. This kind of activity brings cooperation to each individual that would be able to afford the kind of personal change that will be able to lead towards the more improved societal changes and sooner or later political changes.  The theater is a  two-way form of fine art in which the theater people presents live snore mouth piece performances to show the real and imagined event just before a live audience is in a specific place. The performers may relate this practice to the viewers by using blending of gesture, speech, song, music or dance. In terms of elements of design, the stage crafts are being used for the enhancement of the physicality, presence and immediacy of the experience. Like what Lagartijas tiradas al sol does, a group of Mexican artists and performers that was established on 2003 by these persons, Luisa Pardo and Gabino Rodríguez, they present lots of stage plays for the people. They develop their projects as instrument to connect work and life, to erase borders. Expressive, displace, and remove the guts from what daily life blend and neglect, that was the sense of young Mexican artists work seeks. They have done seven theatrical snoring eliminator projects since 2003. This group has presented in several theaters in Mexico City and also in different places either in national and international festival events. They also have already obtained awards like best play at the national festival of University Theater in 2003 and 2005. They usually travel to Spain or France for those countries has a great response to the Mexican proposals that enables them to travel in those countries that is for them made them experience something extraordinary.  This group has shown great interest in the restrictions of theater, the way the verticality between the reality and demonstration of the history to the present. They also formulate stories about the world we live in, from the phenomenon facts like the drying of lakes in Mexico City, the death of a mother, a friend, a loving relationship, and the armed movements in Mexico. They are the kind of theater that seldom uses fictional stories; they try to make their work to have sense as much as possible.  The daily anti-snoring mandibular advancement device practices in life and histories are what they attempt to emerge in their play. Their play which is entitled as “The course of fire”, is about the legend of the guerillas in Mexico during the 1960 and 1970, it is a period of history that a lot of citizens in Mexico does not know. But a great agitation in policy had many consequences for Mexicans. The stage director believes that the theater company of the country will present at international festivals that are renowned by tasking an exploration away after the Mexican cannons, telling narrative in a different way and concerned in assessing the history of Mexico.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.