The enlightenment in theatrical tango by Marco Castellani
Many readers have asked for something brutal
about the tango-show recrudescence that's hitting our beautiful
theaters.
Well, now they have got their meal. Get ready
because it is a long rigmarole. Its author, Marco Castellani,
is an expert: 25 years ago he threw
himself
into the tango with a stone at his neck, he saw all the important
shows and he can move easily even on its less enlightened stages.
As you will see, Castellani skillfully mistakes electric terms
for philosophycal concepts and, approaching to the end, he
seems to find an opinion for his words. This opinion is obviously
not of his own, but it comes from Lele Luzzatti. Our little
review has no title to honour such a great man of theatre who
has left the stage the past january. Anyway, thanks to the
Castellani's essay, we can report his brilliant intuition about
lights, good beasts and doodles.
Carlitos by
Osvaldo Soriano
As boring as an elevator with no mirror, as a
crash between turtles, as the table of one: the quarrel about
the Carlos Gardel versatile nationality has turned into
a steady analogy in the porteño repertory of
wits. Luckily, it's Osvaldo Soriano who takes it up this time.
And mister Soriano, from his exile in Paris, handles the question
with his regular disenchantment.
Criticism of the
couple by
Alejandro Lipcovich
The researcher Remi Hess, who was a Henry Lefebvre's
pupil and now is regular professor at the Paris VIII University,
is not only interested to the sociology of everyday life, but
he expands his withering investigations to the dance in couple,
especially waltz and tango. Some years ago, he came up to Buenos
Aires in order to give a look at the dance he had described
so damn well in his books. Alejandro Lipcovich took the opportunity
to ask him questions. There are things that don't seem
too clever even translated from french. On the other hand,
this is the tango potluck: tactlessness and trivial psychology
in job lots.
Falucho Burgos
en la Paris by
Juan Sasturain
In our very disputable opinion, Juan Sasturain
is the best heir of that typical tradition from Argentina:
the popular man of letters, who is either impervious to academy
and versed to our pyrotechnical slang. During the recent southern
summer, mister Sasturain has been publishing on Pagina/12 a
series of "Writings on the sand". The one we present
here tells the story of a strange salsero who started
his career in the Sixties, at a Mar del Plata's joint called
Paris.
The music of life by
José Pablo Feinmann
To me, music is always been the opposite of reciprocal
love. Not to mention literature, tango and, of course, girls.
I can understand, though, the bulky enthusiasm José Pablo
Feinmann pours to true musicians. Like him, i play everyday
worse too; and today i am playing as tomorrow. In the article
we publish here, mister Feinmann tells us about all the talented
pianists we'll be never able to become.
The bank of Maghreb by
Franco Fortini
May the world go against an oak! How many times
do we say in our heart this old tuscany proverb, which is worth
Cecco Angiolieri? And yet we always find an antidote, or perhaps
an alibi, for the anger and the impotence we get every time
we forget to be forgetful. Let's read what Franco Fortini
wrote in 1991, right after the Gulf War.
Agosto y final by
Marco Castellani
"Now that Luis is not here anymore, the void he has left
comes easy to the pen." That's the way Marco Castellani,
who has been a Luis Rizzo's friend and comrade, closes his portrait
of the great guitarist and composer passed away the past february
26 in Paris. In his essay, Castellani goes over the Luis story
in its entirety, embossing it from the dark and sometimes stirring
background of this last half century. Luis was one of the few
artists who made the modern tango a music worth living.
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