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THEATRICAL RELEASE: REVENGE, BLOOD BLOOD X ARANCIBIA




3H CULTURAL CENTER PRODUCTIONS PRESENTS

NAME OF THE PROJECT: "Revenge, X BLOOD BLOOD."

This work is a free version of the classic Greek tragedy "Electra" by Euripides. The theme of this tragedy such as the thirst for revenge, power, betrayal, murder and parricide, are extrapolated to the current reality of the world of drug trafficking and harsh in vulnerable sectors of the population. With this setup, we remove consciousness and show a reality that is lived day to day, as it is, without censorship. The work was performed successfully in their roles as pre-premiere neighborhoods of Las Torres, in high forest and Prairie Village in the Olivar high, both in Viña del Mar, sectors in which we live the reality that the work sample, and the spectators were very impressed and grateful to show community that makes this show look at the harsh reality, and from there, think and reflect about it. The work can be viewed by children under 14, but due to its content, must be seen under the supervision of an adult.
duration of the work. 1 HOUR 10 MINUTES
WRITTEN AND DIRECTED BY: CARLOS TORRES ARANCIBIA.
ACTRESSES: KAREN VALENZUELA RODRIGUEZ CAROLINA

Guest starring: PANCHO
VALDEZ GONZALEZ PIA
Stage Design: KAREN VALENZUELA
COSTUMES: KAREN VALENZUELA
SCENOGRAPHY: TECHNICAL
ARANCIBIA FRANCISCO: CARLOS FRANCISCO ARANCIBIA
ARANCIBIA
THEME MUSIC: EDWIN LEBANON, CHUMBEKE
PRODUCTION: 3H Productions
SPONSORS: REGIONAL GOVERNMENT PROGRAM PREVENTS
, CONACE




CONTRIBUTE: FORUM OF CULTURES 2010 VALPARAISO VALPARAISO
Municipality of

OFFICE OF YOUTH TRAINING INSTITUTE THE UNIVERSITY OF LAGOS MAR

PLASTIC ANGEL VALPARAISO

PRESENTATIONS DATES:
• + FRIDAY 26 NOVEMBER FUTURE POPULATION IN SPORT, 38 JV, SECTOR 11-B, Playa Ancha. 20:30 HRS.
• SATURDAY 27 NOVEMBER MUNICIPAL AUDITORIUM OSMAN PEREZ FREIRE, AV GERMANY No. 6, MOUNT FLORIDA. 21 HRS.
• + SUNDAY 28 NOVEMBER MUNICIPAL AUDITORIUM OSMAN PEREZ FREIRE, 19 HRS.
• + Saturday 4 December, POPULATION HEADQUARTERS Jose Maria Escriva de Balaguer, PLEASURES HIGH. 20:30 HRS.
• SUNDAY DECEMBER 12, BOARD OF VILLA ARAUCO NEIGHBORS, THE OLIVE HIGH, VIÑA DEL MAR.


+: ROLES IN THE FRAMEWORK OF THE FORUM OF CULTURES 2010 VALPARAISO,

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Zentangle Definition Displays group "Taller Flossy" Inaugural Show

Adriana Gancedo

Javi Lindela

students of the Workshop Flossy
Javi Lindela
With the family of Adriana Gancedo
Fede Silasi

November 16 inaugurated the Workshop group show at the Palais Flossy Balcarce, which will be open until Saturday 20 November.
I leave the address: Quintana 161.
I hope can pass!

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This day we examnes 27,28,29 two months of review of Studies and so is k if they have doubts or something just published work or send an email to: leinad_street@hotmail.com for more information about the blog supr nvo


Bye. Pd


Publish something plz.

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Clara Monti

Javier Lindela

Simone and Maria de los Angeles

Gabi Escobar

Federico Silasi

On October 03, opened the group show in which I participate in the space to cultivate, which will remain open until mid-November.

I leave the address: 4761 Honduras
I hope can pass!

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Authentic Movement

Authentic Movement is a symbolic body approach allows for open and creative expression of contents of the inner world through movement and imaginative function of the psyche. Jungian orientation known as Dance Movement Therapy (DMT), this way of working facilitates the development of:

------ - ------
kinesthetic perception - ------
empathetic - sense of presence embodied

which are considered key elements in DMT and any practice therapy. Often the person discovers the permission to express and own impulses and emotions that carry a deep sense of identity. The possibility of experiencing the same helps to restore a sense of assertiveness.

Authentic Movement can be accomplished both individually and as a group. In both contexts and contains structure that enables this form of work is the relationship between a person moving (mover) and another that looks (control). This relationship creates a space of trust and acceptance, which favors increasing pulse delivery that reflect both aspects are not accepted in our personal history as a potential that still needs to be expressed.

practice in both creative and therapeutic instrument, Authentic Movement invites us: return on what has been hidden, as well as the not-yet-lived, discovering ways to re-inhabit the body and learn to trust a stay there. It thus contributes to the passage of a body-psyche-defensive liability to a body-psyche-symbolic-generator responsive to change.

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Eutanía What is? Background on Eutanía

Eutony discipline comes from personal experience and initiative of Gerda Alexander and their critical reflection on the different theoretical currents of philosophy, psychology, sociology, health and education of the twentieth century. Synthesis represents a double both as a new type of disciplinary knowledge (ie proper discipline own identity and autonomy of the disciplines that form) and his understanding of the human being integrate psychosomatic aspects, emotions, experiences, movement, expression and conscience. While

eutony born in the field of movement, many experiences that allow us to practice eutony and outcomes such as psychological growth and creative people who practice it, have overcome this field. It has expanded its influence towards the development of the human being, with health implications from the standpoint of physical and psychosocial development of their creative abilities. So today is used in areas such as education, health prevention, quality of life, sports, stress management and art in all its manifestations, at different stages of life from pregnancy to the elderly.

Eutony The word is a synthesis (eu = harmony, monotony = tone, stress) which was coined to account for a dynamic concept, the ability to constantly adapt to the situation and timing. One can perceive this fluctuation adaptive in 3 areas: ------

- muscle activity, the difficulty of achieving such flutuación can occur both in hypertonic (tensions, contractions, muscle shortening, generating postural attitudes, manners, limited bodily functioning, musculoskeletal Desejo) and hypotonic (areas without postural reflex ability or right tone, creating zones of instability in the structure osteoarticular). ------

- vegetative or autonomous activity, with areas of predominantly sympathetic-tonic or tonic vagus-fixed, creating areas which suffer bodily transformations that can come to be regarded as diseases in themselves or propitiate. ------

- psychodynamic activity where emotional tones can be seen fixed in psychopathological terms can be considered as anxiety, depression or difficulty coping with the different circumstances of life.

The loss of this adaptive capacity in areas of the mind-body or all of the financial accounts of Eutony, dystonia, which accounts for energy insinuate that do not allow full expression of being. Eutony is a holistic discipline, understanding this as a way of understanding reality in terms of wholes in integrated processes. Holistic consciousness conceives life as an institution, a development unit, which is much greater than the sum of its parts.

Today we know the links and interactions constant between the tone and brain activity, the close relationship of our psyches with postural tone, the autonomic nervous system and the set of physiological regulations. For these different pathways is manifested in our body conscious and unconscious part of our personality. Therefore, every change of consciousness acts on the set of muscle tensions.

Eutony place in scientific development a look at the fluctuation of muscle tone. In muscle function has a component of the tension of the muscles that for the majority of individuals, not part of the conscious and voluntary control. Awareness of this feature tone and attitude that is, through the development of self-observation and tonic regulation, to detect fixations in areas that lost their ability to hover at its base voltage.

The eutonist works, based on a set of technical principles, the difficulties of tonic fluctuations. Only when the abnormally low or high is fixed there is hypotonia or hypertonia in the medical sense. The concepts involved here on fixations in hypertonic and hypotonic medium tone all belong to a spectrum semiological subtle, ie not to be confused with situations of hyper-or hypotonic with neurological damage.

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Gerda Alexander was born in 1908. Gerda grew up in a family environment close to music under the influence of his family's musical taste, feeling a particular attraction to the dance school as a student of Dalcroze. As a young man contracted rheumatic fever and endocarditis, suffering several crises. This forced her to create early forms of movement that does not complicate their conditions. He spent long periods of rest, however, that encouraged her to explore movement in a more "economical" and spontaneous learning from the tonic regulation to achieve greater prosperity.

In 1940, because of World War II, settled in Denmark and founded in Copenhagen Eutony School, where he developed his research. In the beginning, the personal work of Gerda Alexander in the area of \u200b\u200bthe arts of movement had led the premise that their intention was to get the chance to express themselves without preset patterns that interfere with their functional and creative possibilities at that time the intention was called: "the pursuit of spontaneous movement." In their research, to specify what Eutony then called, spent about 30 years.

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Eutanía in Argentina

Eutony was introduced in Latin America in the 70's, when Gerda Alexander was twice in Buenos Aires giving lectures and seminars. This experience sparked the interest of the participants, including Vishnivetz Berta, until then a professor of education. Dr. Berta Vishnivetz

The graduated at the School of Eutony Gerda Alexander. In 1974 in Copenhagen - Denmark, he worked as an assistant and direct collaborator Gerda Alexander until 1985. At the University of Copenhagen in 1980 received his master and doctorate in psychology in 1991. From 1982 until now works in the university as a professor and researcher at the Center Audiologopedagogia. Berta was

founder and director of the Latin American School Eutony and Argentina, based in Buenos Aires-Argentina-Brazil and San Pablo. Through this school held in the country three eutonist formations, in which was attended as a student and teacher Dr. Alejandro Odessky. From these backgrounds, the activity was, despite not having official recognition, winning a place for social recognition, based on the capabilities and trajectories eutonist to institutionalize this new field, so that discipline is gaining recognition within in the fields of health, art and education, where it appears as a subject in various official spaces.

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------ - Alexander, G.; The Eutony. A road to total body experience. Edit. Polity Press, Buenos Aires, 1979. ------

- Alexander, G.; Eutony. The Holistic Discoverv of the Total Person. Edit. Felix Morrow, New York, 1981. ------

- Odessky, A.; Eutony and stress. Location editorial. Bus Aires, 2003. ------

- Hemsy de Gainza, V.; Conversations with Gerda Alexander. Life and thought of the creator of the Eutony. Edit. Polity Press, Buenos Aires, 1983. ------

- Vishnivetz, B.; Eutony. Education body to the self. Edit. Polity Press. Buenos Aires, 1994.

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Eutanía Suggested reading on Inaugural Show


October 3 opens a group show in which I participate in cultivating, Honduras 4761.
is a display of paintings, drawings and kinetic works and the artists participating are: Natalia Martinez


http://www.natalia-martinez.com.ar/

Daniel Acosta
http://www.flickr.com/photos/daniel-acosta
Jorge Lorenzo

www.jorgedelorenzo.com.ar

Paola Vergottini
Http://paolavergottini.blogspot.com/

Laura Zelaya
http://www.laurazelaya.com.ar/

Helena Lindela
http://flickr.com/photos/helenalindelen/

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ZONA DE URRUNAGA. Monolito de AIZPIKOARRI

AIZPIKOARRI Monolitoa Coordinates: X 526951 Y 4766920 610 meters

This is the true monolith or menhir of Aizpikoarri in Otxandio. Which appears in this blog with the same name is actually a mugarri to the left of the track. There is yet another mugarri more about 100 meters up, on the same side. Following the above mentioned track another 100 meters at the top of the hill its name, to the right of the door and ushering in a beech forest you will find this monolith of 2.55 m in height.

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AREA DOLMENICA: URRUNAGA (Otxandio, Legutio)

AIZPIKOARRI, monolith. Otxandio, 580
COORDINATES X: 526691 Y: 4766623

This Mehir five feet high is near the top of the mountain of the same name, to the left of the track tierra que asciende y que proviene de la cementada que pasando al lado del campo de futbol ha nacido en el área recreativa de Presazelai, junto a la carretera que se dirige a Barazar.

MOTXOTEGI 1, túmulo. LEGUTIO (Araba), 723 m
COORDENADAS X: 527020 Y: 4763084

Este túmulo se encuentra en pleno collado entre los montes Castillo (o Motxotegi 2) y el Santa Engracia, ambos sobre el embalse de Urrunaga. Puede accederse tanto desde Mekoleta como desde Ubidea. Destaca muy poquito del terreno, es bastante amplio y tiene depresión central donde hay varias piedras que pudieron configurar una cámara.


MOTXOTEGI 2, supuesto túmulo. LEGUTIO, 812 m
COORDINATES X: 527217 Y: 4763326

To access this mound, the mound must begin earlier and climb to the summit of Mount Motxotegi 2 or Castillo. There is, and it seems that the slabs that formed at the time the camera is now being used as the climber descend. In the vicinity there are more training mounds, scattered body of Civil War trenches.

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AREA DOLMENICA: URKIOLAMENDI (Atxondo, Abadiño,Aramaio, Mañaria)

ANBOTOPEKO barrow. Atxondo, 949 m
COORDINATES X: 532083 Y: 4770789

To the right of way from Urkiola ascends to the Anboto. It is a long barrow, without central depression and where several slabs are in their base. Feet in height.

ANBOTOSTE, dolmen. Aramaio (Araba), 890 m
COORDINATES X: 533276 Y: 4770080

Located in the hill Zabalandi under the Anboto and once the valley that gives its name. Small mound with a camera that maintaining two slabs appears disfigured. Is very close to the provincial muga.

ARRIETABASO, of course monolith. Mañaria, 990 m
COORDINATES X: 526188 Y: 4774642

monolith or menhir This assumption is in the saddle between the peaks of Errieltabaso and Kanpandorreta, right beside the road that rises to the top on the right. Two meters high vantage point, has been used as mugarri.

Ollargan, dolmen. Aramaio (Araba), 803 m

COORDINATES X: 530153 Y: 4770070

To find it you must go from Urkiola Iluntzezelaia the hill to the located between the Ollargan and Martazu. Iquierda down to in the first area is flat, with a mound rather reduced and its central depression has grown there. Although there are several slabs do not appear to configure the camera.

PAGAZABAL 1, barrow. Atxondo, 955 m

COORDINATES X: 531997 Y: 4770820

directing it from Urkiola to Anboto and the junction with the trail rising from Oleta, at the confluence of the tomb is one meter tall and with large central depression. Around him are scattered slabs that could form part of the camera.

PAGAZABAL 2 above dolmen. Atxondo, 969 m

COORDINATES X: 531949 Y: 4770831

Based on the mound before and if we ascend to Mount Arluzeaga, without penetrating into the beech forest, we find a tumulus structure with a large central depression, where found several slabs that seem to the camera.

SAIPUTZUETA, dolmen. ABADIÑO, 895 m

COORDINATES X: 527259 Y: 4771698

Located on a landing south of Saibigain to the left of the track from Urkiola Eskubaratz targets. The mound rises from the ground only has central depression with several slabs in place of the camera and others scattered around the mound.

ZABALANDI, of course dolmen. Atxondo, 901 m

COORDINATES X: 533267 Y: 4770125

Situated in the hill its name, between the mountains and Izpizte Anboto, this assumption dolmen no outstanding mound and kept the camera two slabs. Has a privileged position, over grazing area.

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AREA DOLMENICA: OIZALDEA (Berriz, Mallabia)

AMA Birgin BASO barrow. BERRIZ, 637 m
COORDINATES X: 532506 Y: 4784991

Located on the landing chaired by the refuge in the lower part of Mount Oiz, left the wire direction Garai, is completely covered by weeds and ferns, negligible height, but retains a large slab, perhaps belonging to his camera. Nearby is a dolmen.

AMA Birgin BASO, dolmen. BERRIZ, 635 m

COORDINATES X: 532494 Y: 4784959

regular Low height and size, the tomb of this dolmen has a slight central depression, negligible accumulation of dirt and weeds and branches on its structure. Yes they are four slabs that belonged to her camera. Hard to find, farther south than the mound.

IPIÑARRIETA barrow. BERRIZ, 678 m

COORDINATES X: 531777 Y: 4785860

To the left of the track Oiz address, which virtually surrounds the landing in which it is located. About half a meter in height, several stones are kept in central depression, and a pine tree is planted in full barrow.

ITURZURIGAÑA, dolmen. BERRIZ, 854 m

COORDINATES X: 534739 Y: 4784491

Located on the hill flattened his own name to the left of the track that leads to Mount Oiz, and before the source is the right of the track. Barrow notched and broken, but the camera keeps up to three large slabs nailed. Several more are in the vicinity.

PROBAZELAIBURU 1, barrow. MALLABIA, 838 m

COORDINATES X: 534864 Y: 4784637

Initially listed as dolmen, dolmen is located near the anterior, the right of the track before it turn right to go to Oiz. Of small size rises very little of the land and is fully covered by grass.

PROBAZELAIBURU 2, dolmen. MALLABIA, 845 m.

COORDINATES X: 534927 Y: 4784738

A short distance from the mound above, and therefore on the right track to Oiz Zengotita. This dolmen is at the top of the hill its name. Is large and has a significant depression the center. There are several rocks scattered in his tomb.

ZENGOTITAGAÑE, of course dolmen. MALLABIA, 780 m

COORDINATES X: 535655 Y: 4784536

mailbox located near the Zengotitagañe mountaineer, descending into a pine forest in the crest line. Has no appreciable mound, but retained two slabs at an angle that might belong to the camera.