My suspicion is that NYU was up to a lot.  “God of Love” looks exactly like what it is: a film school thesis.  It is not even close to being a polished, cohesive, melodic and moving work like the rest of the nominees– none of which are American.  At the screening, I was disappointed that “God of Love” was the best the U.S. could come up with for a nomination.  I would be willing to bet that general public exit polls from the viewings would have placed “God of Love” far below Michael Creagh’s ”The Crush” (Ireland), Ian Barnes and Samantha Waite’s ”Wish 143″ (UK), or Ivan Goldschmidt’s “Na Wewe” (Belgium).   Conferring the life-altering statue on an undeserving NYU graduate production was Academy Awards’ politics at its best. 

We may not know who comprises the Academy, but after this past Sunday, it’s clear there are a lot of NYU grads and supporters in the bunch. This film, in an already hidden category, was on no film critic’s radar for taking the prize because none of them were blinded by the love of a state, city and school when making their predictions.  Critics, the few who even watched the shorts (Roger Ebert admitted: I haven’t seen these, but I’ve looked at their trailers at http://bit.ly/hJ4OPo) were untainted by the desire to support an alma mater out of nostalgia or pragmatism when completely ignoring the “God of Love”.

May Matheny live up to his Oscar status in his future endeavours.  To the ‘losers’, the discomforting cliché: The best doesn’t always win.  In the future, the Oscars should strive to be less Academy and more Award if there is any chance of restoring the importance and viewership of days dead as (Bob) Hope.  Stream short films. Engage through interactive polls. Promote the art, not just the glamour…and the cream will start to rise along with the ratings.

Vassi Vasevski: Chicago-based, Bulgarian-born, painter & teacher.

How would you describe what you do?
Painting to me is a ritual of everyday magic, a process that could be split in two: capturing interesting moments as I walk and watch life passing by and going later to the canvas to reflect on what I’ve experienced throughout the day.  Making art is also a way to escape boredom, a way to communicate and touch others; a path that leads to harmony and peace, to a a sense of purpose and fulfillment in life.

Two on Earth

When did you first identify yourself as an artist versus “someone who happens to paint”?
During the last two years in my high school for the applied arts. That was when I developed a more serious attitude towards the process of painting as well the purpose of the things being created as a result. I also started to be aware of the power of art and how you can really influence people’s perception and mood by what are you doing.

End of Summer

What was your artistic training like and how does it affect the way you teach?
I was lucky to be around great teachers both in my high school and college years.  So, I consciously or subconsciously follow in their footsteps. Being a big fan of the personal freedom of the artist I try always to establish a supportive atmosphere in my classes (at The Illinois Institute of Art and Harold Washington College).Talent is a very fragile flower that needs to be taken proper care of.

How long have you lived in Chicago and how is the art scene different than in Bulgaria?
I’ve been in Chicago for a little more than seven years.  Prior to that, I spent four years in Indiana.  The difference between the art scenes here and in Bulgaria (which is roughly the size of the state of Illinois) is mostly in the scale.  It was a huge challenge for me in the beginning to embrace life parameters here. But after all of these years I feel confidently American in the sense that I learned how to look at things from a broader perspective and without prejudice.

Is there a universal nature inherent in artists?
Being receptive and sensible, as well as aware of the gift you bear in yourself– that spark of God in you! — are universal conditions one needs to be an artist/musician, actor, poet, singer, performer. It’s a specific set-up you are born with, but you can also develop to a certain extent.

The Lotus Seekers III

What one word describes Chicago for you?
Chicago is very cosmopolitan, yet, it’s a down to earth city; a great place to live and thrive.

Morning Dream

Where can someone see your work and get in touch with you?
My work can be seen online at www.vassi-art.com and in galleries mostly in Chicago. I’ll be in a group show this month in M & D Gallery (2933 N. Clark Street), which opens this Saturday (6-10 pm) and a solo show of mine is scheduled for the month of November in AvramEisen Gallery  (5202 N. Damen Street, with opening on November 5). You can also write me at vassilen@hotmail. com, but I hope to see you in person at one of these openings!

—————————————————————————————–

Las pinturas de Vassilen Vasevski disipan el estrés. Cultura dice que, “Su arte nos hace ver hacia adentro de nosotros mismos y encontrar el camino a la belleza, la paz y la harmonía.” Vassi es el maestro que es amigo y el amigo que ense~a.

¿Cómo describes lo que haces?

El pintar para mi es un ritual de magía cotidiana, un proceso que se podría dividir en dos: el capturar momentos interesantes al ir caminando viendo la vida pasar por delante y después regresar al lienzo para refleccionar sobre las experiencias durante el transcurso del día. El hacer arte es también manera de escapar el aburrimiento, una manera de comunicar y afectar a los demas; un camino que lleva a la harmonía y la paz, a una sensación de proposito y realización en la vida.

¿Cuándo te identificaste por primera vez como artista en lugar de simplemente como ‘alguien que pinta’?

Durante mis últimos dos a~nos en mi preparatoria de artes aplicadas. Fue entonces que tome una actitud más consciente hacia el proceso de pintar así como el propósito de las cosas que se creaban como resultado. Me di cuenta del poder del arte y de como se puede realmente tener influencia sobre la percepción y la disposición de la gente a través de lo que uno hace.

¿Qué tipo de entrenamiento artístico tuviste y cómo afecta tu manera de ense~nar?

Tuve la fortuna de rodearme por grandes maestros, ambos en la preparatoria y en la universidad. De manera consciente o subconscientemente sigo sus ejemplos. Soy partidario de la libertad personal del artista. Intento siempre establecer una atmósfera de apoyo en mis clases (en el Illinois Institute of Art y Harold Washington College). El talento es una muy frágil flor que necesita ser cuidada apropiadamente.

¿Cuánto tiempo has vivido en Chicago y cómo se compara el ámbito artístico al de Bulgaria?

He vivido en Chicago por un poco más de siete a~nos, antes de eso estuve cuatro a~nos en Indiana. La diferencia entre el ámbito artístico aquí y al de Bulgaria (que es aproximadamente del tama~no del estado de Illinois) se basa principalmente en la escala. Fue un gran reto para mi al principio adoptar los parametros de la vida aquí. Pero, después de todos estos a~nos me siento plenamente americano en el sentido de que he aprendido como ver las cosas desde una perspectiva mas amplia y sin prejuicios.

¿Existe una naturaleza inherente en los artistas?

El ser receptivo y sensato al igual que el estar consciente del don que uno tiene – esa chispa de dios en ti– son las condiciones universales que uno necesita para ser artista, músico, poeta, cantante. Es un patrón especifico con el que uno nace, pero se puede dearollar tambien hasta cierto punto.

¿Qué palabra describe a Chicago para ti?

Cosmopolita. Y, aun así, es una ciudad muy natural; un gran lugar para vivir y prosperar.

Con frecuencia te refieres a las películas– un medio de comunicación que esta lleno de acción– cuando describes ideas y emociones. Sin embargo, tu medio de arte es pintar, lo cual es estático…o quizas no lo sea. ¿Qué piensas?

Creo que hoy en día el cine es la forma de arte dominante, entonces es inevitable que nos referimos con frecuencia. Tal intercambio entre diferentes formas de arte siempre ha existido a lo largo de la historia. Es verdad que una pintura en si no se mueve, que es solo una imprenta de emociones e ideas. Aun así, siempre hay maneras de recrear el tiempo a través de la pintura y el lienzo, como en un tríptico, por ejemplo.

Sue~nos: ¿Qué son? ¿Qué influencia tienen sobre tu trabajo?

Los sue~nos para mi son visitas que hacemos al mundo astral o, si prefieres, a mundos paralelos. Un regalo enorme de cada ser humano que tiene gran impacto sobre la mente y el espíritu. Los sue~nos tambien son un gran recurso y fuente de inspiración; a veces veo pinturas en mis sue~nos, pero casi siempre veo a personas, colores y situaciones que terminan reapareciendo en mis lienzos.

¿Dónde puede alguien ver tus obras y ponerse en contacto contigo?

Mis obras estan en linea en www.vassi-art.com y en galerias, la mayoría de ellas en Chicago. Este mes estoy participando en una exposición de grupo en M & D Gallery (2933 N. Clark Street) que comienza este sabado (6-10 P.M.). Comenzando el 5 de noviembre tendré una exposición individual en Avram Eisen Gallery (5202 N. Damen Street). Mi correo electrónico es vassilen@hotmail.com, pero espero verlos en persona mejor.

I was pleasantly surprised when Nathaniel Wallin shared his Spanish-language script, Paz y Alegria, with me.  The joy of collaborating with him continued through the shoot and to the present.  He is a quiet force, innately talented at applying pressure or uttering direction only when absolutely necessary and in just the right amount.  You’ll want to watch more after reading his responses to my questions:

What was your exposure to film growing up?
 - When I was little my family always used to have movie nights on the weekend so I was always aware of and enjoyed watching films.  However it was a childhood friend of mine who really introduced me to the world of hollywood movies.  We would spend entire weekends watching movies or getting a group of friends together to film our own.  As I got a little older my dad introduced me to the works of filmmakers like George Romero, Dario Argento, Sam Raimi, and the early films of Peter Jackson.  He passed on his love of zombie films to me and we bonded over a shared interest in the horror genre.  It was these types of films that I believe subconsciously guided me towards the path of becoming a filmmaker.  For awhile I felt that I was destined to make the next zombie/horror epic and while I’ll always be a faithful Romero fan, my identity as a filmmaker and artist has changed greatly since my youth. Today my dad and I still enjoy watching and discussing all types of movies, but horror films will always be something special between us.     

My parents exposed me to every art form imaginable, but cinema for them was “for the masses” and “a waste of time.”  How would you attempt to counter such a position?
 - I believe that because film is “for the masses” is exactly why it is not a waste of time.  I love all types of art, but film is undoubtedly one of the most accessible and therefore one of the most powerful.  Going to the movies is an experience, much more so than going to a gallery or even a play.  You are sitting in the dark with a large group of strangers all simultaneously going on the same emotional journey.  I am constantly amazed by the power film has to evoke such strong emotions in its viewer.  A very well done film puts me in a completely different state of being and will stay with me long after I have finished watching it.  Likewise, a horrific and disturbing film will have me in a bad mood for days, until something else occupies my mind.  Michelangelo Caravaggio is my favorite Renaissance era painter, and while I find his work incredible, a painting like Incredulity of Saint Thomas will never be as emotionally powerful as a film like Alejandro Iñárritu’s Amores Perros.  There are many similarities between painting and film, or any form of art for that matter.  The artist puts a part of themselves into their work, (Caravaggio would often paint himself as the man crucifying jesus) and they seek to elicit a viscerally emotional response from the viewer.  I don’t believe that anyone can contest that any one form of art is superior to all the rest, but film, done well of course, unquestionably stimulates the mind in a way nothing else can.  A good film leaves you with important questions to ponder and discuss.

When did you know you had to dedicate yourself to this art form?
 - I always knew that I had to do something with my life that I enjoyed, something that would make me want to get up and go to work everyday.  I realized my calling was in filmmaking probably soon after I started the film production program in high school.  The type of films I had made with friends back in middle school were incredibly amateur, basically us in whatever costumes we could scrap together, half ad-libbing lines we were given right before we started rolling.  The result was something resembling a blooper reel and were just for our enjoyment, thankfully.  High school presented me with the chance to actually make a half decent film.  I learned about the different roles in filmmaking, but directing was the one that stood out to me and what I enjoyed doing the most.  It was at this point that I had become jaded with hollywood cinema and the boring, predictable films that have been becoming an unfortunate trend.  The type of movies that make you say “I could make a better film than that!” It was around this time that I really began noticing the films being made in other countries and how obviously superior they were to anything in american cinemas.  The fact is your average hollywood movie is catered to people who just want to watch guns going off and a lot of stuff blowing up.  There’s nothing wrong with this kind of escapism, in fact it’s something I love about film, but it’s a slippery slope.  Escaping is only part of the experience, and as I mentioned before, the emotional and mental content is what makes it art.  What has happened though, is that hollywood capitalizes on these type of people (an unfortunate majority) and throws as much CGI and whatever other flavor-of-the-month gimmick they can up on screen and expect us to go “oooh isn’t that pretty” and fill the seats.  And it works, very, very well.  I feel it’s made the average viewer into an idiot and it disgusts me.  I don’t have a problem with computer technology in film, what I hate is when it is used as a crutch to support a half thought out story and one dimensional characters.  Anyone who fills a film with as much effects as they can, with complete disregard to the story, because they know it’ll make them money is simply not a filmmaker.  I suppose I’m ranting to say that I always knew that if I was going to be a filmmaker it sure wouldn’t be the hollywood way.  It was after I came to college that I realized the independent and international scene was where I belong as a filmmaker and artist.  

What was your first attempt at making a film like?
 - The first films I made in high school were only two to three minutes long but they were designed to get us to explore different camera angles and techniques.  Even though they were short I was surprised at the amount of time and work that had to be put in to make them.  Making longer films later in the year was an entirely different experience.  Often I would work in a small group, but if I had a film that I wanted to make I would probably end up being the writer, director, cinematographer, and editor.  It rarely if ever went smoothly and could be a very stressful thing, but the experience was very fun and I truly enjoyed it. 

Do you always write your own scripts? If not, what are the challenges of working with someone else’s script?
 - I prefer writing my own scripts because I enjoy shaping my own vision and being able to fully bring it to life.  My protagonists are also extensions of some or multiple parts of myself so it is also an interesting journey in self-reflection.  When working with someone else’s script the challenge becomes to stay faithful to the writer’s vision while still making the film your own.  It’s a balancing act. 

Do things sometimes turn out better than you imagine them?
 - With film I feel that somewhere in the back of your mind you have to expect that it’s going to be a completely unmitigated disaster.  Filmmaking is an incredibly complex process that involves making sure an entire team of people is not only doing their best work but is also in sync with each other.  It only makes sense that everything you’ve worked so hard to bring together is just going to blow up in your face.  I remember last fall I was getting ready to start filming my first Spanish film, Lola Ya No Vive Aquí and my teacher asked me how things were coming along.  After I told her the plans she looked at me and said “you know it’s all going to go completely wrong, don’t you?” I nodded in agreement.  “But then it will all go completely right” she added.  And it did.  That’s just the way filmmaking is, it’s one turbulent ride, but in the end if you believe enough in what you’re doing somehow it all comes out right.  And even if it doesn’t I try and learn from the experience, so in that way, nothing is ever a complete failure.

Why films in Spanish?
 - I absolutely love Spanish, it’s such an incredible and beautifully poetic language.  After you finish reading this look up the song Mi Guitarra y Vos by Jorge Drexler and you’ll hear what I’m talking about.  If I could speak solely Spanish everyday I probably would.  When I began writing my first Spanish film I had already decided that this is the language that I want to work in professionally and I figured that it would be excellent practice.  I also figured that there was no reason for me not to make a Spanish language film.

One of the comments at the screening of Paz y Alegría was without even reading the subtitles, the viewer felt the emotion of what was occurring.  In what ways can film help us explore our universality?
 - That’s a very interesting point.  I feel that people have always instinctively clung to the identity that nationality, and consequently, language, gives them.  It is not always the case, but often times through ignorance, apathy or fear of the unknown, other cultures are rejected as alien or weird.  As the world keeps getting smaller the desire for cultural seclusion seems to be growing.  One of the most ridiculous excuses I have heard for people not wanting to watch a foreign film is that they didn’t want to read.  A possibly mind changing experience denied out of laziness.  But I suppose that’s an entirely different issue.  I feel that we have forgotten that aside from slight language and cultural differences, we are all of the same race and that emotions are universal.  Not everyone lives the same way you do but everyone feels the same way at sometime.  As far as film is concerned, I believe that it has always worked to bring people together and it is wonderful that in this day and age the connection can span the globe.  However it is up to the individual to be open to the wonders a film can show them.

Who are your cinematographic heroes?
 - Well, aside from the filmmakers of my childhood, Pedro Almodóvar definitely tops the list.  My film, Lola Ya No Vive Aquí, is an homage to his work.  I am drawn to his expressive use of color, unapologetic exploration of religion and sexuality, and strong female protagonists. He is the type of filmmaker that I would like to be, a true auteur who is so dedicated to his vision that he insists on being the one to buy the knickknacks to decorate the set.  Both Alejandro Gonzalez Iñárritu and Alfonso Cuarón have made some amazing films, and the Korean director Chan-wook Park is also a remarkable filmmaker.  I also enjoy a lot of Ridley Scott’s work, and I believe his director’s cut of Kingdom of Heaven is one of the best historical epics I have seen.  

As budgets grow, so does the spectrum of possibilities for a director.  However, the style remains.  What is your style? What will remain distinctly yours as your budgets grow?
 - I feel that I am still discovering my style as a writer-director but I know that my characters will remain distinct.  I take my cue from Almodóvar in that I prefer female protagonists.  My women are downtrodden and disillusioned, seeking to regain themselves or right a wrong by taking control of their situation.  The world has robbed them of their power so they must take it back.  They are certainly more interesting than their male counterparts and provide me with a challenge when writing.  As a man, I often draw on the women in my life for inspiration but I also put a lot of who I am into my female characters.  The character of Lola in Lola Ya No Vive Aquí is in part a very large reflection of myself.  

In one word, describe Chicago:
 - Infectious

What are you working on next?
 - I have a few ideas floating round in my head that haven’t really made it past the concept stage.  I’ve been taking a break from basically all things film for the past few months, but as soon as school starts up I’ll be back at it for sure.

How can people learn more about you and get in touch with you?
 - If you want to take a look at my work, the film Paz y Alegría is currently on YouTube and I am considering uploading my first Spanish film, Lola Ya No Vive Aquí, sometime soon.  Since all the hip kids are on Facebook these days you can find me there as well, so if that’s your thing feel free to send me a message.  E-mailing is cool too and I can be reached at nathaniel.wallin@loop.colum.edu

Paz y Alegría – http://www.youtube.com/watch?v=0XYv-GNilNg

Let’s start with Georgia Argiris, a soul whose smiles are as plentiful as the peaches her namesake is known for. She is the most approachable and generous make-up artist I have ever known. I grew-up very insecure about the proper application of make-up given that my mother hardly wore any, and my training in stage make-up was a little “slap-dash” (as Eddie Izzard says when describing his Transvestite Combat Brigade look). Georgia has been a teacher, a friend, and an inspiration for me, as well as the rest of her clientele. To see why, read on:

Have you always loved make-up? Were you one of those girls that was putting it on since you were little?
I always did love makeup but never thought I would be doing it as a profession until I got older. My grandmother got me into it, as well as my mom, who was a professional dancer. They are both my idols from the time I was little until today. My Yiayia (‘grandmother’ in Greek) used to buy me makeup books from the resale shop and I fell in love– head over heels– with the feelings that the images of the men and women transmitted in the photos. The emotions that I was drawn to were confidence, seduction, liberation, and freedom. Makeup evoked all of those emotions in my core. I just wanted to tap into those emotions and share what I felt with the world around me. It was a gift I wanted to give to those I love and total strangers alike.

What’s your favorite part about doing make-up?

Watching the person that I’m applying makeup to transform the way that they view themselves from the outside in.  It can help someone exude the utmost confidence or sexuality.  It pulls out their most inner being and lets their soul seep through.

How does it feel to make people’s beauty potential possible?

I’m the luckiest woman in the world.  I’m the happiest and most at peace when I know that I have assisted in giving someone the gift of confidence in themselves.  If I can make that person feel beautiful,  my dear, whatever their definition of beauty is, then I have done my job and I have done it well.

What sort of training have you undergone?
 
Over 5 years working for MAC Cosmetics and a lifetime of practice!

Do you sometimes feel like, “Oh, I wish I could help that girl with her make-up!” ?

I have never wanted to change or fix someone’s makeup unless they are uncomfortable with their look and ask me for help.  Otherwise, the thought never crosses my mind.  Because, no matter what or how someone is wearing anything, they are beautiful!  We are all beautiful!

Other than taking good care of burlesque performers, what other clients and events you do make-up for and how can someone get in touch with you?
I do makeup for any and all!  Photo shoots, fashion shows, performances, bridal events, special occasions,  on-air talent, fitness/body building shows…My e-mail is: GeorgiaFArgiris@yahoo.com

Do you have a favorite make-up tip?
My favorite makeup tip is: Just be you. Always be true to who you are.  Remember, you are the perfect definition of beauty.

Red Hot Annie & Sofi Minx at the Windy City Burlesque Fest (April 2010).

Don’t miss Annie next week, Friday, July 30 @ BROADZILLA! The Burlesque Beast
or
September 2010 for the Big Lebowski Burlesque!

Anoche, similar revolución ocurrió al presentarse Memorias del Fuego, adaptación de la trilogía del mismo nombre escrita por Eduardo Galeano. Colaboraron juntos el conductor peruano, Miguel Harth-Bedoya, y el director cubano, Henry Godinez, quien también organiza el bienal Latino Theatre Festival que daba comienso con dicho magno evento y continúa hasta el 25 de julio con múltiples obras gratuitas.

El objetivo era presentar momentos y personajes de resistencia fuera de lo tradicional, los que Godinez describe como “revolucionarios poderosos en la historia de las Américas que nunca levantaron una arma más amenazadora que una pluma.” En dos horas la historia milenaria cobro vida con la ayuda del popurrí de música clásica recopilada para el proyecto Caminos del Inka y cinco actores narrando en idiomas de vencedores y conquistados.

El pabellón mismo se convirtió en area de resistencia cuando la lluvia nos coaguló como audiencia ante la furia de Tláloc que despertó con la historia. Cascadas corrían por debajo de los asientos forzando a que los viajeros por el tiempo levantaran sus bultos de materiales efímeros y rindieran un baile a lo eterno con violines y conchas cantando en el fondo. El primer relampago estalla al pronunciarse “Sor Juana Inés de la Cruz”. Se me ha olvidado, obviamente, mencionar a la coreógrafa: pachamama.

Gehry-os ríos,
casca-das-beles.

” ‘sta loco lo de
Tla-te-lol-co.
‘sta loco Tláloc.”

Tláloc, Tláloc, Tláloc.

//

Micrófonos colgantes,
esferas: desearanse ser
craneos de vencedores.

Historia, hoy viva
con voz de vencidos,
trasmiten silencio
superado por miles…

Los narradores volteaban las páginas empapadas de historia y humedad. El premio para los que superaron el estruendor del tambor celestial fue la gentíl sutileza de la brisa bondadosa. Olía a puerto.

Al concluir, unas preguntas para los creadores, de la cual la mejor fue la al revés de Harth-Bedoya a una turista italiana de escasos ocho. Lo que más le gustó fue la sorpresa. Sí, toda revolución tiene raíz en la sorpresa.

Cansada estoy del cruel Colón.
Mejor inocente principessa,
quien ante el gran maestro
exclama “¡Qué bella sorpresa!”
Sólo que alegría no tengo
al saber que la limpieza
todas sorda y mudas estaban
y eso a todos nos pesa.

Se escucha gritar por la noche improvisada, “THIS IS MEXICO!” …aunque sabemos que es Chicago. Si desean continuar en estas ascuas deliciosas, empápense con el resto del festival. Aquí estan mis sugerencias:

Teatro Buendía (Cuba):
‘La Visita de la Vieja Dama’ (julio 9, 10 y 11)
‘Charenton’ (julio 15, 16, 17 y 18)

‘El Nogalar’ de Tanya Saracho: julio 17

‘Los Pecados de Sor Juana’: hasta el 25 de julio

——————————————————————-
Walking along Michigan Avenue yesterday afternoon I heard a mother say to her stroller-riding daughter, “This is Chicago.” “No, mamí. We are in ME-JI-CO,” the precious calmly protested. This girl knew what she was talking about.

I was on my way to Pritzker Pavilion, the monumental amphitheater designed by Frank Gehry and located in the park where Obama celebrated the night of his historic election. I did not fully comprehend the emotions from that night in November until I saw Alondra de la Parra a few months ago– and a few blocks from here– directing the Chicago Sinfonietta. A woman, delicately ferocious, peacefully revolutionizing not only the conductors vestment, but also the infinite visions that result when the never-before-seen appears, reflecting inspiration. I accepted blindly that an orchestra always had to have a man at the fore. Even though there was no active law prohibiting a woman from rising to hold the baton, sometimes, seeing is believing.

Last night, a similar revolution occurred at the presentation of Memory of Fire, adapted from the trilogy of Eduardo Galeano. The project was the result of a collaboration between Peruvian conductor, Miguel Harth-Bedoya, and Cuban director, Henry Godinez, who also curates the biennial Latino Theatre Festival which commenced with this grand event and continues through July 25 with various performances, many of which are free.

The goal was to present moments and individuals of non-traditional resistance that Godinez describes as “powerful revolutionaries in the history of the Americas that never picked up a weapon more threatening than a pen.” In two hours, the millenary history came to life with the aid of a potpourri of classical music compiled for the project Caminos del Inka and five actors narrating in the languages of conquerors and conquered.

The pavilion itself became a space for resistance when the rain congealed us as an audience against the fury of Tláloc– Rain God that awoke with this tale. Cascades ran below the seats, forcing time travelers to lift their bundles of ephemeral goods and pay a dancing tribute to the eternal with violins and conch shells singing through the air. The first lightening strike appeared at the utterance of “Sor Juana Inés de la Cruz”. I have obviously forgotten to mention the choreographer: pachamama.

The narrators turned pages soaked in history and humidity. The prize for those who survived the furious, celestial drumming was a bountiful breeze of gentle subtlety. The smell: a port.

At the conclusion, there were questions for the creative creators, the best of which was the one made in reverse from Harth-Bedoya to an eight-year old Italian tourist. What she liked most was the surprise. Yes, every revolution has at its core the element of surprise!

Tired am I of the cruel Christopher,
better this princess before my eyes
who to the great director
exclaimed “What a lovely surprise!”

But this is not a complete and joyous site
for those assigned to clean today
were mute and deaf this very night
and that upon us all does truly weigh.

Piercing the improvised night, the exclamation “THIS IS MEXICO!”…even though we know it is Chicago. If you wish to continue in this delicious tenterhook, then soak up the rest of the festival. Here are my suggestions::

Teatro Buendía (Cuba):
‘La Visita de la Vieja Dama’ (July 9, 10, 11)
‘Charenton’ (July 15, 16, 17, 18)

‘El Nogalar’ de Tanya Saracho: July 17

‘The Sins of Sor Juana’: through July 25

CLICK TO WATCH “PAZ Y ALEGRIA”:http://www.youtube.com/watch?v=0XYv-GNilNg

Hay maderas oscuras y profundas / There are profound and obscure woods
como tus ojos y tus cabellos. / like your eyes and your hair.
Porque tus ojos y tus cabellos son / Because your eyes and your hair are
como maderas profundas y charoladas. / like brilliant and profound woods.

Hay maderas suaves y livianas / There are smooth and light woods
como tu piel y tu alegría. / like your skin and your happiness.
Porque tu piel y tu alegría son / Because your skin and your happiness are
como maderas suaves y livianas. / like smooth and light woods.

Hay maderas recias y macizas / There are vigourous and strong woods
como tus piernas y tus espaldas. / like your legs and your backs.
Porque tus piernas y tus espaldas son / Because your legs and your backs are
como maderas recias y macizas. / like vigorous and strong woods.

Hay maderas húmedas y rojas / There are humid, red woods
como la piel de tus labios y de tu lengua. / like the skin of your lips and your tongue.
Porque la piel de tus labios y de tu lengua es / Because the skin of your lips and your tongue is
como una madera roja y empapada de savia. / like a red wood soaked in sap.

Hay maderas olorosas y vivas / There are fragrant and lively woods
como el olor de tu cuerpo. / like the smell of your body.
Porque el olor de tu cuerpo es / Because the smell of your body is
como el olor de las maderas / like the fragrance of woods
cortadas en los tiempos de lluvias. / cut in the season of rain.

Hay maderas que al ser trabajadas / There are woods that when worked
dan notas musicales y perfectas. / render perfect musical notes.
Tu amor es una nota musical y perfecta / Your love is a perfect musical note
como el sonido que dan ciertas maderas / like the sound certain woods give
cuando son trabajadas. / when they are worked.

Hay maderas que se quejan en las noches de lluvia / There are woods that complain in nights of rain
y en las tardes de tormenta. / and in storm-filled afternoons.
Porque eres triste, y esto te embellece y purifica, / Because you are sad, and it beauitfies and purifies you,
te pareces a esas maderas que se quejan / you are like those woods that complain
en las noches de lluvia y en las tardes de tormenta. / in the storm-filled afternoons and the nights of rain.

Hay maderas que tienen un sabor y perfume / There are woods that have a taste and perfume
tan propios que, cuando se las huele o se las besa, / so unique, that when they are smelled or kissed,
ya no son olvidadas nunca más en la vida. / they are not forgotten for a lifetime.
Porque eres fatalmente inolvidable, / Because you are fatally unforgettable,
te pareces a esas maderas que se recuerdan / you are like those woods that are remembered,
hasta la muerte cuando se las huele o se las besa. / when they are smelled or kissed, until death.

BROADZILLA! (3.26.10) – “Committing to the Big Cheese” by Sofi Minx from Vaudezilla Productions on Vimeo.

Below are a few questions Josh answered for me this week.  The last two really struck a chord.  …and, I agree, Chicago has the best theatre community in the country…thanks to people like Josh Horvath.

What got you intersted in working with sound?
I started out as a musician growing up.  Music has always played a huge role in my life, and has become the way that I communicate.

 
Where did you get started?
I got started in rural Ohio playing drums in middle school and high school.  Then I went on to become a sound engineer after high school.

 
What sort of training have you had to undergo?
I went to Wright State University in Dayton, Ohio and majored in Design and Technology in Theatre
 
How has the journey been so far?
The journey has been amazing so far.  Full of highs and lows, but mostly highs.  I get to hang out with great artists, friends, and travel the country doing what I love.
 
How do you feel about manipulating sound to play with our emotions as an audience?
I love how sound can take an audience on a journey.  Also how one musical motif or sound can change the way you feel in a split second.

What do you dream of doing that you haven’t done yet?
So many things.  Travel and work in Asia.  Work in Europe.  Write more for dance.

Why Chicago?  Any comparisons you want to make with other cities?
I grew up in the Midwest and love the laid back feel.  Also, Chicago has the best theatre community in the country.

What is your creative process like?
It all depends on the artists I’m working with.  My process changes with whatever style I’m working with; I love adapting to different styles and different people.  It makes life so much more fun.

Do you have a favorite sound?
My niece’s laugh. 
 
Is there such a thing as no sound? 
Silence is the most powerful sound of all.