"Historia Argentina Imaginada," curso de Victoria Moreno y Nicolás Mavrakis

          La historia siempre lleva guardada los secretos para entender lo que sucede hoy. La Fundación Centro Psicoanalítico Argentino anuncia un curso sobre la “Historia Argentina Imaginada” a cargo de María Victoria Moreno y Nicolás Mavrakis a partir del sábado 30 de mayo en Pts. J.E. Uriburu 1345, Ciudad Autónoma de Buenos Aires, Argentina. A continuación damos a conocer las características del curso:

“¿Cuál es el vínculo entre historia y literatura? ¿Cómo se construye una idiosincrasia nacional? A lo largo de ocho encuentros recorreremos momentos históricos y literarios claves para explorar algunas de las zonas más agitadas, discutidas y también violentas de la historia argentina, a través del trabajo de algunos de los escritores que mejor los imaginaron y los representaron.

1. ROSISMO

La figura política y social de Juan Manuel de Rosas. Caudillismo y república: una cultura en suspenso. El poder, la persecución y el apoyo popular. El unitarismo y los fantasmas de la barbarie. Hacia un Salón Literario: Esteban Echeverría, el intelectual socialista del Río de la Plata. El matadero, primera y última narración de la literatura argentina.

2. ARGENTINA ALUVIAL

La inmigración de masas. Expansión económica y políticas de promoción. Crisol, integración o pluralismo. La inserción del recién llegado: migración golondrina o nacionalización forzosa. Buenos Aires cosmopolita vs. interior provinciano. Silvio Astier, un autodidacta con una fe feroz en el progreso y la técnica en la novela El juguete rabioso y algunas aguafuertes porteñas de Roberto Arlt.

3. PERONISMO

Crecimiento industrial y alianza de clases. Los orígenes del peronismo: estructuración del vínculo entre sindicatos, trabajadores y Perón. Sanción de leyes laborales y progreso económico. Estancamiento, antagonismo social y Golpe del ’55. La elite letrada como oposición cultural en La fiesta del monstruo, de Jorge Luis Borges y Adolfo Bioy Casares. La mirada retrospectiva de la revista Contorno.

4. REVOLUCIÓN ARGENTINA

El despegue cultural de los ’60. La Revolución Argentina y el truncamiento del ascenso vanguardista. Represión y clericalización de la política nacional. El Cordobazo y la Noche de los Bastones Largos. Las trampas de la ley y del género policial clásico en Operación Masacre, de Rodolfo Walsh. La santificación equivocada del sacrificio.

5. EL PROCESO DE REORGANIZACIÓN NACIONAL

Terrorismo de Estado: supresión de derechos y garantías constitucionales y desaparición forzada de personas. El plan económico: Martínez de Hoz y la supremacía del sector financiero. El “best-seller de la dictadura”, ¿dedicado a Haroldo Conti? Flores robadas en los jardines de Quilmes, de Jorge Asís, la novela de una generación desorientada.

6. NEOLIBERALISMO Y KIRCHNERISMO

Menem y la transformación peronista. Mutación y reducción del Estado de la mano del plan económico. Paradojas en los apoyos electorales. Del cliché de la “segunda década infame” al horizonte de una nueva educación sentimental en la novela Los años felices, de Sebastián Robles.

Seis reuniones los sábados a las 18 horas.

Informes: 4822-4690/ 4823 4941/ 4821 2366. Email: fcpa@kehre.com.ar

“El perfume de mamá” El perfume de mama," "espectáculo delirante de Juan Damián Benítez

Pasan cosas increíbles en los miles y miles de apartamentos en la ciudad, dramas terribles, aburrimiento total, sudor, angustia, histeria, hambre, sexo, dolores de todo tipo, ataques, mareos, amor. En el espectáculo “El perfume de mamá” de Juan Damián Benítez un calor de verano insoportable invade el ambiente. Dos hermanas, Carmen e Irma, intentan aguantar todo con acciones delirantes bajo la mirada de su madre, doña Aurelia.

Benítez toma el papel de Carmen. Irma es Nahuel Saa. Autor y director: Juan Damián Benítez, Asistentes: Alejandro Rodas, Tomas Verney. Vestuario: Narella Polito. Escenografia: Lucia Maisano. Diseño Gráfico: Lucia Szlak. Diseno de Luces: Damian Perrone. Produccion General: Nahuel Saa. Prensa: Laura Brangeri. Fotografia: Mauro Acosta. Diseno de Maquillaje: Alex Tush

          Funciones: viernes 22:30 horas en La Clac, Avenida de Mayo 1158, Ciudad de Buenos Aires, Argentina. Entrada $80. Reservas 4382 6529. http://elperfumedemamateatro.blogspot.com.ar/

 

    

 

"Te voy a matar mama," espectaculo de Eduardo Rovner que explora el vinculo madre-hija

Los vínculos entre madre muy frecuentemente pasan por tempestades. Tempestades que se nutren en la imaginación. El espectáculo “Te voy a matar mama” del dramaturgo Eduardo Rovner explora este conflicto a través de un humor hilarante combinado con momentos de gran emotividad, con la actuación de María Viau. Dice la directora Herminia Jensezian: "Vuelvo a poner en escena, una vez más, una obra de Eduardo Rovner. Todo un honor y placer, que sólo los grandes ofrecen. Una vez más me deleito con su humor y poesía, que es un sello indeleble en su dramaturgia. Y encuentro en María Viau, a la actriz ideal para este personaje. Nos vamos a reír y conmover al mismo tiempo, una característica de los personajes del autor que con la creatividad de María, toma un alto vuelo. Me corresponde a mí amalgamar tanto talento para el disfrute de todos. ¡Que privilegio!".

Funciones: Sabados 23 horas, Tadron Teatro, Niceto Vega 4802, Ciudad de Buenos Aires, Argentina. Entradas $100

 tadronteatro@hotmail.com 4777-7976 pablodmascareno@gmail.com

Facebook: https://www.facebook.com/TeVoyAMatarMama
Twitter: @TeVoyAMatarMama

Lenin, the Wall Street Journal and a task in Economics

Step number one. Read:

       “Monopoly capitalist combines—cartels, syndicates, trusts—divide among themselves, first of all, the whole internal market of a country, and impose their control, more or less completely, upon the industry of that country. But under capitalism the home market is inevitably bound up with the foreign market. Capitalism long ago created a world market. As the export of capital increased, and as the foreign and colonial relations and the “spheres of influence” of the big monopolist combines expanded, things “naturally” gravitated towards an international agreement among these combines, and towards the formation of international cartels.” (“Imperialism, the highest stage of capitalism,” by V.I. Lenin)

      Step number two: Read an article in the April 27^th Wall Street Journal by Jonathan D. Rockoff and Ed Silverman entitled “Pharmaceutical Companies Buy Rivals’ Drugs, Then Jack Up the Prices”

       “On Feb. 10, Valeant Pharmaceuticals International Inc. VRX -3.99 % bought the rights to a pair of life-saving heart drugs. The same day, their list prices rose by 525% and 212%.

Neither of the drugs, Nitropress or Isuprel, was improved as a result of costly investment in lab work and human testing, Valeant said. Nor was manufacture of the medicines shifted to an expensive new plant. The big change: the drugs’ ownership.

“Our duty is to our shareholders and to maximize the value” of the products that Valeant sells, said Laurie Little, a company spokeswoman. “Sometimes pricing comes into it, sometimes volume comes into it.”

More pharmaceutical companies are buying drugs that they see as undervalued, then raising the prices. It is one of a number of industry tactics, along with companies regularly upping the prices of their own older medicines and launching new treatments at once unheard of sums, driving up the cost of drugs.

Since 2008, branded-drug prices have increased 127%, compared with an 11% rise in the consumer price index, according to drug-benefits manager Express Scripts Holding Co. Needham & Co. said in a June 2014 research note there were as many as 50% drug-price increases during the previous 2½ years as there were in the prior decade."

          Step number three: Answer the following questions.

1)   Does Lenin’s article help understand the report in the Wall Street Journal and if so in what way?

2)   Why do the prices for pharmaceutical drugs undergo such dramatic increases?

3)   Is it true that giant corporations attempt to control the markets or is that just fables invented by leftists like Lenin?

4)   What is the real goal of the process of globalization?

5)   Would it be useful or possible to control the process of monopolization of production, still being carried out on a world scale?

We would be happy to receive your answers!

"Bury the Dead," an anti-war play by Irwin Shaw, concludes seven performances at Millersville University theatre

1936. With Europe still licking the wounds of the First World War, an even more cataclysmic conflict emerges on the horizon. In Brooklyn twenty-two year old writer to be Irwin Gilbert Shaw, son of Russian Jewish immigrant parents, writes his first play, “Bury the Dead,” a sort of expressionist diatribe on the devastating futility of war. In directing the play for Millersville University Theatre, Tony Elliot understands that Shaw “wants us to think about the moral and ethical challenges for the soldiers, their friends and families and for their communities.”

Elliot’s production has entered the Kennedy Center American College Theater Festival.

“Bury the Dead” proposes an absurd but keenly dramatic conflict. Six soldiers about to be buried refuse to be laid to rest. This sets off havoc in officialdom. Military officers are in dire straits to break the determination of the corpses not to be buried. A priest arrives to say prayers for the dead. Perhaps God has the solution. However, the priest no sooner begins the ceremony than an anguished groan is heard. Slowly the dead soldiers rise up, (as Lazarus?) begging not to be buried. The corpses  demand they be allowed to rejoin the living. News of their rebelliousness spreads like lightening—to the soldiers in the field, generals, politicians, and the news media.

In what is a clear anticipation of today’s wars, the military urge the editors to suppress the information about the protest of the soldiers. (Any discerning viewer might remember the "embedding" policy of the Bush Administration for journalists covering the war against Iraq).  In desperation the military authorities then think they have found the ideal solution: the wives and girlfriends of the dead soldiers. Women are naturally conservative and patriotic, reasons the General, and therefore they can be used to convince the soldiers to be buried. The role of women as guardians of the family and patriotic values has certainly changed since the period previous to the Second World War, making this scene perhaps even more acutely ironic than Shaw imagined it in 1936.

The attempt of the ladies to get their loved ones to lie down and be buried sparks perhaps the most dramatically interesting scene in the play—at least in Elliot’s version. Wives, as well as a sister and even a mother arrive one by one to coax their beloved dead ones to be buried. They fail but in the process the affective relationships of the soldiers emerge to reveal the tragedy that all wars bring about. It is here that Shaw's visceral objection to war breaks from the structural confines of the play.  In the end the frustrated General orders the “dead” soldiers to be shot. He cannot get a single soldier to obey his command; he  varies tactics from militaristic jargon to common ordinary cajoling but cannot get anyone to shoot the "dead" soldiers. So the corpses march away, stomping over the rifle the lies on the floor, leaving the General to meditate.

True. The play has a rather arbitrary anti-war structure and the dialogues at times reveal the ingenuity of the young author concerning script writing. Yet this is offset by the creativity of the dramatic composition and the imaginative staging possibilities it opens up. Elliot chiseled down the exceedingly long text, eliminated some characters and envisaged a Brecht-like staging that was very effective in establishing the mood of the spectacle.

All of the actors in the performance are Millersville University theatre students. Kudos go to the women who performed the roles of the women who must touch strong emotional chords in their attempts to get their loved ones to abandon their protest and be buried like any other soldier. 

  Contact:  tony.elliot@millersville.edu