#Maria Martínez

[lilakartoffelbrei]

Am nächsten Tag hat der kleine Pablo Geburtstag. Und nach all den Jahren Sims 3 weiß ich jetzt auch, dass die Torte in Flammen aufgehen kann.

[artthatgivesmefeelings]

Sculptor: Josep Campeny i Santamaria (Spanish, 1858-1922) Architect: Juli Maria Fossas i Martínez (Spanish, 1868-1945) Sepultura Ramón Blanco de Erenas, 1908 Can Tunis, Barcelona, Catalonia

[mission-light-if]

Let's say Mc having a nightmare so they are either screaming or crying in their sleep. So how would the Ro's react and feel during that? (dating stage)

Sinan: Sinan feels a deep fear and sympathy when MC has a nightmare, as if their pain is his own. He approaches them with calmness and gentleness, softly trying to wake them without startling them. After offering water or asking quietly what they need, Sinan might try to lighten the mood by making a soft joke, hoping to distract them from their distress. His instinct is to hold them close, offering a mix of quiet comfort and light-hearted humor, ensuring MC feels safe and protected, while also gently steering them away from the lingering fear.

Nayla: Nayla is immediately concerned when MC is distressed in their sleep. She instinctively cuddles closer, whispering calming words to soothe them. If MC doesn’t settle, she gently wakes them, offering warmth and reassurance. Nayla stays attentive, asking what they need and offering her presence as a steady source of comfort, constantly reaffirming that she is there to support them in any way they need.

Aneka: Aneka reacts with calmness and quiet support, gently waking MC if they seem too distressed. She asks if they want a hug or offers to make tea, always suggesting peaceful activities like reading a fairy tale or listening to an audiobook together. Aneka doesn’t force conversation, preferring to be a quiet, steady presence, comforting MC through shared silence and simple gestures that convey care without the need for too many words.

Miguel: Miguel tends to panic inwardly, freezing at first because he doesn’t know how to handle the situation. His reaction is driven by concern, but he’s unsure of the right approach. He may ask others for help if possible or nervously wake MC, possibly a bit too forcefully due to his anxiety. Once awake, he struggles with silence, finding it too awkward. Miguel will start rambling, going on and on about how worried he was, or asking MC if they’re okay, repeatedly. His ability to comfort others is limited, and he knows it, so he compensates by holding MC close, continuing to talk because he’s uncomfortable with silence, even if his words aren’t very helpful.

Hongyu: Hongyu reacts with tenderness, gently caressing MC’s hair or cheek. His approach is soft and warm, placing a kiss on their forehead and whispering soothing words before waking them gently. His focus is entirely on MC, asking if they’re okay and offering to stay by their side. Hongyu doesn’t hesitate to make their well-being his priority, offering physical touch and quiet reassurance, doing whatever it takes to make MC feel safe and comforted, with no concern for anything else.

Marcos/Maria: Marcos/Maria wakes MC quickly, not with harshness but in a straightforward, practical manner. They want to help but aren’t sure what’s needed, and if MC doesn’t express their needs immediately, they become unsure of how to proceed. Their awkwardness stems from not knowing how to deal with others' emotions, feeling uncomfortable in situations requiring emotional support. They want to make things better but are unsure how to navigate the situation, often leaving if they feel they’re not needed or if it gets too overwhelming. They’re torn between wanting to stay and help but feeling uncertain about their ability to offer comfort.

Min: Min feels a wave of panic internally but tries to maintain an outward appearance of calm. They wake MC quickly, asking if they’re okay and what they need, but struggle to process their own emotions afterward. If MC says they’re fine, Min may still feel unsettled, unable to go back to sleep, and may even leave the room, unsure how to deal with their own anxiety. If MC asks Min to stay, they’ll awkwardly cuddle close, unsure of what to say or do, sometimes repeating the same phrases over and over, trying to comfort but feeling out of their depth. Min isn’t good with others’ emotions, often fumbling through the interaction with awkward comments or silence, simply staying physically close because they don’t know how else to help.

[peachpaloma]

la carolay x la rosalía 💕

[moviemosaics]

Close Your Eyes

directed by Víctor Erice, 2023

[docpiplup]

'Laura y sus misterios': "Laura y el misterio de la novia que esperó demasiado" teaser trailer

Estreno: Miércoles 13 de Diciembre 2023 en La 1

[slapiz]

Ya no tengo miedo porque veo que los míos van llegando al Cielo

Últimamente me da miedo abrir mi muro. No debería ser así, la madurez es esperar el cada día con una sonrisa. Que venga lo que venga y que lo que no venga, no venga. Trato de hacer ese ejercicio, pero no estoy capacitada. Abrir el muro y ver que día a día, un trozo de mi piel se descascara. Que con quien bromeaste ayer ahora no existe. O que, con quien peleaste ayer ahora esta muerto, es una…

[elmartillosinmetre]

Alberto Miguélez Rouco: “Lo pones en italiano y te cuela como un gran autor europeo”

[El contratenor y director Alberto Miguélez Rouco (La Coruña, 1994). / Julien Gazeau]

Al frente de Los Elementos, Alberto Miguélez Rouco ha grabado su tercera obra teatral de José de Nebra, ‘Venus y Adonis’

Con apenas 24 años montó una orquesta barroca porque se encaprichó con un aria de Nebra. Ahora, recién entrado en la treintena y convertido ya en una de las grandes figuras de la música antigua española, el contratenor Alberto Miguélez Rouco (La Coruña, 1994) acaba de publicar con aquella orquesta, Los Elementos –con la que recientemente pasó por Sevilla–, la tercera obra escénica que hace de Nebra, Venus y Adonis. Me habla por teléfono de todo ello desde su casa de Basilea.

–Funda Los Elementos para grabar Vendado es amor, no es ciego de Nebra, ¿cierto?

–Exacto. Conocí por Youtube “El bajel que no recela”, un aria de la zarzuela, que cantaba María Bayo con Banzo y me fascinó. Entonces, me dije, si esto es así, el resto de la zarzuela no puede ser malo. Y me compré la única edición que había, publicada por la Fundación Fernando el Católico en Zaragoza. Yo estudiaba en la Schola Cantorum Basiliensis y allí te dan la opción de hacer conciertos de una hora a mediodía, y decidí preparar más o menos la mitad de la zarzuela. Y desde el primer ensayo, tanto los músicos como yo no podíamos creer lo que estábamos escuchando, porque ni yo lo había escuchado en grabación, ni ellos sabían siquiera quién era Nebra. Fue una auténtica revelación. Hicimos el concierto y fue un éxito extraordinario, hasta el punto de que nos pidieron que la hiciéramos completa en la sala grande de la escuela. Y aquello fue sonado, porque vinieron hasta de la Embajada de España. Así que decidimos grabarla, porque para nuestra sorpresa Vendado no estaba grabada, Donde hay violencia no hay culpa no estaba grabada, Venus y Adonis no estaba grabada...

–Ya ha grabado las tres, ¿piensa seguir?

–Sí, la idea es grabar la integral de las obras escénicas de Nebra.

–Nebra escribió mucha música para el teatro, pero se ha conservado poco...

–Lamentablemente. Yo espero que algún día encuentren un baúl, como encontraron el baúl de Vivaldi en Turín, con las obras de Nebra, pero no creo que vaya a pasar, a no ser que esté todo perdido en algún palacio de un propietario privado. Si no me equivoco, creo que Nebra escribió como diez o doce zarzuelas, otras tantas óperas, y luego una cantidad enorme de autos sacramentales, como veinticinco o así, además de sainetes, entremeses... En total son 70 u 80 obras, y de todo ello, incluidos los autos sacramentales, ha sobrevivido una decena.

–Las dos primeras son zarzuelas y esta última es una ópera. ¿La distinción era tan clara en la época?

–Dentro de que todo era bastante fluido, Venus y Adonis está entera en música. De hecho era el segundo acto de una gran ópera en tres actos, y tuvo tanto éxito que un mes después se interpretó separadamente. Pero no hay diálogos, y es mucho menos folclórica que las zarzuelas, aunque hay un aria con un fandango y unos zarambeques. En el propio texto se dice que es una “ópera chiquita”, o melodrama, que era también como llamaban a las obras de influencia mucho más italiana. En las zarzuelas aparece ese nombre de “zarzuela” por todos lados. Además, es verdad que en Vendado hay bastante acción en la parte musical, pero en Donde hay violencia no hay culpa, que va de la violación de Lucrecia, no hay ningún tipo de acción en la música, lo que dificulta bastante hoy su puesta en escena, porque todo el acoso de Sexto a Lucrecia pasa en el diálogo. Entonces, sí que hay bastante diferencia en ese sentido, dramatúrgicamente, entre Venus y Adonis, que es de 1729, como también el acto que Nebra escribió para Amor aumenta el valor, un año anterior, que son óperas, y las otras dos, que son zarzuelas de los años 40.

–Desde el principio decide asumir usted mismo la dirección, ¿tiene formación específica?

–No, no. Hice la formación profesional como pianista y clavecinista, y luego mis estudios de clave y de canto en Basilea. He dado demasiadas clases. Si necesito alguna, la tomaré, pero prefiero ir construyéndome a mí mismo, mientras pueda comunicarme, y creo que lo consigo.

[Los Elementos / Javier Salas]

–¿Es importante tener un hombre de confianza en la orquesta? Desde el principio su concertino es Claudio Rado...

–Absolutamente. Si no, hubiera sido imposible. Primero, un concertino que respete mis ideas, aun cuando yo no esté dirigiendo. Porque puede no estar de acuerdo con algo, pero confía en mí y es capaz de transmitir a los músicos lo que he pedido. Yo confío en él también, es un trabajo muy flexible en ese sentido.

–Además de las óperas, grabó un disco de cantatas. ¿Hay más?

–En enero, en Versalles pudimos grabar el Réquiem de José de Torres y un Dies Irae de Corselli. Pudimos hacerlo porque fue en directo, en un concierto. Me encantaría poder grabar también la música religiosa de Nebra, pero eso es muy caro, porque necesitamos un coro. Ya veremos.

–Las dos zarzuelas las publicó en Glossa y esta ópera en Aparté, ¿a qué se debe el cambio?

–Nos pareció que la distribución con Glossa no tuvo el impacto en el mercado internacional que esperábamos y por eso quise probar con una discográfica francesa.

–¿Sigue confiando en el formato del disco?

–Sí, me parece trágico que esté desapareciendo, y es que ni yo mismo tengo lector de CD, es algo que tengo que corregir.

–¿Por qué hay que acercarse a esta grabación de Venus y Adonis?

–Porque es una música excepcional. No quiero hacer comparaciones, pero si pones el texto en italiano cuela como algún gran autor europeo. El momento de la muerte de Adonis, con ese acompañamiento en pizzicato, es espectacular; cuando lo estrenamos, había un silencio en la sala que era realmente entre aterrador y emocionante. Fue maravilloso.

[Diario de Sevilla. 30-03-2025]

La ficha JOSÉ DE NEBRA (1702-1768): VENUS Y ADONIS [1729] Paola Valentina Molinari soprano (Venus) Natalie Pérez mezzosoprano (Adonis) Jone Martínez soprano (Marte) Ana Vieira Leite soprano (Celfa) Judit Subirana mezzosoprano (Clarín) Margherita Maria Sala contralto (Cibeles) Los Elementos. Claudio Rado concertino Alberto Miguélez Rouco clave y dirección musical Aparté (2 CD)

VENUS Y ADONIS EN SPOTIFY

[joaquimblog]

TEATRE LLIURE: L'HERÈNCIA de MATTHEW LÓPEZ

TEATRE LLIURE: L'HERÈNCIA de MATTHEW LÓPEZ

El Teatre Lliure ha estrenat el 20 de febrer de 2025 l’Herència de Matthew Lòpez una obra que d’ençà de la seva estrena al Young Vic de Londres el 2 de març de 2018 la primera part i set dies més tard la segona, no ha parat d’aixecar aclamacions, que van fer que mig any més tard es traslladés al West End i un any més tard saltés l’Atlàntic per arribar a l’Ethel Barrymore Theatre de Nova York,…

[lilakartoffelbrei]

Und mal wieder eine Party voller mürrischer Gesichter

Und Pablo schläft im falschen Bettchen

[mission-light-if]

How would the Ro’s react if they accidentally hurt Mc physically or emotionally in like a heated argument, and how would they react after this all blows over? (wait till Mc approach them or goes to them)

Sinan: Sinan would feel bad instantly because he doesn't want any bad vibes, especially within the team or in general. If the situation is really bad, he might take some time to process it, but usually, he tries to resolve things immediately and apologizes right away. Sinan is very reflective and would take the full blame, even if it's not entirely his fault. He is deeply interested in keeping things harmonious and can't stand to see others in distress.

Nayla: Nayla would feel bad, and it would show on her face. She would apologize immediately after realizing her mistake. She’s very careful and adjusts her behavior based on the other person’s reactions. If someone needs space, she respects that. Nayla would feel bad for a long time and wouldn't easily forget the situation. She might even bring a gift as an apology and reflect on her actions, and try to improve for the future.

Aneka: Aneka would feel really bad and be willing to do anything to apologize. She would ask what the other person (MC) wants to do and put in her best effort to make things right. However, if she senses that nothing is improving despite her efforts, she would start to lose interest in maintaining the relationship. Aneka understands her mistake, but if both sides aren't working together to move forward, she sees no point in continuing.

Miguel: Miguel would avoid the situation, not because he wants to, but because he's awkward and unsure how to respond appropriately. He feels easily attacked, even when he knows the criticism is valid. He overthinks things and fears making more mistakes. Miguel would feel bad about the situation and be sad about potentially losing something important, but he struggles to deal with other people's emotions and communicate his own. Avoidance feels like the easiest solution to him.

Hongyu: Hongyu would accept his mistake and apologize, showing genuine interest in fixing the situation. Internally, he would push away any pain he feels and focus on moving forward. He’s practical and realistic—if he made a mistake, it's his fault, and he feels it's his responsibility to fix it.

Marcos/Maria: Marcos/Maria would likely walk away from the situation initially. It would take them some time to recognize or acknowledge that they did something wrong, especially if it’s not immediately obvious. Even when the mistake is clear, they need time to fully accept it. They might try to ignore it and continue acting as if nothing happened. If the other person (MC) confronts them later, they might finally realize their error and offer an apology.

Min: Min would feel bad and overthink the situation, which would bring their mood down significantly. They tend to hide their emotions, becoming even more sour. Min would genuinely want to apologize, but they’re unsure of how to do it, which causes hesitation. Sometimes, they might impulsively approach the situation, attempting to apologize on the spot, but other times they might wait, unsure of the right timing. If they delay, it could take a while, but eventually, they would still find a way to apologize, even if it takes some time.

(Sorry it took me so long to answer :))

[tina-aumont]

Abuelo Made in Spain screencaps (2/4)

Abuelo Made in Spain is a 1969 Spanish comedy written by Pedro Masó and Vicente Coello and directed by Pedro Lazaga.

Marcelino (Paco Martínez soria), a widower shepherd living in the Aragonese Pyrenees saw his three young daughters Cándida (Carmen Lozano), Visi (Mabel Karr), and Nieves (Monica Randall), go to Madrid to find better lives; they've all gotten married, had sons, and forgotten their father. One day, Marcelino receives a letter from Cándida, who invites him to come for a long visit. What she really wants is some help from her father, as she's not able to take care of her 10 daughters and her upcoming child. Marcelino goes to Madrid, but once there, he only finds an unknown, frantic, hostile world and three unhappy daughters.

___

More than 30 years after its premiere in cinemas, in 2000 it was broadcast on La 1, being seen by more than five million viewers and ranking 33rd among the most viewed films in the decade (2000-2009) and the first at the national level.

Cast:

Paco Martínez Soria - Marcelino

Carmen Lozano - Cándida

Mabel Karr - Visitación "Visi"

Monica Randall - Nieves

María Montez II - dancer

Fernanda Hurtado - Nina

José Ramón Moreno Muñoz - Antoine, "Los Gritos" drummer

[juanjols]

Luis Martínez Santa María Arquia banca

[docpiplup]

'Laura y sus misterios' promo pics

¡Es hoy!

@sonechkaandthedynamos @goldenliartrash @sapphicfolch @butherlipsarenotmoving @dorothyoz39 @queenmiriamele @dicenquedicen

¡Es hoy!

[whatamigonnawatchtoday]

Cerrar los ojos (Close Your Eyes)

2023. Drama

By Víctor Erice

Starring: Manolo Solo, José Coronado, Ana Torrent, María León, Petra Martínez, Antonio Dechent, Soledad Villamil, Mario Pardo, Helena Miquel, Josep Maria Pou, Juan Margallo, Venecia Franco

Country: Spain

Language: Spanish

[ipso-faculty]

The state of intersex studies

So we recently read the first part of Malatino's Queer Embodiment for Intersex Book Club. It'll be a while until the summary gets posted because we have a backlog (whoops) but this book makes me want to rant.

Having now read a bunch of intersex studies books for the book club has made me acutely aware of HOW MUCH of (American) intersex studies is the same five topics over and over again:

The life of Herculine Barbin

Fuck John Money

Fuck Middlesex

The rise and fall of ISNA + Fuck DSD terminology

Caster Semenya

For the record, Malatino only covered four of these five 🙃. It's honestly getting tiring seeing the same five topics over and over again when there is SO MUCH else that could be talked about.

I'm tired of hearing about ISNA The repetitive focus on ISNA is particularly grating to me because the total amount of text I have head on ISNA's history is greater than the total amount of text I have read on the histories of all other intersex advocacy organizations. 😬 The USA did not invent intersex advocacy and isn't even a world leader in intersex activism (sorry, American friends).

The only text I know of that chronicles the history of a non-ISNA intersex advocacy organization is Swarr's Envisioning African Intersex where she talks about the history history of Sally Gross and Intersex South Africa (and gives a brief shout-out to Julius Kaggwa and other Ugandan activists). Which is weird because...

IGM is banned in Greece! 🎉 And Spain! 🎉 And Portugal! 🎉 And Iceland! 🎉 And Brazil!! 🎉 And Chile! 🎉 And Uruguay! 🎉 There are partial bans on IGM in India and Australia. So why haven't I seen a single book chapter on the history of intersex activism in any of these countries? 🧐 What can we learn from these successful campaigns???

I'm tired of hearing why ISNA failed when I want to be learning how OII-Europe and similar organizations have succeeded. 🫤 There have been more than two people in intersex history Herculine Barbin isn't the only intersex person from history and I would honestly like to see more on other famous intersex people from history, e.g. Isidor of Seville, Helena Antonia, Elen@ de Céspedes, King Francis II of France, King/Queen Christina of Sweden, Princess Ismat al-Doulah of Persia, Sa Bangji, Im Seong-gu, Xie Jianshun, Fernanda Fernández, Gottlieb Göttlich, Karl Dürrge, Karl M. Baer, Lili Elbe, Clémentine Delait, and Annie Jones (Just to name a few that *I* know of!)

Caster Semenya isn't the only intersex athlete to have experienced discrimination! She wasn't even close to being the first! Maybe give some airtime to Maria José Martínez-Patiño, Foekje Dillema, Ewa Kłobukowska, Erik Schinegger, or Witold Smętek? Or even contemporaries, like Duttee Chand or Margaret Wambui?

I'm *really* tired of hearing about Middlesex The repeated critiques of Middlesex have also gotten tiring. The book sucks. This is not news. What I'm not seeing is literary scholars engaging with the growing body of books written by intersex authors like the works of Rivers Solomon, Bogi Takács, Alec Butler, or KOKUMO. And don't tell me they're not "literary" or "notable" enough, Butler has a Governor General's Award and Takács has a Hugo.

Intersex Studies can do so much more! Intersex studies is a young field. I know this. I just wish I'd see more variety making into book format? It's weird seeing the same things get repeated exhaustively when there's so much that doesn't seem to have gotten any attention? Like in book club we talked about intersex people in mythology for a bit and it made me realize we haven't seen anything specifically on this subject and there is so much that could be talked about there. 😯

My rant ends here. If anybody here is looking for a research topic I hope I've made the point that there's a lot of fertile ground that has not been covered when it comes to intersex! 💜 (If you wind up writing anything along these lines please do send it my way! 💜)