#Rodolfo Usigli

[boombasticflwrz]

El Gesticulador de Rodolfo Usigli (1938).

Acto primero, página 27

[laguaridadelnagual]

Las mujeres son de Venus y los hombres… ni madres

https://www.youtube.com/watch?v=TXrMN40zeEE Tras cinco años presente en cartelera, más de 300 representaciones y 13 años de éxito, la obra Las mujeres son de Venus y los hombres… ni madres, iniciará temporada en el Foro Cultural Coyoacanense Hugo Arguelles todos los sábados y domingo de mayo y junio. Esta producción de Polichinela Teatro ha recorrido importantes foros de la Ciudad de México desde 2017, como el Teatro Xola, Teatro Hidalgo, Teatro Rafael Solana, Teatro Enrique Lizalde y el Foro Rodolfo Usigli, además de funciones en diversas ciudades del interior como Querétaro y Monterrey y giras internacionales en Costa Rica y Guatemala, donde permaneció en cartelera por seis meses, algo inusual para las temporadas en dicho país. Read the full article

[alfabetas]

"Tuve la impresión absurda de nacer al conocerla". ― Rodolfo Usigli #CartaDeAmor #ElAmorEs

[neverntoo]

Teatro.

Claro, que si me permiten, hace un año escribí con la misma canción que quería estudiar medicina. Pues que equivocada estaba. Después de tanto investigar me di cuenta que el pensarlo me hacía sufrir.

Hace más de 5 años, descubrí una pasión por el teatro y los actores. Y los recuerdos de cuando era pequeña vinieron a mi mente. Cuando mi madre ganaba boletos por medio de llamadas de radio, y así conseguíamos pases dobles para asistir, y recuerdo bien cuando vi Pinocho, cuando vi por primera vez "La Trouppe" y mis ojos quedaron sorprendidos por ese gran telón rojo que llamaba mi atención, por la historia que contaban que me hacía quedarme congelada. Curiosa, al querer saber que había detrás de ese grande telón, de como cambiaban de música y de escenarios, de como actuaban delante de tanta gente y como interactuaban. El maquillaje, el canto y como era una persona detrás de otra.

A pesar de que lo enterré, ese amor jamás estuvo olvidado, siempre estuvo guardado. Todavía recuerdo la obra donde mi padre me dijo que detestaba las obras. Pero no puedo olvidar mi sentir y adrenalina al sentarme y ver el escenario.

Yo con tan poca edad, ¿Cómo iba a enterarme que la vida me pondría esta oportunidad?

Cuando mi mama me llevaba a las obras del Foro Rodolfo Usigli, cuando nos sentábamos y pedíamos alguna cosa en cafetería. Y recuerdo en particular ver "Pan de muerto", al salir, me encontré con la Actriz fumando de su cigarrillo tras la ventana del camerino, al mismo tiempo, me preguntaba que se sentía, y estos recuerdos a pesar de los años siguen aquí, brillando como siempre.

Editando en el futuro, acabo de salir de ver Otto, y definitivamente me cautivo. Que vi al actor y chocamos puños. Que me preguntó mi nombre y que juguetes tenía.

Que mi boca se hizo agua cuando jugaba su pelo, pero mi corazón se destrozó cuando mato y masacro a todos los objetos.

Termine llorando en el baño del Teatro, con las piernas temblando cuando la función terminó.

Que es efímero y toda ilusión acaba.

Gracias vida por dejarme estudiar algo que desde pequeña quise. Gracias Jess por no rendirte. Gracias universo por qué el teatro es mi llamado.

[rebelion20-12films]

Lo necesario del cine (VI)

Por José Luis Mata H.

Gesto

Para T., porque sí.

Maya Deren dirigiéndose a sí misma en su opus At Land (1944).

El gesto es la unidad comunicativa intencional más primitiva; y por primitiva no debe entenderse sólo una sucesión temporal o incluso lógica, sino algo primordial, primacía en el orden de la expresividad, su forma mínima.

El gesto tiene una evolución rastreable: desde el movimiento que simula el acto pero no lo consuma, como manifestación primaria de una intención solamente insinuada, hasta la plasticidad de la disociación entre medios y fines en la que el medio se vuelve, como un célebre axioma dice, el mensaje.

Este acto que no se consuma tiene una filiación en la erótica. El abrazo, la caricia, son acciones del cuerpo, en sí mismas la forma de lo dicho y el contenido. El gesto empieza con la simulación y la mentira, el cálculo de la reacción; el gesto no es una forma pura ni inocente, pero tampoco lo contrario. La emotividad de una sonrisa genuina es distinta a lo que provoca un sonrojarse que delata. El gesto se elabora, la mueca ocurre; el primero informa escatimando, la segunda dice más de lo que debe.

El teatro, simbolizado por la máscara que sonríe y la que llora, Talía y Melpómene, es la forma artística fundamental del gesto, esto es, de la simulación. La máscara misma remite a la idea de algo que, ocultando, devela. En el moderno pancracio que anegó las pantallas mexicanas, el Santo era la estrella, no Rodolfo Guzmán; la base de la identidad era aquello que la mantenía en secreto. No en vano otro Rodolfo, Usigli, hizo de ello, la identidad y la simulación, un tema en su obra El Gesticulador.

Los albores del cine estuvieron muy permeados de teatro, a tal grado que el mismo concepto de la proyección en sala, un elemento tan teatral en sí, se volvió distintivo y llegó para quedarse (no obstante la competencia del streaming que revive un viejo modo de proyectar imágenes, el quinetoscopio y amenaza con desplazarlo). Sí, la luz, la voz y la musicalidad convergen en el cine por encarnar ellas mismas algo ya cinematográfico, ¿pero qué pasa con el gesto? El gesto cinematográfico habita en lo que tiene de referencialidad, en lo que incrusta como guiño. Si hemos de hablar con todo rigor de lo que es la gestualidad en el cine, debe hacerse mención de lo que siempre ha estado allí exponiéndola y sancionándola, el guiño cinematográfico.

El gesto, algo que se repite sacado de su contexto originario y produce la significación. El conato de lo que está intentando, el cine pensándose. El gesto, alma del cine, su don. El gesto, la gestación del cine y la gesta del cine. El guiño. ;)

Fotograma de Guns of the trees (1961) de Jonas Mekas.

Querétaro, 20 de diciembre de 2019.

[paseodementiras]

Ensayo de un crimen

En hombre que se afeitaba con una navaja libre en el soleado cuarto de baño de mosaicos blancos interrumpió de pronto su operación.

-Rodolfo Usigli

[ccborrega]

Feel free to answer any or all of these: R: Are there any writers (fanfic or otherwise) you consider an influence? S: Any fandom tropes you can’t resist? T: Any fandom tropes you can’t stand?

HOW ABOUT I ANSWER THE THREE OF THEM

1. Oh, tons of formal authors. Rodolfo Usigli, Germán Dehesa, Terry Pratchett, Neil Gaiman, Stephen King, VH Laverne... the list goes on. As for fanfiction authors, mah gurl Lauren, who was one of the first fic writers I had real communication with back in 2008-ish, is probably the biggest. I think she was the first fic writer I ever read that was more concerned about communicating than about seeming smart/original/poetic and it made me aspire to achieve that level of sincerity. 

2.You know, everything in moderation, BUT:-Couples sharing a bed-This thing I like to call ‘YOU HURT MY BULMA!!!’ where one side of the OTP that’s usually sort of detached and not big on public displays of affection loses their SHIT when the other is in danger/hurt.-Found families-Friendships that are like ‘We’re kind of assholes to each other but if you hurt my homie you’re DEAD’-Actually friendships in general, but mostly if they’re wholesome, meaningful ones.

3.THERE’S TONS BUT HERE ARE THE BIGGEST OFFENDERS.-That thing where people think falling in love cures trauma/depression/abuse. Like. No. I don’t care what a good kisser you are Chad, I need therapy-Gratuitously hurting characters. I mean... OK, I get it, sometimes YOU GOTTA DO THE ANGST, but when people act like there are no consequences, no growth, no meaning outside rolling around in it like a pig in poo-, it really gets on my nerves. Also, the variety where it’s like the go-to of the author to get a reaction from the rest of the cast and it serves no purpose but trying to seem deep through writing essay’s worth of people crying and angsting. It’s like... holy shit.*Steve Martin voice* Here’s a good idea. Have a point. It makes it so much more interesting for the reader-That ‘You’re not like the other girls’ bullshit. I will spit in your food if the only way to make the female character you’re centering on seem special is making the rest of them intentionally bland. It literally just means you had no better ideas of how to make them special.-Making alternative love interests jerks in order to make the one you’re centering on seem like the obvious choice. BORING.-Gratuitous character death.

[jurgan-jacobo]

#trespatines #latremendacorte #humorblanco #paratodalafamilia (at Foro Rodolfo Usigli) https://www.instagram.com/p/CeG7Ec-rvVQ/?igshid=NGJjMDIxMWI=

[misteriofantasmas-blog]

Article on Mexican literature

 Mexican Literature is one of the most prolific and influential of Spanish-language literatures along with those of Spain, Argentina and Cuba. Mexican literature was mainly inspired by the Spanish Colonizers who ruled over the country for over three centuries. The language used in Mexican literature was the Spanish language and has been used ever since. 

Themes

The emergence of the Mexican Revolution favored the development of journalistic genre. After the civil conflict finished, the Revolution theme appeared as a theme in many novels, short stories and plays like those of Mariano Azuela or Rodolfo Usigli. During the second half of 20th century, Mexican literature had diversified into themes, styles and genres. There were new groups such as Literatura de la Onda (1960s), which sought for an urban, satirical and rebellious literature; among the featured authors were Parmenides García Saldaña and José Agustín; another literary style surged called Infrarrealismo (1970s), which sought to "blow his brains out the official culture"; La mafia cultural (1960s), was composed of Carlos Fuentes, Salvador Elizondo, José Emilio Pacheco, Carlos Monsivais, Inés Arredondo, Fernando Benítez among others. In 1990, Octavio Paz became the only Mexican to date to have won the Nobel Prize for Literature.

About Agustin Cadena’s works

Agustin Cadena wrote two flash fiction stories: The Man With His Back Turned and Train Variations. Both works have very similar themes and direction. They both focus on Mystery and the Supernatural. Most likely because the author himself was likely inspired by the Mexican culture of believing in the supernatural, such as spirits and ghosts

[zainabk-grad505]

Week 3: Sociocultural Mood Board

Music - The music of this era consisted significantly of Mariachi. Mariachi is a Mexican genre of music that originated in the 18th century, consisting of violins, trumpets, guitars, a bass, and a Mexican vihuela (string instrument). Members of the group take turns singing lead, while the other members sing backup vocals. Prior to Spanish arrival and influence, indigenous music was played with drums, flutes, rattles, and conch-shell instruments. 

Fashion - Clothing and fashion consisted of both casual and traditional dress. In the early 20th century, Frida Kahlo was well-known for her interesting and colourful dress choices, which blended her mixed European and Indigenous heritages. For example, she would combine contemporary dresses with Huipil (sleeveless tunic) blouses, and combine silver earrings with indigenous necklaces. She also regularly wore Rebozo scarves (shawls), which symbolised femininity.

Literature - Two prominent literary figures during this period were poet and author Rosario Castellanos, and playwright Rodolfo Usigli. Castellanos is notable for her works regarding culture and gender oppression. Her work has influenced feminist theory, and opened doors to other women in literature following her premature death. Usigli is referred to as ‘the father of Mexican theatre,’ as he established a national identity for the country’s theatre during and after the Mexican Revolution. He believed the objective was to tell the truth about Mexican society.

Cinema  - During the Golden age of Mexican cinema between 1936 and 1956, the Cine Opera was a monumental movie theatre that opened in 1949, and closed in 1998. It is a large, Art-Deco inspired theatre that housed many decorative features and architectural details. Unfortunately, after it’s decline it became abandoned, but still stands to this day. Additionally, the first Mexican narrative sound film was Santa (1932), directed by Antonio Moreno. This opened doors for the development of Mexican cinema further into the century. 

Festivities - A significant traditional holiday in Mexico is ‘Día de los Muertos,’ or ‘Day of the Dead.’ It is traditionally celebrated on the 1st and 2nd of November, and sometimes the 6th of November and 31st of October. It is a celebration of the deceased, and has a joyful and fun ambience. Common practices include giving candy sugar skulls as gifts, and sharing pan de Muertos (a bread dish). The main symbol of this holiday is a skull (calavera), and people wear colourful masks with their clothing. 

Food & Cuisine - In the 20th century, traditional foods such as tortillas, tacos, enchiladas, and salsa became more mainstream in American cuisine. Many Mexican immigrants and Mexican-Americans shared these dishes, and it was incorporated in eateries and everyday life. To create the dough of the flour dishes, ground corn was used, then placed onto a conveyer belt, then hand-cracked to be flattened.

SOURCES ↓

South Coast Repertory. (2019, Aug 09). History of Mariachi. https://www.scr.org/get-connected/south-coast-repertorys-stories/south-coast-repertory%27s-stories/2019/08/09/history-of-mariachi

Mariachi Music.com. (n.d.). Mariachi Instrumentation. https://mariachimusic.com/about/history/mariachi-instrumentation/

Miriam Oesterreich. (2018). The Display of the ‘Indigenous’ – Collecting and Exhibiting ‘Indigenous’ Artifacts in Mexico, 1920-1940. Artelogie. https://journals.openedition.org/artelogie/2201

Golden Age of Mexican cinema. (2022, March 25). In Wikipedia. https://en.wikipedia.org/wiki/Golden_Age_of_Mexican_cinema#/media/File:Cine_%C3%93pera_-_Colonia_San_Rafael,_Ciudad_de_M%C3%A9xico.jpg

National Museum of American History Behring Center. (n.d.). The Mexican Food Revolution. https://americanhistory.si.edu/food/resetting-table/mexican-food-revolution

Dr. Gary Mounce. (2019). Mounce: Your Pueblo, Your Truth: Mexican Art, Universal Truths. Rio Grande Guardian. Advance online publication. https://riograndeguardian.com/mounce-your-pueblo-your-truth-mexican-art-universal-truths/

Rosario Castellanos. (2022, February 2). In Wikipedia. https://en.wikipedia.org/wiki/Rosario_Castellanos

Santa (1932 film). (2022, January 28). In Wikipedia. https://en.wikipedia.org/wiki/Santa_(1932_film)

(2020). Day of the dead, México,1950. [Online forum post]. Reddit. https://www.reddit.com/r/TheWayWeWere/comments/jmfwfm/day_of_the_dead_m%C3%A9xico1950/

Day of the Dead. (2022, April 11). In Wikipedia. https://en.wikipedia.org/wiki/Day_of_the_Dead

Old Woman Making TORTILLAS Vintage Mexican Food Photo RPPC Postcard 1940s. eBay. Retrieved March 8, 2022, from https://www.ebay.com/itm/224556012488

Marlen Komar. (2018, June 15). How Frida Kahlo's fashions brought Mexican politics to the world stage. CNN. https://edition.cnn.com/style/article/frida-kahlo-mexican-fashion/index.html

[lamaletateatroxalapa]

Centro Nacional de Investigación, Documentación e Información Teatral "Rodolfo Usigli"

Fotografía: Josué Barrera

[jurgan-jacobo]

Trespatines y El Tremendo Juez regresan con su TREMENDA CORTE . #latremendacorte #adictosalteatro #humorblanco (en Foro Rodolfo Usigli) https://www.instagram.com/p/Cc9O_oRMtDT/?igshid=NGJjMDIxMWI=

[leonfelipepeni]

🦁🌳🍀🚩¡Hola🖐️familia👨‍👩‍👧‍👦!, un día como hoy, 17 de noviembre pero del año 1905, en CDMX, México 🇲🇽, nació el escritor, dramaturgo, poeta y diplomático: "Rodolfo Usigli". Su obra refleja un gran sentido de universalidad 🌐.

✨¡Feliz día!✨

#ElijoSerPositivo

#ElijoMéxico

#uni²

#usocubrebocas

[onlymexico]

Sofía Bassi (July 28, 1913 – September 11, 1998) was a Mexican painter and writer noted for her surrealist work as well as her personal life, which included five years in prison for murder. She maintained an active career despite incarceration, painting her first mural in prison in Acapulco, with the assistance of Alberto Gironella, José Luis Cuevas, Rafael Coronel and Francisco Corzas. This mural can now be found at the municipal building of the city.

Bassi was born in Ciudad Camerino Mendoza, Veracruz, a town named after her uncle, who served in the Mexican Revolution. Her original name was Sofía Celorio Mendoza, changing it later for artistic purposes.

She studied philosophy at the Universidad Nacional Autónoma de México for two years. However, in 1964 she began to teach herself how to paint.

Bassi was married twice. The first was when she was very young and ended in divorce after producing her first two children, Hadelin and Claire Diericx. Her second marriage was to Jean Franco Bassi, who was descended from Mexican nobility. This union produced her third child, Franco.

In 1968, she turned herself into police and was imprisoned for the death of Count Cesare D’Aqequarone, the husband of her daughter Claire, an incident that she stated was an accident, although rumors stated that the daughter was the one that shot the husband. She spent five years until her release in 1972, but the ruling meant that Claire kept the royal title and inheritance from her late husband. However, she continued to create art, including her first mural, creating on a wall of her prison, with the collaboration of Rafael Coronel, Francisco Corzas, José Luis Cuevas and Alberto Gironella. Many of her other works were published in a book called 100 obras de Sofía Bassi realizadas en la carcel while she was still imprisoned. She wrote a book about the episode in 1978.

Later in her life she worked as a member of the World Human Rights Committee based in New York City. In 1991, she received a medal from the Mexican government for her work with the elderly.

She lived in Lomas de Chapultepec, painting and writing up until her death. About twelve years before her death, she designed and painted a fiberglass “egg-sarcophagus” to be used for her funeral. She considered the egg as a sign of fertility and rebirth, an image of such appears in a painting she did for NASA. In 1998, Bassi died of heart failure at age 85. Her remains were cremated at the Panteon Español and deposited at the Capilla de la Paz in Acapulco, under a cross designed by architect Ricardo Legorreta overlooking the bay.

Bassi began to teach herself to paint, with her husband’s encouragement.

Over her career, she had about ninety individual exhibitions and participated in over 165 collective ones.[4] Her first exhibitions were with the Galería Plástica and the Lys Gallery in New York only a year after she began painting.[2][5] From then she exhibited in Mexico, the United States, Europe and Africa.[5] Important exhibits include those at the Museo de Arte Moderno, La Maison de L’Amerique Latine in Paris, the Selma Lagerlöf Museum in Stockholm, the Tel Aviv Museum of Art and the Galería de la Presidencia de la República in Mexico City.

In 1974 she and over seventy pieces of her work were featured in the book Los Continents del Sueño written by Salvador Elizondo and published in five languages.

She painted two murals during her lifetime. Her first was in her prison in Acapulco, which she did in collaboration with Alberto Gironella, José Luis Cuevas, Rafael Coronel and Francisco Corzas in 1969 called Primero mi patria, luego mi vida. The prison was later converted into a middle school and the mural was later restored and moved to city hall for preservation. Her other mural work was done in 1994 called Sabiadura es la paz at the Universidad Nacional Autónoma de México. After the first moon landings, NASA invited her to create a work to commemorate the achievement, resulting in the work "Viaje Espacial", which was unveiled by astronaut Michael Collins

In addition to her solo efforts she collaborated with artists such as Asger Jorn, Alberto Gionella and Hadelin Dieriex. In 1970, she created the set for the work Adriano VII and in 1976 she painted the main stage partition for the Teatro de la Américas Unidas in Mexico City. She illustrated a large number of books including Obliteración by Rodolfo Usigli, Cero en Retórica by Alfonso Simón Pelegrí, Un Arcángel llamado Claire by Carlos Manuel Pellecer, Don Q by José López Portillo, who became the president of Mexico.

Her works can be found in museums in Mexico, Belgium, the United States and France. These include the collections of the Museo de Arte Moderno, the Selma Lagerlöf Museum in Stockholm, the Modern Art Museum in Tel Aviv and the Museo de Guadalajara. She was commission to paint a portrait of Amado Nervo, which is part of the collection of the Amado Nervo Home-Museum in Tepic, Nayarit. For NASA in 1969, she painted the work “Space Travel”, which later became part of the collection of the Smithsonian.

In addition to her artwork, she was also a writer. In 1966 she published a novel called El color del aire, followed by El hombre leyenda. These were followed by Bassi, prohibido pronunciar su nombre in 1978 and Alfolí, a book of short stories written with poet Bertha Rosalia Gonzalez Aragon. She left two unpublished novels behind after her death.

She was also a frequent participant in round tables, conferences and made appearances on radio and television, including her own shows on XEW, to discuss artistic and academic topics.

Bassi´s recognitions include the Cross of the Order of Malta in 1967, the Prefetto di Terni Cup at the San Valentino D’Oro competition in Italy in 1970, the Legión de Honor in 1975 and membership in the Salón de la Plástica Mexicana.In 1988, the Polyforum Cultural Siqueiros held a retrospective in her honor.

Jean Michel Cropsal in 1972 called her work “magical impressionism,” but is more often classified as a style of surrealism. Bassi described art as an elixir that she wants to drink until the end of her career, to keep from dying. She painted anthropomorphic landscapes representing lost continents and cities, sometimes being surrounded by the arms of oceans and inspired the film Trampa para una nina filmed in Guatemala and directed by Ismael Rodriguez.

[paujasso]

Intervalos Urbanos Versión Juan Rulfo , Josefina Vicens y Rodolfo Usigli. “La ciudad del vacío y su sombra “ Un ensayo visual sobre la cotidianidad que ensambla el camino de pequeños extractos cardinales y de otras miradas en la lógica asociativa de los objetos. Un intervalo que permite varias características. #Ensayo #IntervaloUrbano #PJ2020 #mirarconotrosojos #Covid19 #Fase3 (at Parque de la Insurgencia "La Bola") https://www.instagram.com/p/B_DB5qzDn9K/?igshid=9w9cjh4uc9ic

[whileiamdying]

Raúl Díaz: Arte y tiempo

Rodolfo Usigli, Padre fundador del teatro moderno mexicano, se encargó de dejar asentado que “Un pueblo sin teatro es un pueblo sin historia”. La desaparición de un teatro es, en consecuencia, un hecho lamentable que afecta no únicamente a sus dueños y a los que en él laboran o puedan trabajar, sino a toda la sociedad, ya que, como también se dice, “un pueblo sin teatro es un pueblo sin verdad”. Por eso, la historia que sigue. from La Jornada: Espectáculos https://www.jornada.com.mx/2020/01/16/opinion/a09o1esp?partner=rss via IFTTT