El legendario guitarrista Héctor Starc comparte escenario con su hija María y el mítico Black Amaya en “Cielito Lindo"
 |
| Héctor y María Starc junto a Rodolfo García y Emilio del Guercio (exs Almendra) compartiendo escenario en el CCK, 8 de noviembre de 2019 |
El encuentro será el
próximo viernes 11 de noviembre de 2022 a las 21 horas en el famoso local de Los Hornillos. Será una gran oportunidad para ver a dos pioneros del rock argentino: el guitarrista y cantante Héctor Starc
(Aquelarre y Tantor) y el baterista Black Amaya (Pescado Rabioso/ Pappo's Blues) junto a la cantante María Starc, el bajista Jorge Albornoz, el guitarrista Javier Fernández y Omar
Caraffini en el piano, quienes nos cautivarán con lo mejor del rock argentino de todos los tiempos.
Las entradas ya están a la venta en Cielito Lindo y pueden adquirirse por el número 03544-155-77429.
Cielito Lindo es un emblemático piano-bar de Los Hornillos,
Traslasierra, ubicado en la calle Bonnier a 200 metros de la Ruta 14.
¡A no perdérselo!
.jpg)
¿QUIÉN ES QUIÉN?
Formó parte
de los grupos Los Walkers, Alta Tensión,
Los Pop Singers, Trieste y Aquelarre, agrupación emblemática del rock argentino.
Con Aquelarre
se radica en España durante 4 años y al regreso realizan una concierto de
despedida en el Luna Park de Buenos Aires.
Aquelarre nació de la separación del mítico
grupo Almendra del Flaco Spinetta cuando dos de sus ex integrantes, Emilio del
Guercio y Rodolfo García, convocan a Héctor Starc y Hugo González Neira para
formar un grupo. Sobre esa experiencia
Starc recuerda: “Mi gran aporte allí fue esa guitarra salvaje del rock dentro
de un armado más poético. Ellos me
enseñaron a no tocar todo el tiempo, a trabajar en función del grupo. Me
acuerdo que cuando me llamaron para mí fue como si me hubiesen llamado Los
Beatles.”
En diciembre
de 1996 Aquelarre vuelve a
reunirse para participar del festival Rock Nacional: 30 años y a
posteriori realizan 4 funciones en el Teatro Presidente Alvear y 5 funciones en el Teatro Maipo. Editan un nuevo disco con el material grabado
en vivo en el Teatro Alvear: Corazones del lado del fuego.
En total ha
grabado 11 discos y en 2013 publicó su
primer disco solista: Héctor Starc.
Participó en
las películas Buenos Aires Rock (1983), Spinetta el video (1986) y Pájaros
volando (2010).
BLACK AMAYA (Buenos Aires, 1950). Baterista de rock y blues. Formó parte de las bandas Billy Bond y La Pesada del Rock and Roll, Pappo´s Blues, La Banda del Paraíso, Las Blacanblus, Los Robertones, Pajarito Zaguri, Los Gardelitos, Hilda Lizarazu, Autopista, participando en sus producciones discográficas. Además tocó en discos de Pescado Rabioso, Pappo, Lito Nebbia, Jorge Pinchevsky y La Samovar Big Band, entre otros.
En 2006 crea
su propia banda Black Amaya Quinteto, con
el que graba el disco Concarán y Enlazador de Mundos. La
banda se disuelve en 2010 y en 2015
funda Black Amaya y Los Comechingones.
Empecé a
tomar clases de canto a los 16 años con Randy Miranda, años más tarde con
Virginia Saccomano y en el medio participé de algunas master class a cargo de
Roxana Amed. He cantado en diferentes grupos de Buenos Aires y Traslasierra y
mi padre me ha invitado a cantar algunas veces con él. El encuentro musical más emocionante con mi
padre fue cuando cantamos juntos en el CCK el 8 de noviembre de 2019. En estos
momentos estoy tomando clases de piano con Omar Caraffini a quien admiro
profundamente en lo musical y a quien quiero mucho en lo personal, es un gran
músico y amigo. Mi deseo es componer mi
propio repertorio y hacia allá voy.”
Un hecho
importante en mi vida musical fue ser pianista acompañante de la Escuela de
Danzas Folclóricas de Temperley: es ahí donde comienzo a encontrar mi verdadera
identidad mezclando los ritmos folklóricos con la música clásica, el jazz y el
rock. Desde 2017 toco en Cielito Lindo y otros lugares de Traslasierra.
Actualmente estoy preparando un disco de piano en donde se encuentran todas las
músicas que toqué hasta ahora, reflejando mi búsqueda personal.”
Carlos Giménez: “Our country is the empire of consummated facts, of de facto culture” / Interview by Viviana Marcela Iriart and Ana María Fernández, photo by Marta Mikulan-Martin, translation by Luciana Valente, Caracas, Intermedio Magazine, May 1984
Carlos Giménez (born in Córdoba, Argentina, on April 13, 1946, Aries) is the founder and director of the Caracas International Theater Festival, together with María Teresa Castillo, one of the major drivers of culture in
Venezuela, who has not hesitated to support him since 1971, when the first
festival was held, and who then hired him as Art Director for the Caracas
Athenaeum, an institution she has helped create and of which she is the
president. Carlos is also the founder and director of the Rajatabla
Group, with which he has traveled around the world, winning hundreds of
awards, and which put Venezuelan theater at the center of the global theatrical
stage.
Working
as a director since he was a teen, in 1965 he participated in the First
Nancy Theater Festival with his group El Juglar. He was
19 years old and he achieved something impossible at the time: without any
previous performances in Buenos Aires, he gained international exposure
directly from Córdoba to Europe. After that, they traveled to Poland, where the
group shared the Honorable Mention with East Germany in Warsaw
and received the First Prize in Krakow. Back in Argentina he
faced the indifference of the capital's theatrical world towards his
achievements in Europe. In response, Carlos created in Córdoba the First
National Theater Festival, but was excluded from its organization in 1967,
when political repression was starting in his country. This event decided him
to abandon his home country.
This
interview took place in the context of the Pirandello Festival, which is held in every auditorium and every
space within the Caracas Athenaeum, and which he is in charge of organizing.
According to Carlos Giménez, the “main idea for organizing the Festival
comes from the need to connect theater as a social event within the community
it is inserted in”—in this case, the significant Italian immigrant
population—, to involve private business in cultural activities, to take
culture to all social classes, all aspects in which Venezuelan theater has
stayed a bit on the sidelines. With this purpose, the Caracas Athenaeum plans
to organize annual festivals about other important figures in world
theater.
If you
had to create a minimal autobiography, what aspects of your life would you
choose?
My
arrival to Venezuela in November 1969. Because this defines a lot, not only
professional aspects in my life, but also personal aspects, that is, what I was
going to do with my life and my career.
Then, as
this event divided my life in two, going back to my experiences in Argentina,
one of the most important moments was my high school graduation in 1964 and my
departure to Europe. There I discovered a world that was completely unknown to
me and I was dazzled by it, which meant, at least for me, that I was not going
to stay locked within the parameters set by the city or the country I was born
in. I realized there was a mismatch between what I wanted and what my
environment, my habitat, gave me.
During
that time, I met Jack Lang, who is the director of the World Theater Festival
in Nancy, and now Minister of Culture in France, so that was how in 1964 I came
into contact with international festivals, which was going to be really
important, because Jack Lang invited us to participate in 1965 in the First
World Festival in Nancy. This invitation also extended to the group of people
who at that time were in Europe without having constituted the El Juglar group
yet - the creation of which is another important moment in my life, even though
El Juglar never had neither the influence nor the impact that Rajatabla has had
in Latin America. This participation was extremely important if we consider
that this group that went to the Nancy World Festival and to festivals in
Warsaw and Krakow, Poland, in 1965, was a provincial theatrical group that had
not left Córdoba to go to Buenos Aires, but to participate in these really
important events.
Moreover,
1965 was the year when all the movements which would have a huge impact in the
theatrical world started all at the same time, like Nancy, Grotowski, Eugenio
Barba, Jack Lang, Els Joglars from Barcelona and La Comuna from Portugal. In
Poland, we presented a play which won one of the awards of the International
Theatre Institute (ITI-UNESCO), called “El Otro Judas” (The Other Judas) from
Abelardo Castillo, one of the most eminent Argentine intellectuals from that
time and director of “El Escarabajo de Oro”. With this play that I directed we
won the Honorable Mention together with East Germany in Warsaw and, in Krakow,
we received the First Prize.
How important
was your success in Europe for your career?
It was
crucial. That moment and then the cold reception we had in Argentina when we
presented the same play decided me to leave my country.
And did
you come directly to Venezuela?
No, I
started in 1968 with what would be another fundamental event in my life: a tour
by land from Córdoba to Caracas, which took us 3 months. We went to the
main mining centers in Bolivia, where we presented our shows. I vividly
remember the experience we had in Chorolque, a peak that is 5,000 meters
above sea level and has the highest tin mine in the world. There, since there
was no electricity, we performed using the miners' lights - that is, surrounded
by 40 miners who provided us light with their helmets while we performed a
children's play. This tour meant a terrifying discovery of Latin America, not
just skin-deep. We came into contact with utter poverty in Latin America. We
also performed in fishing centers in Peru, we did a wonderful tour around Peru,
we performed in Colombia and in 1968 we arrived at the Manizales Festival. In
this festival, we presented a play called “La Querida Familia” (The Dear
Family), a baroque anthology by Ionesco, and the jury formed by Ernesto Sábato,
Pablo Neruda, Jack Lang, Miguel Ángel Asturias, awarded us the prize. However,
we still couldn't get to Venezuela - we only managed to do that after
participating in the Second Manizales Theater Festival in 1969, where we met
Omar Arrieche, Director of the Barquisimeto Educational Experimental Theater,
who got us a visa to enter by land.
When was
Rajatabla founded?
On
February 28, 1971, when “Tu país está feliz” (Your country is happy) was
premiered. At that moment we expressed our desire to form a group with a
regular cast, a permanent producer, our own auditorium for the long-term, which
would allow us to evolve our aesthetics and have a very unique repertoire based
on the needs of the group. All of these expectations were surpassed by the
reality of our work. At that time, some important things happened, like the
Caracas International Theater Festival.
Was
Rajatabla already part of the Athenaeum at that time?
Rajatabla
has always been dependent on the Athenaeum in a rather informal way, but with
the success we achieved with our performances—“Tu país está feliz”, “Don Mendo”
(Mr. Mendo)—and finally after presenting the first show we prepared with the
name of Rajatabla, which was “Venezuela tuya” (Your Venezuela) by Luis Britto
García, we became the regular cast in the Caracas Athenaeum.
How
important is the Caracas International Theater Festival considered in
Venezuela?
I
personally believe it is of critical importance, because it consolidates a
whole perspective and a philosophy regarding theater. However, this is a relatively
misunderstood fact in the Venezuelan context, because of the investment it
implies. It's true that it would be really beneficial for the country if the
government invested that money in other important priorities, such as creating
a National Theater School, a National Theater Company, but we know that's not
going to happen. Our country is the empire of consummated facts, of de facto
culture. Furthermore, I believe that this Festival projects and creates an
international relationship for Venezuelan theater, it opens up new structures,
it raises the level of reflection, it powers and qualifies the work of our
creators and it means opening up to incorporate an enormous class to theatrical
activity, especially young people.
We
remember that in 1979 you suffered a serious accident. What did it mean for
you?
That was
another fundamental event in my life. Because through that accident and through
the response and support I got, people's emotional attachment, I established an
important connection with the country.
This year
you're going to direct “Chuo Gil” in the United States. How are you preparing
for this new experience?
With
great enthusiasm, because it means entering the United States professional
theater, with a very important cast, within a different framework and with a
huge production team and an almost mechanical production. It means entering a
state in my profession that is perhaps less human but very interesting to go
through.
What do
you think are the most important values in your theatrical work?
Firstly,
I'm getting more and more terrified of formulas. I find it hard to rationalize
my work method. I can use 4 or 5 of Stanislavsky's concepts, introduce elements
from Brecht's technique, but I'm not an educator, I'm not a teacher.
But are there
specific formulas you reject?
No,
that's something I did at the beginning, but I'm rejecting less and less.
There's an already trodden path that you need to travel sooner or later. What's
wonderful about theater is that inapprehensible sense that you never know
what's going to happen, that intangible element for which an actor might
perform in a completely different way than on the previous day. There are some
topics that I'm invariably interested in, such as timelessness - theater is not
a video, it's not a movie, it's something absolutely temporary in essence. When
the curtain comes down, we know that we've seen a performance that will not be
repeated ever again. Another fundamental topic is that of space and time, and
the reaction to these two elements from the director, the actor and the
spectator. That is why I have paid special attention to staging and to keeping
away, as I believe great creators have done, from acting mechanically, from
reading the text in a literal way. For example, Stanislavski, who made a
comprehensive analysis of actors, did not dissociate the work of the actor
himself from external elements, for example smell - he said he wished smell
would come from the stage. And that is what I call paying attention to reading
plays non-literally.
Why have
you decided to set up “Tu país está feliz” again?
Because
my aesthetical proposition is not dissociated from my ideological proposition.
I want to set up not only that play but also the 20 shows I did there once
again. To perform a kind of live dive to see what happened with everything that
has been done before. Reflecting from a long distance allows you to see things
much more deeply, and personally it allows me to discover what hidden territory
I can tread on to make a new recreation. I've been accused of being reiterative
and it's true - I am a kind of Manichaean who has enclosed himself within a
series of personal codes and I will not be free until I have exhausted them.
They are like the ghosts I accept I'll have until I get free of them.
©Viviana Marcela Iriart and Ana María Fernández
Photo by ©Marta Mikulan-Martin
Translation by ©Luciana Valente
Caracas, Intermedio Magazine, May 1984
Note by VMI:
Although all articles about Carlos Giménez say he was born in Rosario, which is
true, when we interviewed him Carlos was very busy organizing the Pirandello
Festival, so he asked us to leave him the questions saying he would answer them
in writing. He loved writing and he did it very well. And he wrote:
“Carlos Giménez (born in Córdoba, Argentina, on April
13, 1946, Aries).”
La actriz y cantautora Cecilia Bellorín celebra las bodas de plata de su espectáculo "¡Melanina Brown!", Barcelona, 21 de octubre 2022
El espectáculo se presenta en Barcelona, España, donde la venezolana Cecilia Bellorín, ex Rajatabla de Carlos Giménez, vive desde hace más de 30 años.
A Garcia Marquez tale Opens Festival Latino, by Stephen Holden, The New York Times, 3 august 1989
Joan Baez entrevistada por Mona Moncavillo, Revista Humor, Buenos Aires, junio de 1981
Nota: Joan Baez no lo podía decir: ya le habían puesto una bomba, echado del hotel, vigilado segundo a segundo por la dictadura argentina... pero el objetivo real de la gira era realizar un documental -clandestino por supuesto- sobre las violaciones a los derechos humanos en Argentina, Chile y Brasil, entrevistando a familiares de personas detenidas-desaparecidas.
Lo logró arriesgando su vida y, además de transmitirse por la televisión pública de Estados Unidos, se lo presentó a Jimmy Carter, presidente de su país. El documental se llama "Joan Baez in Latin America: There but for fortune" y es impresionante.
AMIA 28 años: "No tiene olvido el amor" de Víctor Heredia interpretada por Susana Rinaldi, Sandra Mihanovich, Teresa Parodi, León Gieco...
"A 28 años del atentado a la AMIA, familias de artistas se reunieron para interpretar esta hermosa canción compuesta especialmente por Víctor Heredia.
A través de la música se transmite de generación en generación el legado de la memoria colectiva y el reclamo por justicia.
#AMIA28años"
Fuente: AMIA
Carta manuscrita de Carlos Giménez a la actriz Gladys Reale, Argentina, 1970
Gladys Reale fue la protagonista de la obra Fuenteovejuna, de Lope de Vega, versión y dirección de Carlos Giménez en el Teatro Real de Córdoba, marzo de 1970. La obra no le gustó a la dictadura argentina y Carlos fue detenido durante dos días, lo que lo llevó a exiliarse en Venezuela. Esta carta fue escrita en el aeropuerto momentos antes de abandonar Argentina para siempre y le fue entregada a Miguel Bazano, esposo de Gladys, que no pudo acudir a despedirlo debido a un accidente.
“Después de regresar de Colombia tuve la satisfacción de montar Fuenteovejuna. Pero pasó que entró la policía y a los golpes me sacaron del teatro y me encerraron en el Cabildo por 48 horas. Fue mi padre a sacarme. Entonces no tenía más remedio que partir.” Carlos Giménez, entrevista, La Voz del Interior, Córdoba, 22 de octubre de 1990.
"Cuando terminamos la obra Carlos nos dice: “yo me voy, acá no da para más”. Y mi señora y yo íbamos a ir a despedirlo pero en ese interín mi señora tuvo un accidente, se cayó del ómnibus, entonces ella no pudo ir. Y Carlos en el aeropuerto me escribe una nota muy linda para ella." Miguel Bazano, entrevista, 27 de junio de 2022
Fuente de la carta: Miguel Bazano
Carlos y Anita Giménez en el campo de concentración nazi Auschwitz, Polonia, 1965
 |
| Enrique Introini, Carlos Giménez (19 años) y su hermana Anita Giménez en Auschwitz, 1965. Gira europea de El Juglar por Francia y Polonia, donde ganaron 3 premios: uno en Francia y dos en Polonia. Fuente: Jorge Arán |
Suscribirse a:
Entradas (Atom)