26 de mayo de 2011

2012: The end of the world?

Mayan End of World Prediction Explored in Film
Texas Guardian
Friday 20th May, 2011

In recent years, the idea that the world will end on December 21, 2012 has gained attention and spawned thousands of web sites, blogs, books and even a Hollywood movie. Although scientists generally dismiss the idea, curators of the Museum of Natural Science in Houston decided to use the prediction as a hook to draw visitors into the world of the ancient Maya. They do it through a planetarium film and an exhibit being prepared for next year-- just in time, some might say, for the end of everything.



The film shown on the museum's huge planetarium screen examines myths and rituals of the ancient Maya in southern Mexico and Central America. It focuses on the Maya calendar, or long count, which was divided into baktuns of 144,000 days each.

From the film: "All Maya kept the same ritual, solar and long count calendars, using them to describe the past and foretell the future."

On some surviving calendars, everything ends on the day equivalent to our date of December 21, 2012.

Carolyn Sumners, Vice President of the museum's Department of Astronomy and Physical Science, supervised the film project. "There is an alignment with the center of the galaxy on December 21st. It just happens that the Maya 13th Baktun starts on December 21st, at least in some of the calendars, and there is just enough going on to make one wonder if it is all connected," she said.

But the film makes clear that the Maya were not necessarily predicting catastrophe.Sumners says the end of Maya time periods generally were regarded the same way we look at such things as the start of a new century or a new millennium. "It seems to be a cause of celebration. There does not seem to be any indication in the Maya writings of great disaster. They did believe in the end of time; they talked about great floods,
Sumners explained. "All these things were discussed, but they did not tie them to the long count."

To bring audiences into the world of the Maya, Sumners and her team went to four sites in Mexico and Guatemala to shoot extreme wide-angle video of the ruins.

They employed computer-generated images to show what those sites might have looked like centuries ago when they were the centers of great Maya achievements in math and astronomy.

Visitors to Houston's Natural Science Museum can also see Maya artifacts on display.

Curator Dirk Van Tuerenhout is developing an even larger exhibit for next year, to coincide with the end-of-world date. "It is a combination of all kinds of sources of information that we are pulling together to tell the story of the Maya culture, ancient Maya, colonial Maya, modern Maya," said Van Tuerenhout.

The Maya civilization collapsed more than 500 years ago, probably because of environmental changes that undermined its agriculture. But Maya people still live in the Yucatan peninsula and parts of Central America and many have emigrated to Houston.

Researchers have used their knowledge of modern Maya languages to decipher the ancient hieroglyphs, and many top experts in this field are at the University of Texas.

Van Tuerenhout says they offer valuable insights. "The ancient voices are speaking through these very few individuals who can read and decipher Maya writing," he said.

Van Tuerenhout says ancient Mayan sites continue to provide new information about the mysterious ancient civilization and its achievements.

He says the Museum's goal is to show people that there is much more to the Maya than a spurious prediction of doom.

19 de mayo de 2011

"Chicago" in Buenos Aires, New York and London!

Buenos Aires' Teatro Lola Membrives houses one of the most powerful pieces of musical plays: CHICAGO. It is a musical with lots of history behind, and in Buenos Aires is being staged for the third time. The following is a review of the current Broadway production.




Judging by the performance of “Chicago” I recently attended, it's easy to see why it's lasted so long. Six years is a milestone for a show that at first blush seems so dramatically hollow. But with this one, it's really all about style, and stylistically, this is a gorgeous living tribute to Broadway style master Bob Fosse, with a tremendous assist from composers John Kander and Freb Ebb.

It continues to be a lean and mean production; there’s nothing windy about this “Chicago.” In the leads now are Charlotte D'Amboise as the murderess Roxie Hart, and her jailmate Velma Kelly, played by a scintillating Caroline O'Connor.

Another revelation in this cast is movie star Billy Zane as the suave mercenary lawyer Billy Flynn. Besides being dreamy to look at, he has all the requisite chops for Broadway. Making his New York debut, Zane’s crooning and confident acting is on par with any polished veteran.

D'Amboise plays up the hometown girl in Roxie, lowering the temperature a bit on a role that others have turned red-hot. But she brings a kind of giddy, free-spirit to the part that is utterly charming. Her extended solo turn that seemed entirely improvised was sensational.

Caroline O'Connor is slinky and sexy and loaded with attitude. With her smashing singing voice and fat-free body, she is one very impressive package.

Of course much of the credit for keeping the show in such fine shape goes to Director Walter Bobbie and Ann Reinking, credited with choreography in the style of Bob Fosse. In this faithful recreation they manage to enhance Fosse's dazzling work, never to detract.

“Chicago” is a show that can take some serious tampering, and part of the brilliance of the creative team is knowing just how far they can alter the original concept without losing its essence.

Roxie's husband Amos was played six years ago by the very trim song and dance legend Joel Grey. Now, the role is filled out by the physically opposite Rob Bartlett, and the results are equally satisfying even though Bartlett neither sings nor dances.

And as the prison matron Mama Morton, there's the booming voiced, ample-bodied Roz Ryan, who adds a wonderful new dimension to the part, created by the great character actress Marcia Lewis.

But the true keepers of the Fosse flame are the dancing ensemble. These mostly unheralded triple threats are always onstage, and it seems never short of vitality or style.

Six years usually spells the geriatric ward for a Broadway show, but whether it's the showbiz equivalent of Viagra or tremendous quality control, "Chicago" continues to hold up beautifully.


The trailer to the original London Production