Miguel Angel Morelli
He is one of the most recognized Santa Fe singer-songwriters. Creator of famous successes, such as “Cantor de Oficio”, “Tribute to life”, “Requiem for a polishing child”, “For this love without time”, “Zamba Gris”, “For being born in Vera”, “El moncholito Ramón”, “Entrerriana por otros”, “Pride santafesino”, “What you are, my chamamé”, “The grandparents Rosa and Juan”, etc.
As an interpreter, he was deserving of a large number of awards, among which are “Cosquín 1976 Consecration Award”, “First Prize as Soloist of Provincial Delegations in Cosquín 1973”, “Gold Medal for Best Santafesino Interpreter awarded by the Superior Government of the Province of Santa Fe”, “Carlos Gardel de Oro year 1995”, “Winner as author of the 2nd. Viña del Mar Festival Award (Chile), international folklore, 2001”.
He was born in Vera, Santa Fe Province, a region of quebrachine and tangled mountains, a landscape that populated his childhood of fantasies, mysteries, and legends as well as all the tenderness that only small towns generate and direct contact with the generous and mystical nature.
Such characteristics of life could not help but provide a special and exquisite sensitivity and imagery that later returned in songs and poems of unmistakable quality and style, reaching several of his works significant national and international impact.
He also owns a very particular, pleasant and penetrating voice, which not only wins the greater applause of all audiences who enjoy his performances but also excels in recordings for his personal interpretative effectiveness, enhanced by a carefully selected repertoire. With discretion and good taste.
It is a genuine minstrel of life, love, man, and landscape.
The exhibition of the Mendietas in tribute to Fontanarrosa were inaugurated in Rosario in 2007 and today reaches home from Santa Fe to celebrate the night of the Provinces.
Among the numerous activities in tribute to the creator of Boogie the oily one , perhaps the one that most caught the attention of the Rosario people for their preparation, their originality, and for their attachment with that “feeling of friendship” that characterizescurls to “the Negro”, was the exhibition entitled “Mendietas”.
Florencia Balestra, deputy secretary of culture of Rosario, confirmed to Profile.com this theory by stating that the sample arises because “being the death of El Negro’ close to Friend’s Day, we imagine an icon of friendship and the dog is the best friend of man, and there is no dog more adorable than Mendieta: simple, austere, charming and great friend of Pereyra Toilet. That is, a little he was chosen with this idea of representing friendship. With his ‘Table of the Galans’ he made, watered and maintained throughout so long this whole question of friendship, and that is why he is so dear. ”
The sample is brilliant: 23 Mendietas, of the same size but with different representations in their dresses, their decorations, their elements, and with the own seal of each artist.
“For now, there are 23, but I think there will be more amount of Beggars that will be added over the months,” says Balestra, proud of the result of the sample. And he clarifies that “the artists are all Rosario, and of all ages. There are consecrated people, there are emerging people, there are young people, people with a long history, and even afterward, other artists will join, and they will also bring other versions.
Nomad Read Theater
Nomadism
Santa Fe artists living in Buenos Aires will always be able to express this experience from each perspective.
Nomadic
It is a concept that I chose to announce and to name the moment to share with three theater makers: María Rosa Pfeiffer, Patricia Suarez, Edgardo Dib.
Nomadism is a worthy practice that involves moving from one place to another, and this term is used to name a way of subsistence that man developed throughout history and still does.
I am interested in being able to think about nomadism in relation to the word, since it has the particularity and power of wandering in writing, in direction, in actors, and in spectators. The word goes on a journey and acquires senses in the voice of each performer. This network of senses is interpreted by each person, and this manages to be part of our semic field. This democratic and resistance act implies being able to build fields of unique and singular readings, ensuring that language does not fossilize, or interpretive functions crystallize.
The word ties temporarily in theatrical performances and in the voice of the actors. Writing, directing, acting, reading, watching, and listening are transitive and transcendental verbs, which involve celebration and grief, origin, and end.
This cyclical process invokes other aspects of nomadism, which is a collective act and a do among many different ones. Meet to find and find prosperous lands, build roads that later become common and others that are cleared. In that doing, we collect dreams, utopias, affections, and we also achieve projects. It is the nomadic process that makes us generous and ventures into the theater journey.
It is unique to know that nomadism attends more to orality than to writing, and that is why today we are interested in addressing the word in the voice. The writing cohabits and does not lose its importance for this reason, but we can understand it inexorably to orality.
The voice and the body give action to the word, renew it, make it progress and not as mere adornment, nor in terms of perfection. To act the story is to make it walk, to move the text, offer the gesture, and discover our bodily, affective, and perceptual dimensions.
To make collective use of the word is to celebrate with the body the possibility of integrating it into our cultural heritage, building our myths, , and accepting the uses that each culture assigns to it.