per ora metto solo questo video..

a volte penso che non sia giusto che esista gente del genere.. mi sento troppo un impedito..

Según la Wikipedia, la Generación X considera rangos que van del año 1965 hasta el de 1984 pero aclara que se debaten las fechas exactas que definen a esta generación, en terminos generales suele afirmarse que la Generación X va del año 65 al 75, aunque también hay quienes lo llevan hasta el 81.

Crecimos viendo caricaturas inmersos en la fantasia de la televisión, la gran mayoria hijos de Baby Boomers (esto en referencia de aquellos nacidos en tiempos de gran crecimiento poblacional), entrando a los 80's nuevamente la televisión pero ahora con MTV como protagonista acercandonos música en video, New Wave, Rock Pesado ligeramente empapado de la esencia del Pop, siendo jovenes con menos manifestaciones ideologicas que la generación anterior, pero con la misma rebeldía de todas las otras generaciones.

Sumando a todo esto, la cinematografía ochentera con Los Gremlins, Poltergeist, Amadeus, Los Cazafantasmas, Footloose, Flashdance, Top Gun, las peliculas de Molly Ringwald...

Además del gran descubrimiento de esa generación: los videojuegos desde su forma más primitiva, el Pong y el Breakout, hasta llegar al Pac Man y al Mario Bros, pasando por Space Invaders, Asteroids y Galaxian, entre otros, al principio por medio de las consolas que habia en los establecimientos y después con el Atari.

Ya después del cubo de Rubik, el walkman y todas aquellas cosas que ocupaban nuestro tiempo en los 80's, llegaron los 90's con un sonido nuevo llamado Grunge, con Nirvana como principal representante, junto a Pearl Jam, Soundgarden, Pixies y Sonic Youth.

A continuación DIEZ DIFERENCIAS GENERACIONALES que circulan por la red:

Estas son, de acuerdo con los expertos, diez diferencias específicas de mentalidad:

1. Colaboran más.

"Los integrantes de la generación "X" son más colaboradores. Se toman el trabajo de equipo en serio. Los miembros de la generación "X" crecieron con la idea del equipo, y les gusta". En cambio, en el caso de los ejecutivos tradicionales el concepto de trabajo en equipo se introdujo cuando muchos de ellos ya tenían algunos años inmersos en la empresa. Algunos todavía manifiestan reticencias en cuanto al valor del trabajo en equipo.

2. Dan menos valor a las jerarquías.

Por lo tanto se debe tratar a los miembros de generación "X" como iguales, no como subordinados. Es necesario incluir a los miembros de la generación "X" en el proceso de aprendizaje. Si un instructor le da una orden a un ejecutivo tradicional, probablemente la lleve a cabo. En cambio, es muy posible que el de la generación "X" no lo haga hasta que esté convencido de que es lo correcto.

3. Son más altruistas.

Los miembros de la generación "X" ingresan a las empresas y aceptan participar en proyectos laborales por razones más altruistas que los ejecutivos tradicionales. No consideran que el estatus está necesariamente vinculado con el éxito y la felicidad.

4. Se sienten más a gusto trabajando al lado de mujeres que los ejecutivos tradicionales.

Esta es la primera generación en la cual tanto hombres como mujeres no tienen ninguna preferencia por tener un jefe hombre o mujer.

5. Son más hábiles para la administración.

Más miembros de la generación "X" han estudiado administración formalmente, y tienen un enfoque más profesional que el que tenían los ejecutivos tradicionales a la misma edad". A diferencia, los ejecutivos tradicionales terminaban en puestos directivos sin ninguna capacitación.

6. Son la generación de la informática.

Las computadoras siempre han formado parte de su vida, y las manejan mucho mejor que los ejecutivos tradicionales. Los "X" son la primera generación de la informática".

7. Insisten en equilibrar la vida y el trabajo.

Para un miembro de la generación "X" esto es de suma importancia y generalmente valoran mucho el tener y disfrutar una vida independiente del trabajo.

8. Tienen diferentes estilos de comunicación.

Los ejecutivos tradicionales son poco asertivos y tienen un estilo de comunicación mucho más "diplomático" para hablar, incluso cuando se dirigen a sus compañeros de curso son más indirectos; los de la generación "X" tienden a ser más abiertos y directos.

9. Son menos leales.

Si la lealtad se define como la disposición a quedarse en una compañía en las buenas y en las malas, los miembros de la generación "X" no pasan la prueba. Siempre están listos para cambiarse al próximo trabajo, ya que tienen más confianza en sí mismos que los ejecutivos tradicionales. Cuando un trabajo ha dejado de ser satisfactorio desde el punto de vista creativo, intelectual, emocional o económico, no tienen miedo en actualizar su curriculum e ir en busca de un nuevo empleo. Los miembros de la generación "X" son leales a su profesión, no a su empleador, mientras que los ejecutivos tradicionales mantienen la lealtad a su compañía y sienten que los demás deberían pensar igual.

10. Ignoran las reglas.

Los miembros de la generación "X" siempre están deprisa, luchan para obtener resultados y tienden a esquivar reglas y procedimientos. Están dispuestos a correr riesgos e innovar, incluso cuando ello pueda enloquecer a un instructor.
Los miembros de la generación "X" no dudan en criticar los estilos de administración de los ejecutivos tradicionales y con frecuencia se quejan de ello. Dicen que los ejecutivos tradicionales se saben el discurso pero no lo siguen; ponen poca atención en la participación y el trabajo en equipo.

Es más, consideran que muchas veces los ejecutivos tradicionales y los instructores a menudo piensan: "Estamos en lo correcto, ellos están mal", y tratan de cambiar la actitud de los jóvenes.

Con frecuencia el primer error que se comete al tratar de capacitar a un integrante de la generación "X" es suponer que él o ella se parecen a un ejecutivo tradicional. El segundo error consiste en tratar de cambiar a toda costa su mentalidad. El tercer error es garrafal y tiene que ver con el hecho de dar demasiada importancia a las diferencias generacionales.

Douglas Coupland, escritor canadiense, popularizó el término Generación X en su novela "Generation X: Tales for an Accelerated Culture" publicada el 11 de marzo de 1991, que fue aclamada por la crítica al capturar el momento de la gente de aquel entonces, para la cual el título resultaba especialmente apropiado. Sin saberlo, había hecho popular uno de los nombres de toda su generación (su edad coincidía aproximadamente con la de la Generación X). A raíz de esto, Coupland participó en una serie de anuncios promocionales de la MTV, leyendo fragmentos de su libro. A la "Generación X" también se la conoce a veces como Generación sin nombre. La sucesora de esta generación se conoce como la Generación Y.

We all know you will need to print certain documents, especially if you're attending a meeting or if it requires your review and approval. It's OK to print some things, but if you do, only print the pages you really need and/or use the double-sided setting on your printer to minimize the amount of paper wasted. It makes the environment happier, and you can be happier knowing that. Our printers at Amadeus North America are set to double-sided by default. It helps! Now, after you're done with those documents make sure they go to good use by recycling them.

Another great way of going green is to use e-mail as your primary communication. If you need to provide your customer with an Itinerary or Invoice, why not e-mail it? Amadeus provides you with the ability to e-mail documents to your customers, and AeU provides you with the E-mailing a Document QuickStep that shows you how.

One of the advantages of technology is to reduce the traditional resources used like paper, so why not use it? Not only will your agency come across as a technically advanced agency, you'll be helping the environment.

We also recommend to add a "Think before you print" policy in your e-mail signature and documents as a way to "pay it forward."

Are you already cutting down on paper? Tell us how!

- ¿Sabes de qué trata la "Urraca Ladrona"?

- No tata, no la "cacho".

- Yo te la voy a contar...

Ese recuerdo lo mantengo fresco en mi mente, esa conversación con mi abuelo a los pies de las escaleras de su casa. ¿Mi edad? no la recuerdo pero tal vez tenía 11 o 12 años y en aquel momento mi abuelo me contó la ópera de Rossini, en verdad me contó muchas más, pero lamentablemente mi memoria no las retuvo y no me acuerdo... ahhhh, recién se me vino a la mente "Madame Butterfly" de Puccini... ajajaja como el baúl va lanzando objetos.

Cuando era aún más pequeño recuerdo escuchar música clásica y ópera en mi casa porque a mi madre le gusta, además observaba y jugaba en el mueble repleto de discos y actualmente cds de diferentes compositores.

Pero esa herencia no surgió de la nada, sino que la trajo mi abuelo, que era un adicto a la ópera. Cada semana tenía su asiento reservado en el Teatro Municipal de Santiago para ver la obra de la temporada y cuando estaba enfermo se sentaba frente al televisor para ver en el Films and Arts el espectáculo.

Desde ese tiempo valoré la música clásica en su simpleza, porque cuando pequeño me gustaba porque era agradable al oído y cuando ya crecí un poco me dí cuenta de su grandeza en lo complejo que es una orquesta. Impresionante ver lo que hace una nota junto a otra, o cuando cambia de ritmo, o cuando se queda en silencio, o cuando se repite, o baja el volumen, o sube... cuando entra un instrumento nuevo, o cuando sale...

Pero lo que vemos y oímos es una sola obra, una majestuosa y compleja obra. Como muchas obras que se nos presentan en la vida, cosas que la vemos como una masa compacta, gigante, como una obra terminada, pero que poseen muchos detalles y partes.

Pero volviendo a la música clásica y a la ópera principalmente estaba diciendo que pequeños artilugios crean una gran obra. Un puño talentoso escribe una nota, luego otra y nos encontramos frente al paraíso, infierno, en un mundo de violencia o alegría, en un campo o playa, etc.

Hace poco vi una película que me gustó, se llama “Amadeus” y es de Milos Forman. La película trata de la vida de Amadeus Mozart, pero contada por el eterno enemigo de él: Salieri.

Estos dos personajes han sido base de inspiración para muchos, como la obra de teatro de Peter Shaffer en que está basada la película, también de una ópera de Rimski-Kórsakov y diferentes poemas.

La película muestra al Mozart genio, y todo lo que conlleva aquello: orgullo, lujurioso, loco, enfermo, perseverante, frustrado. Algunos critican a la película por derrocar a ese ser perfecto, pero yo la encontré sencilla y precisa. Mostrando una imagen cercana de cómo tal vez fue él, además el director utiliza el lengua musical en diferentes etapas y claramente, donde las palabras sobran. Se las recomiendo a todos.

Esta película me inspiró escribir esto, una analogía donde diferentes situaciones normales (como ver una película) lo inspiraba para crear sus grandes obras… ya sea para expresar su pena, alegría, odio, frustración.

(Agradezco a mi musa siempre presente, no me aguanté y te llame. Necesitaba llamarte, necesitaba sentirte, necesito tocarte.)... mi locura ¿no?

Pero como toda película debe terminar y ya los debo cansar, con esto terminaré. Volviendo a mi “tata” que ya hace 9 mese que no está. Realmente no fui muy cercano a él por ser el nieto menor, pero un legado dejó a mi madre y que ella me a inculcado algo a mí… La música clásica, el piano que está a mis espaldas, el majestuoso arte de volar con las notas.

Resuena aún en mi mente fresca “Nabuco” de Verdi, aquel fragmento que pusieron en su funeral. La iglesia grande y resonante… él descansando y sonriendo.

“Va, pensiero, sull'ali dorate,

va, ti posa sui clivi, sui colli,

ore olezzano tepide e molli

l'aure dolci del suolo natal!

Del Giordano le rive saluta

di Sione le torri atterrate...”

Our DC buddy Patrick – solo as his wife was stuck in Beijing not enjoying the Olympics  - recommended taking in the Prague Castle changing of the guard. A tradition dating way back to 1989, dudes with rifles and baby blue uniforms festooned, like any good lowrider jalopy, with tassels and fake regalia perform this 15 minute ritual to a crowd of touristas that would fill Yankee Stadium. We duly arose early, and headed up more damn steps to arrive before the 10am exchange. We incredulously witnessed an event that paled in comparison to visiting the mirror labyrinth – two not very still guards standing in a refashioned outhouse were replaced by two self-same guys after a ritual slightly more interesting than the night crew arriving to your local Walmart. April filmed the dismal event and we entered the complex to later discover that the much larger procession takes place at the other end.

More steps - how exciting

The wrong gate and wrong outhouses

Outfits concocted by the Amadeus costume designer

As to the rest of the grounds, St Vitus Cathedral occupies the center with sundry museums, cafes, and all 210,453  tourists from the Charles Bridge completing the complex. To access the numerous venues, one needs to purchase a pass. Hesitantly we attempted to but the rejection of our credit card by the seller who advertises Visa pissed us off so we walked out. We went as far as withdrawing cash for the day plus taxi fare to the airport from an ATM, but we looked at the cash (one bill equivalent to $120), looked at every person whose ever visited Disneyland, and said screw it. The cathedral is accessible sans admission, but the 40 kilometer line of tourists failed to prove enticing.

Panorama of Pain

“The biggest paper model of Prague Castle.” A Brit said, “Wow, that’s quite a boast.”

What the hell are we going to do with this bill?!?!

We bought some wooden pig connected to a spring as a Christmas tree ornament, and finally picked an outdoor café for lunch, in order to break the 2000 Koruna bill the ATM foisted on us. I can’t recall what we ate – possibly because a large explosion occurred mid-meal right down the hill (apparently just some construction-related DYNAMITE, the possibility of which they failed to inform us of.).

Apparently large explosives are OK

Apparently only for Jewish Vegan dieters

A little more shopping, a weird-ass conversation with a self proclaimed New Yorker in a Montreal Expos cap with a veiled British accent and corroded teeth, a glance at the Alfons Mucha stained glass, and we were done with it. Per the Lobkowicz Museum curator’s advice, we descended down the north side of the hill hoping for a different experience. It was great until we got about halfway down to the entrance to some sort of garden, of course, charging admission. With no other outlet we had to climb back up and walk back to the other end of the complex to exit, ducking past the entrance to the museum we promised the curator we would return to.

Mucha stained glass under layer of soot

]]> http://maryclaire.wordpress.com/?p=272 Wed, 17 Sep 2008 23:02:28 +0000 maryclaire http://maryclaire.de.wordpress.com/2008/09/17/eat-my-pantaloons/

What a treat for the senses is Amadeus.  Beautiful to look at: Amadeus was filmed in Milos Forman's home country, Czechoslovakia--mostly in Prague.  Because preserved examples from all periods of its history were readily available--other European cities had become too modern.  An old European city is a beautiful thing.  Plus there are  some scenes filmed in the actual opera houses that premiered Mozart's operas.  Speaking of which,  the music is just completely gorgeous to listen to--Obviously I'm not the biggest classical music fan,  just a taste of it is great. The taste here is a feast.  We pretty much spent most of the day listening to our one and only Mozart cd.  Which we got for free.

Great acting in this movie. Milos Forman did a great job of casting some semi-obscure American actors who do a bang-up job.  The only one who had any sort of prior major screen role was Tom Hulce, who was Larry in Animal House six years prior. Hulce's Mozart laugh is completely contagious; his bratty behavior, wonderful.   Elizabeth Berridge who played Constanze,  was a last minute replacement for Meg Tilly, was a complete film novice.   My Facebook friend, a very young Christine Ebersole makes an appearance as Salieri's and Mozart's Diva.  And although he is the guy hung from the helicopter in the Brian DePalma Scarface F. Murray Abraham (Salieri) was perhaps best known as TV commercial actor (he wasa talking leaf in a series of television commercials for Fruit of the Loom underwear). Thanks to Amadeus, he is an Oscar winner. Interesting lives these actors have.

For dinner we went with that other Wolfgang, Wolfgang Puck (he's also Austrian) and a classic--Goulash with spaetzle( little Austrian dumplings)

2 tablespoons extra virgin olive oil
4 cups onion, thinly sliced
1 tablespoon sugar
3 garlic cloves, minced
1 tablespoon caraway seeds, toasted and ground
1 1/2 tablespoons sweet paprika
1 teaspoon spicy paprika
2 tablespoons minced fresh marjoram leaves
1 teaspoon minced fresh thyme leaves
1 bay leaf
3 tablespoons tomato paste
2 tablespoons balsamic vinegar
4 cups chicken stock
2 1/2 pounds beef shank, cut into 2-inch cubes
1 teaspoon kosher salt
1/4 teaspoon freshly ground black pepper

1. In a large sauté pan, heat the olive oil and sauté the onions and sugar until caramelized. Add the garlic and caraway seed. Cook another minute.

2. Add the sweet and sharp paprika, marjoram, thyme and bay leaf. Sauté another minute, until fragrant.

3. Add the tomato paste. Deglaze with the vinegar and the stock and add the pieces of beef shank, salt and pepper. Bring to a boil, then lower to a simmer and cook until very tender, about 1 1/2 hours, stirring occasionally.

4. Taste and adjust seasoning with salt and pepper.

Prepare Spaetzle according to package directions

Serve with spaetzle on the side

For our choice of beverage we had a nice Weiss beer from Austria and a Czech beer called Rebel.  Very nice

While out shopping for the spaetzle I found these Mozart chocolates at a local European market.  They're not exactly the "Nipples of Venus" Salieri feeds to Constanze, but they were close.

GO TO: http://www.youtube.com/watch?v=fASnM5a0lmU

D'amadeus style is alternative soft rock, pop and yet deep with his style of writing and unique lyrics. This new artist is really creating a buzz and making waves....Be one of those that can say I remember when he was just making it.....

Also check:

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www.theamadeus.com

For some more of his songs, you will not be disappointed.

Whose ship will you be able to hitch a ride on next ? What species will the pilot be ? Will he, she or it fly fast or slow ? Take shortcuts through a dangerous meteor shower or just use nearby moons for gravitational slingshots to conserve the precious fuel ?
Either way, the mission is to continue exploring this unique galaxy, find and collect new sounds, discover new beats and ride the aural wave of fresh dub in all its forms.
This is the journey that is:

HITCHHIKING THROUGH DUB.

------------------------------------------------------------

STREAM & DOWNLOAD IT HERE:

http://www. musicv2. com/listen. php?m=53891

OR HERE

http://www. zshare. net/audio/186622823a1d1c3f/

------------------------------------------------------------

OR CLICK ON CD COVER TO STREAM & DOWNLOAD:

Let's face it, if we drank water at the rate we search the Internet, we'd all be drinking those eight glasses of water a day with no problem. It's become a routine. Add AeU Search to your routine, and you'll get all the help you need on the job.

To start searching, click the Reference tab then type your keyword in the Search field and press Enter.

Does the results page look familiar? It's very similar to what you would see in Google. It includes reference materials from the different sections: e-Topics, QuickSteps, Product Documentation and the Resource Center, which includes e-Books, GDS format comparisons and the Mini Format Guide.

To view an item in the search results, just click the title.

It's so easy! :)

Have you used our Search feature? Didn't know about it until now? Come on, don't be shy. Tell us.

The Wednesday night film fellowship got together again last night. We are looking at films this month concerning Beauty, the transcendent kind. As I was thinking about films to watch (we may do My Kid Could Paint That next week), Amadeus popped into my head. A no-brainer great film about Beauty and the way God doles it out in the world. As we settled in to watch, I suddenly broke out in a panic, because the experience of first seeing it came sweeping over me. I was in San Diego working as an intern in directing at the Old Globe Theatre, working under Jack O'Brien. O'Brien is an A-list Broadway director who won the Tony for Best Direction of a Play for The Coast of Utopia as well the 2003 Tony for Best Direction of a Musical for Hairspray. In fact, Daniel told me they are studying O'Brien's work in his Musical Theatre class at Michigan.

Anyway, I saw Amadeus in a theatre with a bunch of people working at the Old Globe that summer. And the force of Antonio Salieri's descent into madness because of his rage at God over the vast talent of Mozart impacted us deeply. I related so well to Salieri's fear of mediocrity and being consigned to dustbins of history while others perhaps less deserving (in my small mind of the time) would be heralded throughout the ages.

That was at the beginning of an artistic career that at that moment had enormous potential. I was where I needed to be as an up and coming young director. And now, 24 years later, watching Amadeus unfold again, it seemed likely that when it was over, I would be mired in a sort of defeatist self-examination of my career, which admittedly, has not gone as I thought it might. Would I end the evening in a pool of self-pity, needing Salieri's absolution, the one he offers to all the crazed "mediocrities" of the world?

Herein lies the power of deep community. Had I been watching alone, I may well have ended in the self-critical pit that offered itself. But no, my friends were there, and after it was over, we talked of what it meant to be chewed up, eaten alive by envy and jealousy, and the odd notion of Salieri's that you can take God on and win. We wondered together about how and why God hands out gifts they way He does, and why sometimes we seem so incapable of turning the two talents into four, and Jesus would have us do.

I asked everyone what they would tell Salieri if they had been able to catch him at the front end of his jealousy, when he is first meeting Mozart. None of us had any great ideas. And in that, we realized we are all Salieri at times. Always there are more gifted people, people who are further down the line than we toward the very things that are the desires of our deepest hearts.

So here's a question for you. If you know the film, what would tell Salieri that might have helped him not descend into the madness of his jealousy and bitterness? And if you offer up a scriptural thing, the follow-up question is simply one of application. What are the concrete steps to implement the scriptural directive?

Discuss....

Zum Start der vom DRV ins Leben gerufenenen Initiative SMS-Assist hatten bereits Sabre und Travelport (Galileo und Worldspan) das nötige Eingabefeld für die Mobilfunknummer in ihren touristischen Buchungsmasken der Reservierunsgsysteme (CRS) hinterlegt. Nun hat auch Amadeus mit dem Release der neuen Version der Amadeus Selling Platform das notwendige Feld integriert.

Bis jetzt können Reisebüros ihren Kunden den mobilen Informationsdienst über folgende 19 Reiseveranstalter anbieten:

- ADAC Reisen, Frankfurt am Main
- Arosa Flussreisen, Rostock 
- Atouro Reisen, Bietigheim-Bissingen
- Bayern Express & P. Kühn Berlin GmbH
- Budde Reisen GmbH, Duisburg
- Columbus Tours & Events, Meerbusch
- Dertour, Frankfurt am Main
- Demed, Düsseldorf
- FTI, München
- H&H TUR Touristik, Karlsruhe
- Marco Polo Reisen, München
- Meier‘s Weltreisen, Frankfurt am Main
- Öger Tours, Hamburg
- Phoenix Reisen, Bonn
- Schauinsland Reisen, Duisburg
- Schmetterling Reisen, Geschwand
- Studiosus Reisen, München
- Surf & Action Company Touristik GmbH, Oberhaching 
- Travel Overland Flugreisen, München

Schauinsland Reisen, Surf & Action Company Touristik und Travel Overland sind jetzt erst neu hinzugekommen.

So you could say that from an early age, I was editing myself.  I still strive to apply good editing to my work - writing a blog has challenged me big time, believe me - and I'm hoping more content creators will also take heed, because a lot of work out there could use the equivalent of the proverbial red pen. 

Good editing is more than just cutting out the chaff, but run-on content runs rampant these days, so that's the focus here.  As Thomas Jefferson said, "The most valuable of all talents is that of never using two words when one will do."

Editing is a subjective art. Let it not be said that, like the Emperor in Amadeus, you or I deign to tell Mozart his ballet has "too many notes." The editing buck should stop with the creator.  But oftentimes the creator doesn't have the objectivity to do right by his own work.  Hence the reason that there are so many genuinely good movies, novels, speeches, blog entries, PowerPoint presentations and the like in circulation today that would be even better if their length were curtailed by 10-20 percent. 

Affordable tools and infinite distribution have enabled us to be 24/7 creators.  Want your work to rise above the rabble? Be its harshest critic.  Review it with an unwavering eye, and edit it more than once.  Like removing the clutter from your home before you sell it, it may feel a little funny at first, but in the long run you'll be the better for it.

A couple of suggestions to exercise your brevity muscles:  Twitter; some writing tips from Copyblogger; the blog Just Five Words and Tara Parker-Pope's Seven Word Story contest in the New York Times.

Just Five Words:  I'm done - word count, anyone?

"El diálogo no es una conversación".

En su libro El Guión, McKee opina que "el diálogo en la pantalla debe tener el aroma del habla cotidiana pero un contenido superior al normal", ya que en las conversaciones reales "rara vez se plasma una idea o se consigue cerrar una frase". Si bien un diálogo debe sonar natural, lo cual implica utilizar expresiones cotidianas y jergas, su contenido debería cumplir ciertos requisitos:

1. "El diálogo en pantalla debe decir lo máximo con el menor número de palabras posible".

2. Un diálogo debe seguir una dirección.

3. "Debería tener un objetivo".

McKee recurre a una cita de Aristóteles para resumir este punto: "Hablar como las personas normales pero pensando como lo hacen los sabios".

"Una película no es una novela...", ni "...tampoco una obra de teatro".

El autor de El Guión nos recuerda que "la estética del cine es visual al ochenta por ciento y auditiva al veinte por ciento". Esta realidad implica que nuestra atención está más centrada en nuestros ojos que en nuestros oídos, por lo que "exige frases cortas y de construcción sencilla". En cambio, "el teatro es un ochenta por ciento de audición y un veinte por ciento de visión". De lo que se desprende que "la concentración se centra en nuestros oídos".

McKee propone algunos consejos útiles a la hora de escribir diálogos: "Frases cortas y de construcción sencilla", "los diálogos no exigen frases completas", tratar de "evitar los trabalenguas o las rimas y aliteraciones accidentales", eliminar cualquier escrito que resulte "especialmente académico y literario", y "no escribir nunca nada que llame la atención sobre las palabras del diálogo".

"Las alocuciones largas resultan amorales en la estética cinematográfica".

En este sentido el autor nos aconseja evitar largos monólogos que hacen que el espectador se aburra visualmente y salga de la película. Obviamente, en algún momento puede resultar necesario que un personaje realice un parlamento largo. McKee afirma al respecto que "en la vida no existen  los monólogos" ya que "la vida es un diálogo, acción y reacción". Por eso aconseja  fragmentar "los grandes párrafos en pautas de acción/reacción" a la hora de escribir un monólogo.

Para ilustrar este punto McKee utiliza el fragmento de la película Amadeus [SPOILER], en la que Salieri se confiesa con un sacerdote. En los momentos que Salieri habla (monólogo) el sacerdote no se limita a escuchar, sino que reacciona a lo que está escuchando. El propio Salieri, que es quien habla, reacciona ante las reacciones del sacerdote e incluso ante sus propias palabras y pensamientos.

"Ley del las recompensas decrecientes: cuanto más diálogo escribamos, menor será el efecto que tenga".

McKee opina que el diálogo existe alternativa a la imposibilidad de contar lo mismo en imágenes. De hecho, el autor cree que "las imágenes son nuestra primera opción y el diálogo la lamentable segunda opción". Incluso concibe el diálogo como "la primera capa que añadimos al guión". McKee cita una frase de Alfred Hitchcock en la que establece la siguiente relación entre el guión y los diálogos: "Cuando ya se ha escrito el guión, y se le ha añadido el diálogo, está preparado para rodar".

Para ilustrar este punto recurre a una escena de la película El silencio [SPOILER], de Ingmar Bergman. Asistimos a una seducción sin palabras...

En la siguiente escena el camarero y Anna se encuentran en la habitación de un hotel. McKee describe esta escena como "erótica, puramente visual, sin que se diga ni una sola palabra, ni resulte necesario", y concluye "eso es escribir un guión".

A pesar de que McKee concibe los diálogos como una "segunda opción", reconoce que "a todos nos encantan los diálogos pero, menos es más". Finalizamos este artículo con un consejo de Robert Mckee en relación a la escritura de diálogos:

"El mejor consejo para escribir un diálogo cinematográfico es no escribirlo. No debemos escribir jamás una frase de diálogo si somos capaces de crear una expresión visual que lo sustituya".

------------------------------------

*NOTA: El objetivo de esta nueva sección (Info) es informar sobre lo que diferentes "expertos" del medio opinan sobre los diálogos en el mundo audiovisual: Qué papel juega el diálogo en el guión?, Cuál es la esencia de un buen diálogo?, etc... La idea consiste en comparar y contrastar diferentes criterios, corrientes y visiones profesionales sobre este tema, para que el lector pueda formarse y/o enriquecer su propia opinión.

Okay, so, to be fair, I've probably been on a number of what could be considered dates, but none of them were really identified as such, and part of the grander courtship scheme.  Well, except for two times that guys in high school took me to get pizza ... whatever, that doesn't count.

The point is, I may be finally getting a real date, with PhD Bassist guy!

He really is incredibly charming.  

He texted me yesterday to ask me how my "sophomore week" of work had gone (as I'd explained the American year terms to him during our hour-long bar chat), and if he'd used the word correctly.

We bantered back and forth for a few until he finally asked me if he could buy me a drink the next time I had a free space.  I told him I had Thursday and Friday nights off, and was also off tonight (the night of the texts) if he wanted to meet up.  After this text, he didn't respond for over an hour.

Jane hypothesized that I'd made myself too available and he'd briefly lost functions due to his Englishness.  She invited me over to watch Amadeus as distraction/she would've invited me anyway.  

So, beyond irritated, I wrapped my wet hair in a scarf (I'd taken a shower, just in case) and ran across the street to an off license to buy a cheap bottle of Merlot (that actually turned out to be really good).  I checked the outbox in my phone to make sure he'd gotten the last message, and realized, with horror, that in my "failed" messages box was the last text I'd sent to not-Heath, asking him to meet for drinks the next day.  Over a week ago.

It had been me, it seemed, who dropped the ball with not-Heath.  Not him.  Oops.  

I mentally planned to maybe send him an explanation text in the near future. 

While at the off license, I got a response from PhD guy saying that he unfortunately had gigs on Thursday and Friday evenings, and did I know when my next nights off would be?  If nothing soon, we could do something during the day.

In a rare moment of being overly female, I decided to wait about twenty minutes to respond, and when I did, sitting on the bus with the wine wedged between my knees, I said as apathetically as text-possible, "ech, no.  I'm afraid I won't know my schedule for several days.  As I work nights, though, daytime plans may be easier to arrange."

Assuming this would go the way of not-Heath (and every other date I've ever tried to plan ever), I attempted to text not-Heath just to say, "Hey, are you already back at uni, or shall we try to grab drinks aga--" 

The message vanished as my phone vibrated, the screen blinking "NEW TEXT FROM PHD GUY!"

I shook my head and read it, surprised at the swiftness of the response.  It said, "Yeah, that's cool.  I understand.  Do you fancy doing something Saturday afternoon, then?"

Impressed that he'd chosen a time and date, I responded, "That sounds good.  What did you have in mind?"

I went back into my draft box and the message to not-Heath was gone, so I tried to retype it.  Just as I finished and went to send, the phone spazzed out with another text from PhD Guy, deleting the one to not-Heath.  I consented this time, that perhaps I was being given a subtle sign about maybe not juggling PhD guy with someone else just yet.

This text said, "Well, I'll have a think about it.  Is there anything in London you really want to do?"

"Tons, but I've been on a budget.  I'll think on it too.  If all else fails, we can always just grab lunch."

Quick response again, "Groovy.  Sounds good to me x"

"Give me a call later this week and we'll work out specifics, okay?"

This is where I expected to hit a snag.  not-Heath sent me tons of texts but never actually called.

"Okay, I'll call you Thursday evening before my gig."

Again, with the surprises.  

Jane and I were discussing how potentially lame-r Afternoon dates may be, but I was thinking on it, and it shows that PhD Guy is actually interested in spending time with me, and not just a quick tumble in the hay.

I think I could actually really like this one.  

Could be dangerous.  Will most likely be fun.

It also might be the last.  If I get a decent placement in NYS, I will choose to no longer be a member of WCYO.  I find out on Saturday or Sunday whether or not I go into NYS and whether I got a good placement or not.  I'm going to attend this first WCYO rehearsal to see what my seat is and to play with this year's group to determine the level of ability.

It's kind of a bittersweet event.  On one hand, I'm incredibly excited to possibly be joining NYS.  All my friends from school orchestra are in it, and the group I'd (hopefully) be in is made up of older kids who are closer to my age, whereas WCYO probably recruited a bunch of seventh graders because they're so desperate for members at this point.  On the other hand, I'm sad to leave the WCYO "family."  I've spent a lot of time with some of those people and discovered a bond that can only be attained by playing music with others.

I joined WCYO when I was thirteen and entering the eighth grade.  I was not thrilled.  I had just quit the GBYO because I was having a horrible time.  At that point, I was not too excited about anything to do with the violin.  I had been hoping that, if I quit GBYO, my parents would let me quit youth orchestra all together.  However, my teacher and parents pretty much forced me into auditioning for WCYO because, as a young musician, it's crucial that you play in an ensemble, blah blah blah.

I auditioned in August like everyone else. (this was well before the horrible anxieties, so I apologize if you were hoping for a dramatic fainting story or something.)  We had to play a piece of our choice, a scale of our choice, and an excerpt from Magic Flute. I placed in the back of the second violins because I had yet to understand the concept of practicing. Not to mention I was one of the youngest members in the violin section.  I wish I could give a lot of detail about the first rehearsal, but I barely remember.  All I remember is meeting Cicely, who is now a friend of mine.

That season, I also experienced my first REAL orchestra bonding trip.  Back in GBYO, they sent us to a YMCA camp for an afternoon where we practiced until it was time to go home.  Seriously, that's all we did.  OH, and they fed us lunch xD.  Crappy camp-food-lunch and chewy bars.  The WCYO was quite different.  True, they ALSO took us to a YMCA camp, bu we stayed for two nights, and it was a legitimate family fun type place.  There were tons of things to do, such as hiking, apple cider making, and horseback riding.  No to mention I was October, so they had a bunch of Halloween-related activities.  But yes, we also practiced a lot and had intense coaching during sectionals.  I don't think I realized it then, but I gained a lot of skill in that weekend alone just from working with the coaches and playing so often.  It was there that I made my first orchestra friends, Alice and Shwetha.

On a side note, it was on that trip that I was first introduced to Amadeus, my favorite movie EVER!  Our conductor set up a projector in the rehearsal room and started a fire in the fireplace.  We watched the part where Mozart is staring at the portrait of his father, and then he starts giggling and dancing around.  Our conductor wanted us to see that part because Magic Flute was playing in the background.  (I typo-ed that as "bachground."  Haaahhhhh.)  We finished watching it on the way home.  Then we watched it again the next year, and the next year, and that was the beginning of my obsession xD.

Also, the '04-'05 season was the year we went to Paris!  My mom chaperoned, so it kind of sucked, but Paris can't suck, so it was still amazing.  That was where I really made friends with Cicely.  It was my first time out of the country.  My favorite part was the dinner cruise in the Sein, standing outside and looking up at the Eiffel Tower all lit up.

The next most memorable season was the '06-'07 season.  That was the year we got a new conductor.  We had the pleasure of "auditioning," the conductors.  They each conducted a piece with us, and we ended up finding the perfect one <3  He's awesome, really.

In March we got to play at Carnegie Hall for a youth festival.  It took a while for it to really sink in.  When we were in the rehearsal room, my heart started POUNDING, and when we were out on stage, I was a nervous wreck.  Those halls are ENORMOUS, especially in comparison to our little, forty-person orchestra.  We played very well, though, and I'm glad that I had the opportunity to play in such a hall.

As if that wasn't thrilling enough, later in the month we got to go to another youth festival at Yale.  We did a workshop on improv, a sectional with a man from the NHO, got to play in Woolsey Hall (best hall I've played in acoustic-wise, I think), and played a Chinese piece called "Ping Pong," with the NHYO and a solo piapaist. <-- click if you don't know what a pipa is.

And, MORE EXCITEMENT, we went to Austria in April.  This time my mom DIDN'T chaperon, so I was pretty much on my own.  We went to Vienna and Salzberg. (Both beautiful cities, by the way.)  The best part was playing AT THE HAYDNSAAL.  Click here to watch a video of us playing Beethoven's Egmont there.

So that's much a summary of all the wonderful things I've done with WCYO.  I have to get going to rehearsal in about forty-five minutes.  I really want to get into NYS, but part of me wants to stay : /

... Then again, I just found out that I have to print out the music for "The Wizard of Oz," and  "The Promise of Living," for rehearsal tonight.  I'm not too fond of The Wizard of Oz OR Aaron Copeland :p

See yah!

a pre-emptive strike against hobbs and his one armed bandits pure 80s and german win!

Ben

Edit: works now!

So how can you help? Here are a few tips that will help you get started at no cost, and will also save you money. 

• Use green energy suppliers who supply electricity from renewable sources
• Turn off all electrical appliances when not in use
• Only use your dishwasher and washing machine when you have a full load
• Use warm or cold water when washing your clothes, not hot
• Turn off your water heater when it's not in use
• Adjust your air conditioning, lower in the winter and higher in summer
• Recycle, recycle, recycle, not only paper but also plastic, glass, and metal
• Use recyclable products, not disposable
• Try to run the most errands possible in one trip
• Walk, ride your bike, carpool, or use mass transportation
• Defrost your refridgerator and freezer more frequently
• When traveling, don't use domestic flights; travel by train or bus when possible—it could be lots of fun!

You can also do a couple of things at work. Remembering to turn off the computers, copiers and office lights, and not printing unnecessary documents are great contributions. Now, if you do need to print documents, use the double-sided setting. You can even make it the default print setting on a lot of printers. You can also ask your boss if you can work from home...you know, just to save the environment.  : )

This is just the tip of the iceberg on how to reduce your carbon footprint. Stay tuned for future posts that target some of these specific tips.

Have tips of your own? Please share them with us!

Thanks to the magic of youtube I was even able to watch all of Amadeus free [don't tell anyone or those copyright crybabies will take the movie off].  Anyways here's a few piano pieces compiled together.  Incidently my favorite piano composers are probably Chopin and Mozart.