#garrida
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my new top...
És bonic, ver?
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QUANTAS MARGARIDAS...
Quantas margaridas...
Margaridas de bem-me-quer...
Ah! Mar... Garrida
Que me onda de querer
Afluência
Graciosa
Que me envolve
Adornando-me de prazer
Em inspiração a vida
Ah! Margarida!
És pequena
Delicada
Tão graciosa
E florida
Quanta elegância
No desabrochar da primavera
Perfumando as madrugadas...
MárciaMarko
https://sonhandopoesias.blogspot.com/2023/10/quantas-margaridas-um-poema-de.html
#marciamarko#sonhandopoesias#carteldapoesia#projetoalmaflorida#liberdadeliteraria#novospoetas#mardeescritos#arquivopoetico#casadeumpoeta#memoriaspoeticas#poecitas#julietario#espalhepoesias#compartilharemos#lardospoetas#chovendopalavras#sentimentosescritos#lagrimasepapel#recuperandoessência#cancionaria#projetopequenosescritores#quandoelasorriu#almadepoetisa#projetoflorejo#projetoflorida#naflordapele#projetovelhopoema#projetovelhopoeta#humverso#reciptografias
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Nosso t&mpo
Longe da Bia
No quarto
Em frente ao espelho
Fumando um tipo de cigarro
Na casa de um amigo
Tomando um café
Num desses copos de massa de tomate
Penso no brilho
Da luz na minha pele oleosa
Na destruída placa
No palácio dos três poderes
Na minha pica mole e suada
Nas moscas sobre minha veia
No pires usado como cinzeiro
Esparramado de cinzas
Na geladeira,
Branca, mas fodida.
Na mania de tentar ser sério
No azul de uma cidade garrida
Nos poetas velhos
Que se mataram cedo
Nos Torquatos Netos
Em inúmeros sebos
Eu devia ir embora agora
Eu deveria meter o freio,
Partir como um cretino,
Acreditar na melhora!
Mas é preciso ter fé primeiro.
Tem mais não
Iury Aleson.
#iurykafka#literature#lar de poetas#poesia#acre#lardepoetas#literatura#poemas#escritor#poetas do tumblr#poetas#mentesexpostas#frases
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OUVIRAM DO IPIRANGA, ÀS MARGENS PLÁCIDAS
DE UM POVO HEROICO, O BRADO RETUMBANTE
E O SOL DA LIBERDADE, EM RAIOS FÚLGIDOS
BRILHOU NO CÉU DA PÁTRIA NESSE INSTANTE
SE O PENHOR DESSA IGUALDADE
CONSEGUIMOS CONQUISTAR COM BRAÇO FORTE
EM TEU SEIO, Ó LIBERDADE
DESAFIA O NOSSO PEITO A PRÓPRIA MORTE
Ó PÁTRIA AMADA
IDOLATRADA
SALVE! SALVE!
BRASIL, UM SONHO INTENSO, UM RAIO VÍVIDO
DE AMOR E DE ESPERANÇA, À TERRA DESCE
SE EM TEU FORMOSO CÉU, RISONHO E LÍMPIDO
A IMAGEM DO CRUZEIRO RESPLANDECE
GIGANTE PELA PRÓPRIA NATUREZA
ÉS BELO, ÉS FORTE, IMPÁVIDO COLOSSO
E O TEU FUTURO ESPELHA ESSA GRANDEZA
TERRA ADORADA
ENTRE OUTRAS MIL
ÉS TU, BRASIL
Ó PÁTRIA AMADA!
DOS FILHOS DESTE SOLO, ÉS MÃE GENTIL
PÁTRIA AMADA, BRASIL!
DEITADO ETERNAMENTE EM BERÇO ESPLÊNDIDO
AO SOM DO MAR E À LUZ DO CÉU PROFUNDO
FULGURAS, Ó BRASIL, FLORÃO DA AMÉRICA
ILUMINADO AO SOL DO NOVO MUNDO!
DO QUE A TERRA MAIS GARRIDA
TEUS RISONHOS, LINDOS CAMPOS TÊM MAIS FLORES
NOSSOS BOSQUES TÊM MAIS VIDA
NOSSA VIDA, NO TEU SEIO, MAIS AMORES
Ó PÁTRIA AMADA
IDOLATRADA
SALVE! SALVE!
BRASIL, DE AMOR ETERNO SEJA SÍMBOLO
O LÁBARO QUE OSTENTAS ESTRELADO
E DIGA O VERDE-LOURO DESSA FLÂMULA
PAZ NO FUTURO E GLÓRIA NO PASSADO
MAS SE ERGUES DA JUSTIÇA A CLAVA FORTE
VERÁS QUE UM FILHO TEU NÃO FOGE À LUTA
NEM TEME, QUEM TE ADORA, A PRÓPRIA MORTE
TERRA ADORADA
ENTRE OUTRAS MIL
ÉS TU, BRASIL
Ó PÁTRIA AMADA!
DOS FILHOS DESTE SOLO, ÉS MÃE GENTIL
PÁTRIA AMADA, BRASIL!
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Palomas blancas y garzas morenas
"Las garzas blancas las encontraba más puras y más voluptuosas, con la pureza de la paloma y la voluptuosidad del cisne, garridas con sus cuellos reales, parecidos a los de las damas inglesas que junto a los pajecillos rizados se ven en aquel cuadro en que Shakespeare recita en la corte de Londres. Sus alas, delicadas y albas, hacen pensar en desfallecientes sueños nupciales, todas -bien dice un poeta-, como cinceladas en jaspe...
... ¡Ah, pero las otras, tenían algo de más encantador para mí! Mi Elena se me antojaba como semejante a ellas, con su color de canela y de rosa, gallarda y gentil. [...] ¡Ah, mi adorable, mi bella, mi querida garza morena! Tú tienes en los recuerdos profundos que en mi alma forman lo más alto y sublime, una luz inmortal. Porque tú me revelaste el secreto de las delicias divinas, en el inefable primer instante del amor!"
Aquí unos dibujos inspirados en el cuento "Palomas blancas y garzas morenas", de Rubén Darío. En la primera imagen está Inés, la paloma blanca y primer romance del protagonista; representa un amor adolescente no correspondido. En la segunda, Elena, la garza morena y verdadero amor del joven; ella es para él un amor con pureza y compromiso.
#my art#mi arte#dibujo#drawing#illustration#lápices de colores#acuarela#watercolor#watercolour#acuarelas giongiorne#block firenze aqua cloud#art#traditional art#artist on tumblr#rubén darío#azul#palomas blancas y garzas morenas#hispanic literature
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Lance 1: familia labrega
Lance 2: familia fidalga
Patio de butacas: rindo a cachón
Galiñeiro: rindo a cachón
Eu: se eu fose autor
Moza garrida: the girl reading this
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PREOCUPAÇÃO NENHUMA...
Veja que interessante, não é sobre usar ou não usar drogas, nem se elas fazem bem ou mal, mas sim sobre dizer a si mesmo que basta.
Veja como não é sobre ser bem sucedido ou não fazer projeções, mas sim sobre não desistir de realizar seus desejos.
Veja como as ponderações são importantes, mas como em demasía também são um exagero.
É como enxergar pelos olhos e enxergar pelo cheiro.
Os sentidos são muitos para perceber o real, são ainda mais os sentidos para criar a realidade.
É sobre saber que amanhã quem acordará consigo mesmo mais perfumado e mais bonito, é quem cuida de si.
E sobre saber que a louça foi lavada e que se está ouvindo uma música calma antes de dormir
É sobre saber que pimenta demais arde o cú na saída, e que comer terra é perigoso mesmo.
É sobre saber que se fica acordado até tarde, acorda cansado amanhã.
É tudo sobre isso…
Sobre o enguiço que é estar cheio de preocupações e deixar os cuidados simples de lado.
Sobre amanhã ter compromisso mesmo sem ter desligado.
É saber que é preciso descansar um pouco, porque do pouco muito se faz, porque há coisas que são más e o corpo sente.
É como plantar uma semente e ver assim, derrepente, germinar contente uma flor sem nome, que consome a vida por não ser mais garrida, nem obra prima de romance.
Aonde e quando quer que se descanse…
Preocupação nenhuma deve incomodar!!!
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meu amor quando eu morrer ó linda veste a mais garrida saia se eu vou morrer no mar alto ó linda eu quero ver-te na praia
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Federico García Lorca: Canciones populares españolas (1931) Partitura, sheet music
Federico García Lorca: Canciones populares españolas (1931) Partitura, sheet music, partition.
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Federico García LorcaLyrics / Letras
García Lorca, music and Spanish popular songs
Federico García Lorca: Canciones populares españolas (1931) Partitura, sheet music, partition.
https://www.youtube.com/watch?v=Yh-pJgBGamw
Victoria de los Ángeles, soprano Miguel Zanetti, piano
Track List:
1. Anda, jaleo (0:00) 2. Los cuatro muleros (1:25) 3. Las tres hojas (3:20) 4. Los mozos de Monleón (4:20) 5. Tres morillas (6:45) 6. Sevillanas del siglo XVIII (8:20) 7. El café de Chinitas (11:04) 8. Nana de Sevilla (14:19) 9. Los pelegrinitos (17:52) 10. Zorongo gitano (20:19)
Federico García Lorca
Federico García Lorca (Fuente Vaqueros, Granada, June 5, 1898-road from Víznar to Alfacar, Granada, August 18, 1936) was a Spanish poet, playwright, prose writer and composer.
Assigned to the generation of 27, he was the most influential and popular poet in Spanish literature of the 20th century, and as a playwright he is considered one of the tops of 20th century Spanish theater.
He was assassinated by the fascist (Francoist) rebels a month after the coup d'état that caused the start of the Spanish Civil War.
Lyrics / Letras
ANDA JALEO
Yo me subí a un pino verde
por ver si la divisaba
y solo divisé el polvo
del coche que la llevaba.
Anda jaleo, jaleo;
ya se acabó el alboroto
y ahora empieza el tiroteo.
En la calle de los Muros
mataron a una paloma.
Yo cortaré con mis manos
las flores de su corona.
Anda jaleo, jaleo;
ya se acabó el alboroto
y ahora empieza el tiroteo.
LOS CUATRO MULEROS
De los cuatro muleros
que van al campo,
el de la mula torda
moreno y alto.
De los cuatro muleros
que van al agua,
el de la mula torda
me roba el alma.
De los cuatro muleros
que van al río,
el de la mula torda
es mi marío.
LAS TRES HOJAS
Debajo de la hoja
de la verbena
tengo a mi amante malo:
¡Jesús, qué pena!
Debajo de la hoja
de la lechuga
tengo a mi amante malo
con calentura.
Debajo de la hoja
del perejil
tengo a mi amante malo
y no puedo ir.
LOS MOZOS DE MONLEÓN
Los mozos de Monleón
se fueron a arar temprano,
para ir a la corrida,
y remudar con despacio.
Al hijo de la viuda
el remudo no le ha dado.
—Al toro tengo que ir,
manque vaya de prestado.
Cuando el toro lo dejó,
ya lo ha dejado sangrando.
Aquí tenéis vuestro hijo,
como lo habéis demandado.
TRES MORILLAS
Tres moricas me enamoran
en Jaén:
Axa y Fátima y Marién.
Tres moricas tan garridas
iban a coger olivas,
y hallábanlas cogidas
en Jaén:
Axa, Fátima y Marién.
Y hallábanlas cogidas,
y tornaban desmaídas,
y las colores perdidas:
Axa, Fátima y Marién.
SEVILLANAS DEL SIGLO XVIII
¡Viva Sevilla!
Llevan las sevillanas
en la mantilla
un letrero que dice:
¡Viva Sevilla!
¡Viva Triana!
¡Vivan los trianeros,
los de Triana!
¡Vivan los sevillanos
y sevillanas!
Lo traigo andado.
La Macarena y todo
lo traigo andado.
Lo traigo andado;
cara como la tuya
no la he encontrado.
La Macarena y todo
lo traigo andado.
EL CAFÉ DE CHINITAS
En el café de Chinitas
dijo Paquiro a su hermano:
«Soy más valiente que tú
más torero y más gitano».
En el café de Chinitas
dijo Paquiro a Frascuelo:
«Soy más valiente que tú,
más gitano y más torero».
Sacó Paquiro el reló
y dijo de esta manera:
“Este toro ha de morir
antes de las cuatro y media.”.
Al dar las cuatro en la calle
se salieron del café
y era Paquiro en la calle
un torero de cartel.
NANA DE SEVILLA
Este galapaguito
no tiene mare;
lo parió una gitana
lo echó a la calle.
No tiene mare, sí;
no tiene mare, no;
no tiene mare,
lo echó a la calle.
Este niño chiquito
no tiene cuna;
su padre es carpintero
y le hará una.
LOS PELEGRINITOS
Hacia Roma caminan
dos pelegrinos,
a los que case el Papa
porque son primos, niña.
Le ha preguntado el Papa
cómo se llaman.
Él le dice que Pedro, mamita,
y ella que Ana, niña.
Le ha preguntado el Papa
que si han pecado.
Ella le dice que un beso, mamita,
que le había dado, niña.
Y ha respondido el Papa
desde su cuarto:
¡Cásate, pelegrina,
que él es un santo, niña!
Las campanas de Roma
ya repicaron
porque los pelegrinos, mamita,
ya se casaron, niña.
ZORONGO GITANO
De noche me salgo al patio,
y me harto de llorar,
de ver que te quiero tanto
y tú no me quieres ná.
Las manos de mi cariño
te están bordando una capa
con agremán de alhelíes
y con esclavina de agua.
Cuando fuiste novio mío,
por la primavera blanca,
los cascos de tu caballo
cuatro sollozos de plata.
La luna es un pozo chico,
las flores no valen nada,
lo que valen son tus brazos
cuando de noche me abrazan.
García Lorca, music and Spanish popular songs
Undoubtedly, Federico García Lorca is one of the most prominent names in the history of literature. But he must also be recognized for his musical side, as he was a very good piano player. He met the most important Spanish composers in his days and really loved the flamenco and traditional music. He found songbooks from very different periods and even used numerous songs in his plays and productions with La Barraca.
The main topic in this article is going to be his role as an investigator, because he conducted numerous studies in his travels in Granada, his province, Spain and America. And it is focused on his recording from 1931, Spanish folk songs, made in conjunction with the dancer and singer La Argentinita.
APPROACH TO THE FIGURE OF FEDERICO GARCÍA LORCA: LINKS WITH MUSIC AND MUSICAL RESEARCH
Certainly, Federico García Lorca (1898-1936) is one of the great personalities in the history of art of all times. In this sense and logically, he is well known and his facet as playwright, poet and essayist has been widely studied; also his fondness for drawing and painting.
But, perhaps, it is necessary to emphasize the musical aspect, since this art was of enormous importance both in his life and in his work. Thus, in his brief career, skewed by the crudeness and madness of the start of the Spanish Civil War (1936-1939), music and musical research, understood in a very broad way, had a notorious relevance.
During his adolescence and in the first stage of his youth, Federico was considered a musician in his close environment, because, at that time, he was studying piano and used to play different works in public frequently. What's more: at that time "his personality was outlined as that of a potential musician" (De Persia, 67-68), as we can affirm after analyzing different biographies and texts dedicated to the man from Granada.
Later, when literature took more space in his production, the closeness between poetry, theater and music, in the same way that it would occur in different authors within the generation in which he enrolled, that of 27, was very deep.
In this way, "in Federico García Lorca, music and poetry are, even more so, inseparable" (Torres, 72). He himself even commented in an interview with Pablo Suero in October 1933: “above all, I am a musician” (García Lorca, Obras Completas. III , 416). At the time of pronouncing these words, the conversation was focused on a conference that the man from Granada was going to give in Buenos Aires, How a city sings from November to November . In addition, the composer Ernesto Halffter did not hesitate to indicate: “in my country there are three great musicians: Falla, my teacher; I, who am his disciple, and Federico García Lorca” (García Lorca, Obras Completas , 487). For all this,
Lorca's work and life, in short, cannot be explained if the fact that Federico was a born musician is not taken into account. Had he lived – let's not forget that he was only 39 years old when he was shot – perhaps the poet would have felt the need to attempt a more ambitious composition than those adolescent creations so admired by his peers (Gibson, 83).
His musical relationship is of great interest, since "music was for García Lorca an imperative vital necessity" (Martín, 63). José Moreno Villa (Martín, 65-66) affirmed, along the same lines, that “Federico was a musical soul from birth, from the roots, with an ancient heritage. He had her in his blood like Juan Breva, Chacón or the great “Argentinita”. He gave the impression that he flowed music, that everything was music in his person. Herein lay his power, his fascinating secret.
Therefore, we must take into account the deep work he developed in the field of musical research; also in that of music for theater and interpretation. In this field, the friendships and relationships that he established with different personalities of enormous relevance in the world of composition are not left behind, among which his devotion, affection and appreciation for Manuel de Falla stand out. This connection and mutual admiration was crucial in the evolution of Spanish cultured music of the 20th century, under the judgment of Jorge de Persia (67):
In the history of music of the Spanish 20th century there are two circumstances that act indicating the course of events. One of them is the Falla-Pedrell relationship established from 1902, a turning point that will take the proposals and reflections of the Catalan master to the stage of modernity. The other is the Falla-Lorca relationship from 1920, a new “intergenerational coincidence” that will be fundamental for the development of avant-garde experiences —not only musical— in Spain.
In the field of traditional music, we can affirm without fear of errors that Federico García Lorca was, in addition to being in love with music, a great researcher, connoisseur and interpreter of a vast repertoire. "I have studied the folklore of my country for ten years with the sense of a poet," he stated on one occasion (García Lorca, Obras Completas. III, 459). He also commented sympathetically "I'm crazy about songs" (De Onís, 87). The truth is that he showed a great musical retention that made him master a huge and varied catalogue. As Jorge Guillén summarized:
Lorca's memory is the richest treasure of Andalusian popular song. He has collected many, lyrics and songs, directly. In that direction, his art runs parallel to that of his great friend and teacher Falla. For something the sense of rhythm of this poet reaches a variety, a prodigious finesse. Rhythm is already also architecture. And don't be fooled by the seeming lightness and carelessness of some of his songs. All his poems are, with perfect calculation, constructed, very wisely structured (55-56).
But in his thinking, copying the songs on staves was not entirely appropriate. What was really valuable, in his opinion, was "to collect them on gramophones so that they do not lose that imponderable element that makes their beauty more than anything else" (García Lorca, Obras completas. III, 459 ) . Curious is, to say the least, the term that Ramón J. Sender gave to this aspect of the poet, “folklorquismo”.
In this sense, it is worth highlighting the definition that Lorca made of the term song (459): “songs are creatures, delicate creatures, who must be taken care of so that their rhythm is not altered at all. Each song is a marvel of balance, which can be easily broken: it is like an ounce held on the tip of the needle."
In this way, perhaps one of the most unknown aspects of Federico was that of musicology. Since his childhood, his union and attachment to traditional music was more than remarkable, because in his house he heard songs from his elders and the maids who attended his home. Next and as we have mentioned, since his student days he made numerous visits to regions, towns and cities.
Afterward, the Residencia de Estudiantes was an important meeting point with musicologists and manuals that, without a doubt, had a significant influence on this area of Lorca's personality. He also paid attention, to a large extent, to works from the 19th century and to some sections of different zarzuelas.
In short, not a few praised the poet's knowledge and work in this line, a fact that he clearly reflected in his literary work. In many of his dramas, he even gave clear indications about the songs that should be interpreted as an integral part of his development.
Examples of this, of which he only included their texts, are the Song of the girls in Mariana Pineda and Canción de las Hilanderas , Songs of the Maid , Song of the wedding procession , Old children's romance , Wedding song and Lullaby in Blood Wedding.
As a consequence, all this popular heritage inspired and was clearly present in his literary work, as Valls Gorina reported (96):
A large part of the work of Federico García Lorca is nourished from this organism —the people— which in Spain has kept its cultural principles uncontaminated and intact, both in its poetic sphere (“Romancero gitano”, “Poema del cante jondo”, etc. .) as in its scenic environment in which, its characters, are either people of the town (“Yerma”, “Bodas de sangre”) or its intention and technical assembly is of popular origin (“El Retablo de Don Perlimplín”) or it has the mentality of an entire town as its protagonist (“The house of Bernarda Alba”).
From an early age he carried out numerous investigations, some of them together with the philologist and historian Ramón Menéndez Pidal. The work of the Coruña native and of many other musicologists on ballads, lyric and traditional Spanish music are part of a movement of interest in this subject that was established in the first two decades of the 20th century and that would have a profound impact on Lorca. There was also another musical current in which the collected musical material was stylized.
As reflected in some of his letters, he took advantage of the multiple trips he made to different parts of the Spanish geography to come into contact with a very wide repertoire and carry out some field work on the ground:
In his letters he mentions the collection —in Lanjarón, in the towns of Granada, in Santander— not only romances but also traditional songs, stories, “crime romances”—of which he claims to have found “precious things” in Granada— and the anecdotes of the musical repertoire of the puppets. Already in May 1918 —two years earlier— he had written to the poet Adriano del Valle: "I dedicate myself at the moment to compiling the splendid interior polyphony of Granada's popular music", and in Impresiones y paisajes (1918) he had announced as a work in progress Tonadas de la Vega ( Popular Songbook ) (Maurer, 16).
In the same sense, Tinell (79) underlines different “searches for the Alpujarras”. For this reason, the popular heritage of Granada and Spain, understood in a very broad way, became part of his musical identity. Federico de Onís defined, in general, this aspect of the poet, treating, at the same time, his musical qualities:
Federico's work in the field was not the systematic and methodical work of a specialist, but that of an artist who sought the pleasure of discovering and interpreting a different art, full of originality, perfection and beauty, in the popular sphere. This inspiration from popular music was not used, as in poetry, for the creation of his own musical work. He limited himself to singing his beloved songs by himself, for his own pleasure, accompanying them on the piano... Fortunately for the quality of his artistic interpretation of popular songs, he was not a professional musician. His interpretation had a unique and supreme value, because he possessed a minimum of musical technique and a maximum of artistic genius and understanding of the popular music that he interpreted. So alien to any professional purpose was this musical work of his that, despite its success in the intimate circles that knew it, it was never possible for him to write the music for the songs that he played from memory with such enthusiasm (86). .
In addition, in an article published in Blanco y Negro in March 1933 it was commented that Federico was going to record a documentary dedicated to songs, which finally and without knowing the reasons was not carried out:
Lorca loves Spanish folklore like nobody else. Now a tape of regional customs is going to be filmed. Song, village, tradition, show, music. The production house wants Lorca to speak into the microphone, explaining all the shots, all the variations of the film. And Lorca doubts. If the film is good, Lorca will speak. And Lorca will be happy, facing Spanish folklore. His extraordinary sensitivity as a poet will touch gently, accurately, the background of our classical things, merging with Spain's own sensitivity (Soria, 47-48).
In addition, the man from Granada pointed out that the songs are similar to people, since they normally live and, in many cases, are perfected, although some degenerate and fall apart. Perhaps for all these reasons he never decided to transcribe them on lined paper. Thanks to the work and memory of some musicians and components of the theater groups in which he was imbued, we can count on some of them.
Along the same lines and thanks to the intense activity of the Student Residence, Lorca was aware of the publishing novelties referring to songbooks that were published in his time and other ancient texts.
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Cuido que me llaman a mi
Alonso Mudarra (c1510 - 1º aprile 1580): Si me llaman, a mi llaman, villancico. Raquel Andueza, soprano; Private Musicke, dir. Pierre Pitzl.
Si me llaman, a mi llaman,
que cuido que me llaman a mi.
Y en aquella sierra erguida,
cuido que me llaman a mi.
Llaman a la más garrida,
que cuido que me llaman a mi.
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Narazumono
(Bandido)
JP, 1964
Teruo Ishii
6/10
Um Justiceiro
Narazumono, cuja tradução na versão em inglês é An Outlaw, é um filme de gangsters ao estilo justiceiro solitário, muito em voga nos anos 60, mas com algumas características que o distinguem, nem sempre para melhor, de outras obras mais negras, como as que caracterizaram a nova vaga japonesa.
O uso da cor, numa tonalidade viva e garrida, que o afasta claramente dos tons sombrios a preto e branco dos clássicos noir e mesmo da nova vaga, amante do preto e branco, embora elevado ao esplendor vistoso do grande formato. Aqui a cor jogou em desfavor da obra que perdeu estilo e se banalizou.
Pela positiva temos o facto do filme ter sido quase todo filmado em Hong Kong e Macau, nos anos 60, dando assim uma visão histórica interessante dessas duas cidades nos tempos coloniais, cosmopolita e densamente povoada a colónia britânica, vazia, provinciana e quase miserável a portuguesa.
A Punisher
Narazumono, whose translation in the English version is An Outlaw, is a gangster film in the lone vigilante style, very popular in the 60s, but with some characteristics that distinguish it, not always for the better, from other darker works, such as that characterized by the new Japanese wave.
The use of color, in a lively and bright tone, which clearly distances it from the somber black and white tones of classic noir and even from the new wave, that loved the black and white, although elevated to the showy splendor of the large format. Here, color played to the detriment of the work, which lost style and became commonplace.
On the positive side, we have the fact that the film was almost entirely filmed in Hong Kong and Macau, in the 60s, thus giving an interesting historical view of these two cities, in colonial times, cosmopolitan and densely populated the British colony, empty, provincial and almost miserable the portuguese
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O CASAL DE ARTISTAS DELAUNAY. OS ORFISTAS COM SABOR A PORTUGAL
O CASAL DE ARTISTAS DELAUNAY. OS ORFISTAS COM SABOR A PORTUGAL
Um dos casais mais referenciais da criação artística do século XX, Robert e Sonia Delaunay abriram as portas para um novo movimento artístico: o orfismo, um estilo que resulta da junção do fauvismo e das suas cores garridas e fortes com o cubismo e as suas formas geométricas. A experimentação em tons e em amplitudes visuais tornaram-se habitués de uma dupla que chegou a passar por Portugal, no…
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Desejo Cubista
.
Em quadrados,
as pernas garridas
em longas meias,
.
a saia cruzada,
de cor curta,
e pés descalços.
.
O tronco velado,
de braços às cores
e de rosto nu.
.
Cabelos longos,
vermelhos e negros.
Um desejo cubista.
.
Ricardo Ramalho (2022)
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Ouviram do Ipiranga, às margens plácidas
De um povo heroico, o brado retumbante
E o Sol da liberdade, em raios fúlgidos
Brilhou no céu da pátria nesse instante
Se o penhor dessa igualdade
Conseguimos conquistar com braço forte
Em teu seio, ó liberdade
Desafia o nosso peito a própria morte
Ó Pátria amada
Idolatrada
Salve! Salve!
Brasil, um sonho intenso, um raio vívido
De amor e de esperança, à terra desce
Se em teu formoso céu, risonho e límpido
A imagem do Cruzeiro resplandece
Gigante pela própria natureza
És belo, és forte, impávido colosso
E o teu futuro espelha essa grandeza
Terra adorada
Entre outras mil
És tu, Brasil
Ó Pátria amada!
Dos filhos deste solo, és mãe gentil
Pátria amada, Brasil!
Deitado eternamente em berço esplêndido
Ao som do mar e à luz do céu profundo
Fulguras, ó Brasil, florão da América
Iluminado ao Sol do Novo Mundo!
Do que a terra mais garrida
Teus risonhos, lindos campos têm mais flores
Nossos bosques têm mais vida
Nossa vida, no teu seio, mais amores
Ó Pátria amada
Idolatrada
Salve! Salve!
Brasil, de amor eterno seja símbolo
O lábaro que ostentas estrelado
E diga o verde-louro dessa flâmula
Paz no futuro e glória no passado
Mas se ergues da justiça a clava forte
Verás que um filho teu não foge à luta
Nem teme, quem te adora, a própria morte
Terra adorada
Entre outras mil
És tu, Brasil
Ó Pátria amada!
Dos filhos deste solo, és mãe gentil
Pátria amada, Brasil
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Soneto à Viúva
Quando chegar a hora de um poente
Eterno a toda alma em toda vida
Partirei dos teus braços de repente
E viúva, tu chorarás minha partida.
.
De quem a teu lado viveu e fez presente
O amor profundo da rosa mais garrida
Sentirás do meu ser uma semente
Brotar em ti na terna despedida.
.
Só tu lamentarás profudamente
A dor que no íntimo tu sentes;
Mas eu te digo, mulher, que seja forte
.
E atravesse com alegria a tua sina
Pois a vida é um ciclo que termina
Com a aragem fria de uma morte.
9 de julho
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Sempre me surpreendo com os vinhos portugueses e ontem foi a vez deste “Bacalhôa Touriga Nacional 2017” da @Bacalhoa 🇵🇹. Um varietal de Touriga Nacional da região do Dão, com uvas da Quinta da Garrida, aos pés da Serra da Estrela, sem passagem por barricas. 🍷 Cor vermelho-rubi de média intensidade. Aroma de framboesa e amora, floral e e pimenta-do-reino. Na boca tem corpo médio, acidez média+ e taninos moderados e fino. Mostra frutas negras e pimenta, com leve mineralidade e média persistência. 📝 Belo vinho, sem complexidade mas com elegância e frescor. Uma bela expressão da Touriga Nacional do Dão. 89+ pontos. . Os vinhos da Bacalhoa são trazidos pela @EpiceVinhos. Obrigado @MPadovan e @AdriPadovan pelo vinho! . #touriganacional #vinhoportugues #daowines #vinhosdeportugal #bacalhoa https://www.instagram.com/p/CfSHfm5p97N/?igshid=NGJjMDIxMWI=
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