First a bit of piano (débutant. ..)
then with a little more practice:
There was also flutes:
and as a duo, among many others ...
Thanks to all faculty, students and their parents.
Thursday, March 3, 2011
Can I Use Buttermilk Pancake Mix For Aunt
Excerpts from the last hearing on February 19. Hearing
Excerpts from the last hearing after first a little tuning ...
First a bit of piano (débutant. ..)
then with a little more practice:
There was also flutes:
and as a duo, among many others ...
Thanks to all faculty, students and their parents.
First a bit of piano (débutant. ..)
then with a little more practice:
There was also flutes:
and as a duo, among many others ...
Thanks to all faculty, students and their parents.
Friday, February 18, 2011
Examples Of Angles In Real Life
Derision
Figure Caligula, between myth and reality, has permeated the minds through false representations as both artistic and biographical characters often paroxysmal. Nicolas Le Riche was assistant to compete Guillaume Gallienne about deconstructing the myths, with a bias that can sometimes seem unsettling but gives a true artistic signature at work.
With this third round of the ballet, Caligula is now available under the features that both Stéphane Bullion in the role of the emperor in that of pantomime Mnester really brought the choreography of Nicolas Le Riche in its most inspired during the month of February.
Clairemarie Osta in this role Intangible Moon was able to suggest fugacity and the unreal visions of Caligula. It is a perfect illustration of the outbreak of the small ball that great untouchable Caligula / Bullion evokes in his hands and confrontation of the two dancers is one of the most magical choreography. This reveals not duplicate that do not rely on contact between dancers. The meeting was unreal, they complement and buzz, game hunting and leaks. Appearing in the world of Caligula Clairemarie Osta does not descend on earth to the emperor, Stéphane Bullion she raises with her in a sphere in weightlessness. He takes up the challenge and interferes then a moment in the transparency of his dream. Her dance takes the texture from that of the moon, light and fleeting. Caligula hallucinating and suffering from the viewer to see this meeting possible. Low grazing angles and side lights lighten the atmosphere by creating an elastic bubble in which the dancers move.
Muriel Zusperreguy gives the role a more palpable and content atmosphere at Mirage, a kind of attraction that pulls up to her while Caligula Osta Clairemarie never seems be within his reach. It gives a little humanity with extreme sensuality that transcends his interlocutor, but contracts a little magic moments of his appearances. Laetitia Pujol seems more to the trouble to understand the character she dancing, like Caligula's, so too academic about the drying.
On land, dedicated to Caligula Mnester, admiration that will lose, puisqu'assassiné, they say, going one of its representations. Remote punctuating his premonitions of the ballet to take to turn an active role in setting out its abyss, the actor-loved pantomime of the emperor moved into an icon in the ballet of Nicolas Le Riche. If the staging of his speeches the singles, it also adopts a dance rooted in the sharpness and severity. Dressed in white, he is the commentator of the dark reign, merciless omen contrasting illustrations that shows all of his predictions or strange look on events.
Surreptitiously, movements evoke the characters while maintaining a distinct identity in the style. The dance is sharp, earthy, geometric and sharp, echoing recovery or enhanced by the three figures. Each intervention hangs over the course of history and contribute, through its content and its appearance posed as an incantatory evocation in black and white in a colorful, contrasting to the reality of the story. Because he plays alone or with his figures, contemporary style well defined by the electronic music of Louis Dandrel supported by video projections, Mnester offers a strong counterpoint to Caligula, the mirror of its mystery.
when faced with the emperor, Stéphane Bullion crushes naive and immature child Mathieu Ganio. In his speeches in the forefront, his authority in the choreography and the depth of his gaze makes Mnester a charismatic leader rather disturbing in style while millenarian proves untouchable when officiating in his final performance for the public to the Court. He becomes the incarnation of the god Caligula claims to be, untouchable and inviolable, the possessor of the future, distance from master to student, revealing the futility of the Emperor Mathieu Ganio. By seizing Mnester as a stage animal-shaped roller, both powerful and enigmatic, Stéphane Bullion presents an opposite view, probably necessary for his art to his vision of a complex Caligula, but physically dominating psychologically fragile in other distributions and fully illustrates the top position on the Status of mime in imperial Rome.
Nicolas Paul Stéphane Bullion face Mnester draws a softer and more restrained, more theatrical, obviously objects of love and curiosity. The relationship between the two men is just another in the confrontation. Fast and accurate in his prophetic interventions, it is an object of desire in his brief dialogue with Caligula as a mirror of the male moon in its changes impalpable. The distance is then a form of respect for the emperor to the actor admired rather than a sense of domination and surrender.
Whether the moon or Mnester, Caligula is constantly searching. This quest of the unknown is also materialized in his report to Incitatus, his horse. But unlike the Moon or dreamed Mnester untouchable, Caligula dominates Incitatus. His look of love is full of control and the armory, if it represents a moment of poetry in ballet, seems incongruous in the progression of history, if not qu'Incitatus is almost the only one watching Caligula without judging.
 |
| Stéphane Bullion |
Figure Caligula, between myth and reality, has permeated the minds through false representations as both artistic and biographical characters often paroxysmal. Nicolas Le Riche was assistant to compete Guillaume Gallienne about deconstructing the myths, with a bias that can sometimes seem unsettling but gives a true artistic signature at work.
From The Lives of the Twelve Caesars by Suetonius , the authors have abandoned the comment of a linear historian augustat very hostile to extract highlights and checked-in fact very little-and in turn build credibility around an imaginary man, Gaius Germanicus Augustus, and not more Caesar Caligula said.
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| Stéphane Bullion |
It is admirable that in this first major choreographic work, Nicolas Le Riche has avoided the pitfall of regurgitation School Level stellar dancer it is. He erased modestly behind her story and here built a ballet that he probably liked to dance, as he finally did in 2008 - not an exercise in style around his virtuoso technical skill. He envisioned the ballet in terms of man and put his dance in the service of history, that is to say what and how to express through movement, emotional deconstructing and equally the story of Caligula as how to develop a ballet. By combining aspects of classic and contemporary, it was far from the cliches of both techniques by talking first bodies and expressions as unifying elements. Nicolas Le Riche has opted to assign to the different types very distinct roles, a Caligula unstable Mnester an incisive and sharp, a hieratic Shaer, a moon light and playful, a fun and frivolous Caesonia.
is the music of Vivaldi, who has accompanied the construction of these types and the choice of Four Seasons , almost anecdotal at base, to illustrate the four-year reign of the Emperor lends itself more readily as we would have believed in the story progression as the musical line is well exploited in the choreography, the pleasant spring devoted to the beginnings of the reign, was drawing the first threats, the sadness of autumn developing the plot and announcing the end of winter, all included in a summary of moods the emperor in the fifth act. It's also because it is highlighted by the breaks being developed by Louis Dandrel for mime Mnester which itself serves as the abyss about formatting. Thus, a dialogue firmly rooted in the construction of the work serves as a common thread in the drama. The decor, simple and effective, is well worth the apparitions of Caligula its inputs against the light illuminated by a staircase or wings lined with cinnabar columns from which spring cluster dynamic sets.
With this third round of the ballet, Caligula is now available under the features that both Stéphane Bullion in the role of the emperor in that of pantomime Mnester really brought the choreography of Nicolas Le Riche in its most inspired during the month of February.
 |
| Stéphane Bullion |
In the absence of Jeremiah Bélingard who had created the ballet, Stéphane Bullion his mark initially as absolute and indisputable figure for August, so Mathieu Ganio who took up the role after also danced at the establishment, did not seem to have the means of presenting an adaptation to the gently comic figure of the Emperor Nicolas Le Riche. Without a significant and powerful dance but more of an ability to interpret varied and nuanced, as in the dance scene in the game, it could only give to see a flat version of meaningless a portrait seems thorough and subtle personality of the emperor when danced by Stéphane Bullion.
Nicolas Le Riche has certainly not facilitated the task of his dancer-chiseling a title to be both grand and imperial its authority when not dancing, and tormented and indecisive in his movements. It is through her body and bends that Caligula shows her whimsical, uncontrolled, his madness and excess, but in a more analytical spectacular. Caligula stands out due to the strange irony because he wielded until the last degree. He pushed everything to the limit, hatred, love, the pettiness, stupidities. In this he referred to others a disturbing image. By projecting the story in extreme detail of the movement and looks, the choreographer has a vision in a highly intellectualized character's thought carefully choreographed. We must then live this lifetime and not just the dance without which every gesture seems an academic course. From the sly smile of the party initiating the nightmarish laugh of derision against his death, Caligula triumph insidiously. The Caligula
written by Nicolas Le Riche has its tyrannical incisions cleaver that only a powerful and virtuosic dancer measured but may make to restore a minimum the violent aspect of the character that nobody disputes: it must be present, even if not interested in fine choreographer and is a side-effect . It is hard honing his arabesques and retracting the few spectacular jumps to more than a man touching or insubstantial. But if Nicolas Le Riche was aside banalities conveyed by the image one gives a man power to bloody interested in portraying the individual and his character, he does not mean the gum irrational and violent aspect of Caligula, he shows subtly.
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| Stéphane Bullion |
written by Nicolas Le Riche has its tyrannical incisions cleaver that only a powerful and virtuosic dancer measured but may make to restore a minimum the violent aspect of the character that nobody disputes: it must be present, even if not interested in fine choreographer and is a side-effect . It is hard honing his arabesques and retracting the few spectacular jumps to more than a man touching or insubstantial. But if Nicolas Le Riche was aside banalities conveyed by the image one gives a man power to bloody interested in portraying the individual and his character, he does not mean the gum irrational and violent aspect of Caligula, he shows subtly.
 |
| Stéphane Bullion |
In his inner portrait of Caligula, Stéphane Bullion renders the harshness, coldness, ruthlessness of the emperor, his difference with others and magnify its status as the living God. It takes from start to finish in a seemingly contemplative or unpredictable, the wire held by a distance with the rest of the dancers and the voltage of the predator who observes his prey, but also the threat, certain of his superiority or at least a power which he uses at will. It struck and powerful dance that restores Stéphane Bullion jerking at the slightest movement of music that brings meaning to the bloodthirsty madness which history has chosen. Caligula solitary paranoid to the extreme is represented by a process sometimes vaulted, a sly eye, anger, violence that always seem to contain. Caligula is assassinated as does not tower arm, his grip psychological torture. It scares the unpredictability of his character and his ideas. He imposes fear on stage by his mere presence and is uncomfortable that the viewer wants to see it fly, see the resplendent in his arabesques, to see a power drop, conversely, it always contains. Because Caligula is febrile and ill, her jumps were rough, his movements jerky and sometimes unfinished illustrating the instability of the emperor. Nicolas Le Riche has sacrificed ease and aesthetics of dance in favor of a narrative written in depth movements.
In parallel, as Caligula happy at times, Caligula absent eyes to infinity, Caligula curious to the Moon or gestures Mnester of Caligula filled with serene happiness with his horse, Caligula timid, calculating, suspicious, Caligula lost: they are feelings that Stéphane Bullion has no difficulty in deploying through his looks and body postures, the round back, this neck back to illustrate the distrust or stretched to the extreme to give the Moon. The treachery of the emperor, these large jumps and struck an instant power and contain the following, that look innocent and menacing to the Moon.
 |
| Stéphane Bullion |
In parallel, as Caligula happy at times, Caligula absent eyes to infinity, Caligula curious to the Moon or gestures Mnester of Caligula filled with serene happiness with his horse, Caligula timid, calculating, suspicious, Caligula lost: they are feelings that Stéphane Bullion has no difficulty in deploying through his looks and body postures, the round back, this neck back to illustrate the distrust or stretched to the extreme to give the Moon. The treachery of the emperor, these large jumps and struck an instant power and contain the following, that look innocent and menacing to the Moon.
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| Stéphane Bullion - Clairemarie Osta |
Caligula revolve around the characters so real and unreal, objects of fantasy or threats. If Nicolas Le Riche seems to have wanted to strengthen the presence of Caesonia on stage in this new version by offering a brief but impressive introduction, it does not give him greater role in the narrative and its stealthy disappearance following the emperor after the show leaves Mnester a rare taste of regret in the construction of the ballet. Maybe he wanted a way of marking the misfortune of the emperor who aspired to the surreal and absolute love of the moon and had to settle for earthly wife, the fourth sign of dissatisfaction, and thus offer a counterpoint the beautiful golden appearance of Caligula.
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| Stéphane Bullion - Clairemarie Osta |
Clairemarie Osta in this role Intangible Moon was able to suggest fugacity and the unreal visions of Caligula. It is a perfect illustration of the outbreak of the small ball that great untouchable Caligula / Bullion evokes in his hands and confrontation of the two dancers is one of the most magical choreography. This reveals not duplicate that do not rely on contact between dancers. The meeting was unreal, they complement and buzz, game hunting and leaks. Appearing in the world of Caligula Clairemarie Osta does not descend on earth to the emperor, Stéphane Bullion she raises with her in a sphere in weightlessness. He takes up the challenge and interferes then a moment in the transparency of his dream. Her dance takes the texture from that of the moon, light and fleeting. Caligula hallucinating and suffering from the viewer to see this meeting possible. Low grazing angles and side lights lighten the atmosphere by creating an elastic bubble in which the dancers move.
 |
| Stéphane Bullion - Muriel Zusperreguy |
Muriel Zusperreguy gives the role a more palpable and content atmosphere at Mirage, a kind of attraction that pulls up to her while Caligula Osta Clairemarie never seems be within his reach. It gives a little humanity with extreme sensuality that transcends his interlocutor, but contracts a little magic moments of his appearances. Laetitia Pujol seems more to the trouble to understand the character she dancing, like Caligula's, so too academic about the drying.
 |
| Stéphane Bullion |
On land, dedicated to Caligula Mnester, admiration that will lose, puisqu'assassiné, they say, going one of its representations. Remote punctuating his premonitions of the ballet to take to turn an active role in setting out its abyss, the actor-loved pantomime of the emperor moved into an icon in the ballet of Nicolas Le Riche. If the staging of his speeches the singles, it also adopts a dance rooted in the sharpness and severity. Dressed in white, he is the commentator of the dark reign, merciless omen contrasting illustrations that shows all of his predictions or strange look on events.
 |
| Mnester and three figures Stéphane Bullion, Carniato Alexander, Samuel Brick, Erwan Le Roux |
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| Stéphane Bullion |
Nicolas Paul Stéphane Bullion face Mnester draws a softer and more restrained, more theatrical, obviously objects of love and curiosity. The relationship between the two men is just another in the confrontation. Fast and accurate in his prophetic interventions, it is an object of desire in his brief dialogue with Caligula as a mirror of the male moon in its changes impalpable. The distance is then a form of respect for the emperor to the actor admired rather than a sense of domination and surrender.
 |
| Nicolas Paul |
Whether the moon or Mnester, Caligula is constantly searching. This quest of the unknown is also materialized in his report to Incitatus, his horse. But unlike the Moon or dreamed Mnester untouchable, Caligula dominates Incitatus. His look of love is full of control and the armory, if it represents a moment of poetry in ballet, seems incongruous in the progression of history, if not qu'Incitatus is almost the only one watching Caligula without judging.
In contrast to his first love, the Court offers a dance characterized by its aggressiveness while maintaining the elegance of the noble status it represents in sets clear and distinct. Dressed in black senators oppose an aerial dance that follows the golden earth.
Shaer old senator whose Caligula loved to laugh, is shown here as leader of a collective revolt, a palace revolution in which the courtiers, tired of the unpredictability of the emperor, his extreme impudence, will be resolved to get rid of it.
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| The Court conducted by Yann Saiz and Aurélien Houette |
The warm lighting and the required supporting women golden stirring constantly in a court in vain. The splendor and dynamism of imperial Rome embodied in a ballet company that outsources its uselessness welded or his idleness by a repetitive and deceptively sharp choreography, visually devilishly effective. The senators, wearing a costume near the body that defines the clear background of the scene in the air like knives handled vacuum during their many changes in the group, often supported by movements of the lower body very specific in throws or jumps to other poses severe. It is also seething that this emphasizes the singularity of the interventions of Caligula, raised in the moments where he participated in the festival, violent and precise when he was not invited. In drawing this portrait of the decadent daily, Nicolas Le Riche adds to the ambiguity in the portrait of the emperor, and if the viewer is not going to like Caligula, he is not discouraged to hate Shaer and plotters.
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| Stéphane Bullion - Aurélien Houette |
Three "physical" embraced the role with authority, winning by Aurélien Houette its strength and its ability to propose a reasonable objection to the middle of Stéphane Bullion, especially during the seizure. Adrien Couvez has added just enough in the interpretation to present a natural soured in the course of the ballet. Yann Saiz was more difficult to impose a low silhouette through his endless dominating all the dancers on stage, but as Adrian Couvez had his guts out to dominate, Yann Saiz has internalized suffering to show more sincere than the character of Aurelian Houette computer spontaneously.
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| Stéphane Bullion |
The general tone of the ballet Nicolas Le Riche provides a free paint but without excessive indulgence in the life of Caligula. Relying on the rich dance, sincere and realistic Stéphane Bullion, always emotional in its reserves as its excesses, it avoids the excesses and superfluous chatter, going straight to the point while providing a rich texture, now all of its history by light touches expressive and prominent on that surf music of Vivaldi worked with handle by Frederic Laroque. A beautiful ballet carefully thought out and done with talent.
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| Stéphane Bullion |
Thursday, February 17, 2011
Color Chart For Jelly Bracelets
mid-winter!
Saturday, February 19th at 19:00 at the music school of Pont de Vaux, still 37 rue Franche, at Pont de Vaux, of course, AIAM and teachers organize a hearing in mid-winter, which will mainly groups!
There will be:
groups of chamber music led by Nicole MENON
Orchestra Junior String Group
Anais PIN
and flutes!
Admission is free, subject to availability. 
There will be:
groups of chamber music led by Nicole MENON
Orchestra Junior String Group
Anais PIN
and flutes!
Admission is free, subject to availability.
Wednesday, February 16, 2011
Wednesday, February 2, 2011
Monday, January 31, 2011
Garrison Smoke Detectors Beeping
January 31 to February 24, 2011
The summary descriptions of the ballet is in the entry on the ballet in 2008: Caligula
Caligula Ballet in five acts
Argument - Nicolas Le Riche and Guillaume Gallienne
Music - Antonio Vivaldi The Four Seasons (critical edition of Paul Everett and Michael Talbot)
Electroacoustic Creation - Louis Dandrel
Choreography - Nicolas Le Riche
Dramaturgy - Guillaume Gallienne
Scenography - Daniel Jeanneteau
Video - Raymonde Couvreu
Costumes - Olivier Bériot
Lights - Dominique Bruguière
Orchestre de l'Opera National de Paris
Musical director and violin solo - Frederic Laroque
created for Ballet Ballet de l'Opera The Paris of 21 October 2005
Distribution of the First, January 31, 2011
Caligula, Emperor of Rome - Stéphane Bullion
Moon, Vision Caligula - Clairemarie Osta
Mnester, pantomime - Nicolas Paul
Shaer, Senator - Aurélien Houette
Incitatus, Caligula's horse - Mathias Heymann
Caesonia, wife of Caligula - Eleonora Abbagnato
The summary descriptions of the ballet is in the entry on the ballet in 2008: Caligula
 |
| Stéphane Bullion |
Caligula Ballet in five acts
Argument - Nicolas Le Riche and Guillaume Gallienne
Music - Antonio Vivaldi The Four Seasons (critical edition of Paul Everett and Michael Talbot)
Electroacoustic Creation - Louis Dandrel
Choreography - Nicolas Le Riche
Dramaturgy - Guillaume Gallienne
Scenography - Daniel Jeanneteau
Video - Raymonde Couvreu
Costumes - Olivier Bériot
Lights - Dominique Bruguière
Orchestre de l'Opera National de Paris
Musical director and violin solo - Frederic Laroque
created for Ballet Ballet de l'Opera The Paris of 21 October 2005
 |
| Stéphane Bullion |
Caligula, Emperor of Rome - Stéphane Bullion
Moon, Vision Caligula - Clairemarie Osta
Mnester, pantomime - Nicolas Paul
Shaer, Senator - Aurélien Houette
Incitatus, Caligula's horse - Mathias Heymann
Caesonia, wife of Caligula - Eleonora Abbagnato
 |
| Stéphane Bullion - Clairemarie Osta |
New resumed Caligula that input at this First introduces the theme of suffering and misunderstanding through this portrait of Stéphane Bullion human side of the emperor. Caligula is different and takes his difference and his contact with the characters he often unfinished, and the following Senators with whom he is trying to mislead the early and quickly, a strange vision of itself as an anachronistic De Profundis . In his character, Stephane Bullion wonderfully restored the contradiction of being killer his desires and who engages in a flight forward. Here she is by breaking the leaves and abroad to stage of life.
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| Stéphane Bullion - Clairemarie Osta |
Stéphane Bullion opens his eyes, staring at, laughed at times where it is and what he feels, brief contact with reality but the leak in the dream with the Moon, the unusual with his horse and personal accomplishment with which momentarily Mnester gives meaning to his existence, while contacts with senators and his followers are just tired and problems.
Sheer and fleeting Clairemarie Osta embodies a moon of desire, an ideal of mystery he wants to drill and disclosing the substance of his sufferings. Seeker, alternately amazed and annoyed, he has no recourse but to kill this being intangible returns to the unobtainable unlike his horse Incitatus.
Sheer and fleeting Clairemarie Osta embodies a moon of desire, an ideal of mystery he wants to drill and disclosing the substance of his sufferings. Seeker, alternately amazed and annoyed, he has no recourse but to kill this being intangible returns to the unobtainable unlike his horse Incitatus.
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| Stéphane Bullion - Nicolas Paul |
In his fascination Mnester for the pantomime, he finds the intangible nature of the unreal but the game ever again for the actor who operates in an artificial world.
The perfect connection with the Mnester of Nicolas Paul probably benefited from reading here that Stéphane Bullion will present itself to Mnester in another distribution.
The duet between the two is magic. While the Moon is only fleeting and impressionistic touch, Mnester is the symbol of time stops as possible, openness to self-knowledge, the epitome of achievement.
The duet between the two is magic. While the Moon is only fleeting and impressionistic touch, Mnester is the symbol of time stops as possible, openness to self-knowledge, the epitome of achievement.
With three partners of the strange, Caligula stands heavily Roman intrigue and death seized him in a reality that was leaking. Mortally wounded, it falls to earth and shows the breadth of his misunderstanding. While Nicolas Le Riche seems to have curbed his steps throughout the ballet as if to show discomfort or inappropriateness of Caligula, he wrote in the last few minutes, a solo of extraordinary violence that Stéphane Bullion door climax in an opposition between a body almost impossible to power multiplied and terrorized faces and unhappy that restores the fragile Man facing death. Within minutes, the return on her short life, the greatness, the look on the other, laughing at oneself, misunderstanding, aggression, pain and grief ...
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| Stéphane Bullion |
Sunday, January 23, 2011
Computer Memory Chart Program
Concert Feb. 6: Mozart Chamber Orchestra Châlonnais
U not beautiful poster for this concert in early February with the orchestra Room Chalons.
we say more! That the church will be heated, the musicians are of high quality and that the show will last approximately 1:30 ... We count on your presence and ... spread the word!
Thanks in advance. 
we say more! That the church will be heated, the musicians are of high quality and that the show will last approximately 1:30 ... We count on your presence and ... spread the word!
Thanks in advance.
Thursday, January 20, 2011
Plica Removal Recovery
Germanwings and Lufthansa announced the signing of an Interline Agreement
Germanwings and its parent company Lufthansa will work even more close from today, January 20, 2011, the date of entry into force of the Interline Agreement signed between the two companies.
This agreement allows passengers to book their flights in a travel agency or sales offices of Lufthansa and buy, for example, the Lufthansa flight and return with Germanwings.
Passengers enjoy a greater choice of flight connections and combinations attractive tariff. Germanwings will now benefit from a increased presence in the central reservation systems and thus greatly expand sales internationally.
This new cooperation agreement is a continuation of the intense commercial collaboration which began in September 2010 between Lufthansa and low costs. Germanwings customers can earn and since then redeem miles as part of loyalty program Miles & More of Lufthansa. 
Germanwings and its parent company Lufthansa will work even more close from today, January 20, 2011, the date of entry into force of the Interline Agreement signed between the two companies. This agreement allows passengers to book their flights in a travel agency or sales offices of Lufthansa and buy, for example, the Lufthansa flight and return with Germanwings.
Passengers enjoy a greater choice of flight connections and combinations attractive tariff. Germanwings will now benefit from a increased presence in the central reservation systems and thus greatly expand sales internationally.
This new cooperation agreement is a continuation of the intense commercial collaboration which began in September 2010 between Lufthansa and low costs. Germanwings customers can earn and since then redeem miles as part of loyalty program Miles & More of Lufthansa.
Wednesday, January 19, 2011
Does Keri Hilson Wear A Weave
Coffee Psychomot Tuesday, March 15, 2011
Association of Clinical Research and Reflection in Psychomotility Lyon and its region offers:
His next Café Psychomot be held
On Tuesday, March 15, 2011
19:45
in the same place but under a different name:
At Mondrian Coffee
1 quai Claude Bernard 69007 LYON
Come share, reflect, talk about our practices
"In the Wake of our thematic framework is the notion of groupality which will be put into debate ".
Natacha Vignon we present the text of Claire Bertin, entitled" Reflections on an experience of co-therapy, articulation between "I" and "We" , published in Psychomotor Therapy and n ° 156, pp 58-71.
From the clinical relevance of this text, we can open the debate on our groupal, theoretical references that underlie them, indications, (the) mediation ... "
It seems to us that This whole topic could help us go further in the discussion and reflection on a theme so central that the scope of our work.
Entry 5 € with a free drink
Sign sending us an email at the following address before March 8: arrcplyon@gmail.com
restricted to graduates psychomotor 
Association of Clinical Research and Reflection in Psychomotility Lyon and its region offers: His next Café Psychomot be held
On Tuesday, March 15, 2011
19:45
in the same place but under a different name:
At Mondrian Coffee
1 quai Claude Bernard 69007 LYON
Come share, reflect, talk about our practices
"In the Wake of our thematic framework is the notion of groupality which will be put into debate ".
Natacha Vignon we present the text of Claire Bertin, entitled" Reflections on an experience of co-therapy, articulation between "I" and "We" , published in Psychomotor Therapy and n ° 156, pp 58-71.
From the clinical relevance of this text, we can open the debate on our groupal, theoretical references that underlie them, indications, (the) mediation ... "
It seems to us that This whole topic could help us go further in the discussion and reflection on a theme so central that the scope of our work.
Entry 5 € with a free drink
restricted to graduates psychomotor
Tuesday, January 18, 2011
Confirmation Catholic
disorders in Tunisia: Avico operates two return flights
Solicited Saturday, January 15 by a company and the next day by a tour operator, Avico made two flights for the repatriation of French nationals Tunisia :
- a first of Monastir, which carried 165 tourists from Djerba to Mulhouse and Paris Sunday, Jan. 16 on behalf of Marmara, aboard a Boeing 737 from the English airline Calima;
- a second flight from Tunis Monday, Jan. 17 aboard an Airbus A320 of Tunisian airline Nouvelair, which allowed the return to Paris 50 people working for the French company Teleperformance and 10 tourists Piel Travel. 
Solicited Saturday, January 15 by a company and the next day by a tour operator, Avico made two flights for the repatriation of French nationals Tunisia : - a first of Monastir, which carried 165 tourists from Djerba to Mulhouse and Paris Sunday, Jan. 16 on behalf of Marmara, aboard a Boeing 737 from the English airline Calima;
- a second flight from Tunis Monday, Jan. 17 aboard an Airbus A320 of Tunisian airline Nouvelair, which allowed the return to Paris 50 people working for the French company Teleperformance and 10 tourists Piel Travel.
Wednesday, January 12, 2011
Does The Sun Have A Solid And Liquid Interior
Germanwings starts in 2011 with planes full
Germanwings starts in 2011 with planes full. Increase in traffic in 2010, Network Development with the opening of a new base in Hanover. Growth of the fleet with aircraft order
Germanwings starts the year with planes full. The load factor has exceeded 90% during the first days of the year. The low cost airline Cologne leaves behind a year full of success and developments to begin a new year full of new destinations and projects. To achieve them, Germanwings will again this year, creating jobs.
The opening of the new base in Hanover, in particular, has the low-cost airline to grow strongly in terms of supply and employment. It was opened April 12, 2010 and is based Germanwings Airbus A319 flying to three new destinations by 16 direct flights. This new base has created many jobs in Lower Saxony.
traffic declined in April with the suspension of flights for several days due to the eruption of the volcano in Iceland, but the rest of the year was no surprise. Over the last two quarters of 2010, Germanwings has recorded a new monthly record in terms of traffic. In October, for example, up nearly 18% that of the previous year and accounted for transporting nearly 120,000 more passengers compared to October 2009. The company has recorded these results using only four additional aircraft into its fleet.
employees and customers Germanwings have received an award in November: a study conducted by Profiles International, a market leader in profiling techniques, said that was part Germanwings airlines and most profitable companies in Germany.
The past year has brought a series of improvements in services offered Germanwings customers: it is now possible to reserve the seat next to her to keep it free and enjoy additional space for a more comfortable journey. According to travelers, the new Best Rates, which includes airfare, their checked baggage and onboard services under a single tariff, has proved to be the biggest hit of the year for the company . Strengthening collaboration with Lufthansa Germanwings passengers can earn miles on the Miles & More program since September 1. And a new iPhone application provides more services and leisure travelers (service proposed only in Germany for now). Germanwings
For the year just ended has been synonymous with big investments: in September, the airline has ordered eight Airbus aircraft A319, which will be delivered progressively over the next few years. The company, which currently serves over 75 destinations in continental Europe, accentuates its development.
About Germanwings:
Germanwings is one of the low-cost European airlines who wins the most successful. With attractive rates, the company offers flights from its five bases in Cologne / Bonn Stuttgart, Berlin-Schönefeld, Dortmund and Hanover flights to nearly 75 destinations across Europe.
The airline operates a young fleet currently consists of 30 Airbus A319 jets.
From France, Germanwings operates a daily flight between Manchester and Cologne.
It also operates a seasonal service between Marseille and the airport Cologne / Bonn, three times a week (Tuesdays, Thursdays and Saturdays).
Finally, Germanwings offers seasonal services between Bastia and Cologne at 2 weekly flights, and between Bastia Bastia and Stuttgart and Berlin.
Germanwings also offers varied destinations European, always low prices, with short connection times and transfer practices, as checked baggage at the airport of departure to final destination.
destinations with connections offered by Germanwings are:
- From Nice: Berlin, Leipzig, Dresden and Moscow via Cologne / Bonn
- From Marseilles: Berlin, Vienna, Zurich, Budapest, Dresden, London , Milan and Munich via Cologne / Bonn
- From Bastia: London, Munich, Vienna and Zurich, via Cologne / Bonn.
Other destinations are also available in one way. Germanwings
Reservations:
By phone: 0892 390 158
(From 5:00 to 11:00 p.m.)
Website: www.germanwings.com 
Germanwings starts in 2011 with planes full. Increase in traffic in 2010, Network Development with the opening of a new base in Hanover. Growth of the fleet with aircraft order Germanwings starts the year with planes full. The load factor has exceeded 90% during the first days of the year. The low cost airline Cologne leaves behind a year full of success and developments to begin a new year full of new destinations and projects. To achieve them, Germanwings will again this year, creating jobs.
The opening of the new base in Hanover, in particular, has the low-cost airline to grow strongly in terms of supply and employment. It was opened April 12, 2010 and is based Germanwings Airbus A319 flying to three new destinations by 16 direct flights. This new base has created many jobs in Lower Saxony.
traffic declined in April with the suspension of flights for several days due to the eruption of the volcano in Iceland, but the rest of the year was no surprise. Over the last two quarters of 2010, Germanwings has recorded a new monthly record in terms of traffic. In October, for example, up nearly 18% that of the previous year and accounted for transporting nearly 120,000 more passengers compared to October 2009. The company has recorded these results using only four additional aircraft into its fleet.
employees and customers Germanwings have received an award in November: a study conducted by Profiles International, a market leader in profiling techniques, said that was part Germanwings airlines and most profitable companies in Germany.
The past year has brought a series of improvements in services offered Germanwings customers: it is now possible to reserve the seat next to her to keep it free and enjoy additional space for a more comfortable journey. According to travelers, the new Best Rates, which includes airfare, their checked baggage and onboard services under a single tariff, has proved to be the biggest hit of the year for the company . Strengthening collaboration with Lufthansa Germanwings passengers can earn miles on the Miles & More program since September 1. And a new iPhone application provides more services and leisure travelers (service proposed only in Germany for now). Germanwings
For the year just ended has been synonymous with big investments: in September, the airline has ordered eight Airbus aircraft A319, which will be delivered progressively over the next few years. The company, which currently serves over 75 destinations in continental Europe, accentuates its development.
About Germanwings:
Germanwings is one of the low-cost European airlines who wins the most successful. With attractive rates, the company offers flights from its five bases in Cologne / Bonn Stuttgart, Berlin-Schönefeld, Dortmund and Hanover flights to nearly 75 destinations across Europe.
The airline operates a young fleet currently consists of 30 Airbus A319 jets.
From France, Germanwings operates a daily flight between Manchester and Cologne.
It also operates a seasonal service between Marseille and the airport Cologne / Bonn, three times a week (Tuesdays, Thursdays and Saturdays).
Finally, Germanwings offers seasonal services between Bastia and Cologne at 2 weekly flights, and between Bastia Bastia and Stuttgart and Berlin.
Germanwings also offers varied destinations European, always low prices, with short connection times and transfer practices, as checked baggage at the airport of departure to final destination.
destinations with connections offered by Germanwings are:
- From Nice: Berlin, Leipzig, Dresden and Moscow via Cologne / Bonn
- From Marseilles: Berlin, Vienna, Zurich, Budapest, Dresden, London , Milan and Munich via Cologne / Bonn
- From Bastia: London, Munich, Vienna and Zurich, via Cologne / Bonn.
Other destinations are also available in one way. Germanwings
Reservations:
By phone: 0892 390 158
(From 5:00 to 11:00 p.m.)
Website: www.germanwings.com
Sunday, January 9, 2011
Best Tennis Racquet For High School Player
Swan Lake Odette
As often with Rudolf Nureyev reading classics offers a dramatic opening to creativity. If the plot relies heavily on classic Swan Lake he composed with a few brilliant ideas incorporated subtly into the narrative and choreography, a rich and interactive as the dancers, the ballet the soloists are respondents to appropriate to develop each night a new drama.
Swan Lake is perhaps the most successful ballets of Rudolf Nureyev in his pursuit of the revaluation of the male dancing, with highlighting the role of Siegfried, suggested in the literary narrative, but which failed was not embodied in the choreography of an era where everything revolved around the prima ballerina. To serve
about it, Rudolf Nureyev gave the beginning to the end the prince a strong partner in the person of Wolfgang / Rothbart, a true master of ceremonies of the ballet that makes appearances Odette anecdotal. Is the richness of this relationship that fuels the narrative of ballet.
it a dream or not, since the ballet opens with the prince asleep, everything suggests that Siegfried recognizes the kidnapper Wolfgang Odette, his tutor who comes to wake him. How will he manage that information and what effect it will generate over the course of history?
In his palace on the eve of his majority, Siegfried realizes his destiny-power and creation of a dynasty-not interested. The story of Swan Lake in the version of Rudolf Nureyev is to illustrate the causes of this finding, his escape from reality and the development implications of his positions.
Facing the melancholy prince to repressed desires, the multifaceted face of the "other possible" dream and dark fantasy is embodied by Wolfgang Rothbart, serious teacher in the first act or powerful lord in the third, that night, haunts the nearby lake in the shape of a bird. Siegfried, the prince fatum tragic, not only reads the light his relationship to his alter ego on stage, the mysterious Wolfgang proves each act a facet of his personality.
Siegfried is the source of this history and its relationship with Wolfgang, his tutor are the key that enters the dramatic ballet. If one is Karl Paquette, there really is so dreamy and Stéphane Bullion, its magnetic tutor lighter, it falls in love. Why then claim that court life which can not satisfy his choice? If it is the remote Wolfgang Stéphane Phavorin, we remain in a state of hesitation that runs through the ballet, plunged in between two of the dream never take a stand. When Christopher
Duquenne Siegfried seizes, it becomes blue flower and plunges into a romance where absolute believe that anything is possible, therefore, that his tutor Yann Saiz solve the equation sad love impossible in these times and these places. By indulging without restraint, he plunged into melancholy which seems therefore to announce a series of events black.
face of romantic and fragile to manipulate, princes strong policies to give the appearance ballet. This is not so much attracted to her but Wolfgang shelved who led the prince away while the label prevents him from speaking more clearly. The slow variation reveals the highly emotional questions and be evil Siegfried and opens the ballet on the poetry of the lake. After the curtain reverie, hunting allows the prince to escape effectively.
If you are Jose Martinez, we will confront the conspiracy in which the head of s'ourdit Wolfgang Stéphane Bullion for him bite his way to the Court and with the queen, whereas if the 'independent Stéphane Bullion suffered bullying guidelines and Karl Paquette, he looks for derivatives that pressure, finding the lake a communion with nature to escape the constraints of the prince's life that he refuses to be.
On the lake, resting almost reached the form of idealization and movements of swans are majestic and free, odalisques figures. But this is only surface water ballet and night is also the imprint of an evil genius.
On the lake, therefore reign of a night owl who terrorizes the herd of swans which princess Odette, no compromise ideal woman is a delicate sovereign. Siegfried recognizes there he caught the woman in his dream and what are the reasons that led him to unite her destiny with the unfortunate captive? Emilie Cozette
walking on the lake with its detached telling her princes met at a hunting impromptu detour she could regain his wife if they swore eternal love, but why bother? Surrounded by her girlfriends, she is no more at ease in a world that his interlocutors Stéphane Bullion, Jose Martinez, Karl Paquette seem to refuse? In this strange world, meeting with the prince is not fusion, and if she sees Siegfried an opportunity to escape, she is not recovering entirely to him, acknowledging power and domination of the bird, which ultimately drives the prince.
For Laetitia Pujol, in addition to the inevitability of the curse that any It is as if she never meets princes. She exudes the tragedy at every step from its first appearance, it is about him, minus the ballet.
Ulyana Lopatkina is fatalistic and even if it is a charm to Jose Martinez, no doubt she likes best maximize its condition of narcissistic swan exploring the sinuosity of his movements slow and precise. It remains closed to dialogue as the condition for its strangeness also above her peers.
Ulyana Lopatkina But if a strategy does not just circumstance, Agnes Letestu is dominant. Lake, her companions, she defies his teacher valiantly to draw an illusion sovereignty. One day perhaps she will win, while regretting, no doubt, but too short a possible opening to love.
At the palace, princes and still undecided docile little fun only when they attend, with entertainment in their honor.
They still dream to open up to the unreal life of another, sometimes embodied by Odette, they were able to glimpse before. The most direct concealed boredom by seeking a way out, participating in the festivities politely while thinking about the most effective way to tell their mother they will not marry the princess proposed. It is also singularly full explanation emerges accompanied by Rothbart and Odile. What
sees Siegfried Wolfgang Odile in the guise of noble Rothbart offers them as a companion? Is it a simple mistake that turns tragic sincere? A league with a tutor transformed? A rejection of parental authority, a kind of affirmation assumed their majority? Symbolic suicide? A distrust of self? Coverage for their love in the lies of the royal decorum?
Odile is the ingenue of the ballet. Emilie Cozette uses the strengths of its charm player to play fifteen minutes with obvious pleasure and without any malice. Very complicit with Rothbart, she instills tactfully brands of seduction.
more reserved and less mobile, Ulyana Lopatkina seeks to test whether it can give a version of its polarized Odette, who then deceived effortlessly poor Siegfried Jose Martinez, a little sinking at this point in the ballet. Agnes Letestu, the devastating charm, makes her Odile a sharp point in the heart of even his Siegfried. If Ludmila Pagliero seems to have played in the characterization of Odile, it is preferred to Laetitia Pujol a little bitch caricature too, must have been well Rothbart bullied by dad, whether it frankly gay Benjamin Pech or more ambiguous Yann Saiz and Stephane Phavorin. She then reveals Siegfried default or frankly stupid, or really seizing the weapon of suicide in both hands, which did not need it not to exist.
Siegfried entered the events that took place these last few hours, arrived at the end of his reflections. His transition to adulthood has failed and his destiny as a prince cursed leads to death as he proposes that reality Rothbart and Odette in her terrible resolution to have the last word. Lake takes over the minds and swallowed Siegfried while the black bird takes Odette. Rothbart
protean defeated. Love revenge or conspirator in a good position to succeed, it requires at least its power over the lake.
 |
| Stéphane Bullion (Siegfried) |
As often with Rudolf Nureyev reading classics offers a dramatic opening to creativity. If the plot relies heavily on classic Swan Lake he composed with a few brilliant ideas incorporated subtly into the narrative and choreography, a rich and interactive as the dancers, the ballet the soloists are respondents to appropriate to develop each night a new drama.
 |
| Stéphane Bullion (Wolfgang) - Jose Martinez (Siegfried) |
Swan Lake is perhaps the most successful ballets of Rudolf Nureyev in his pursuit of the revaluation of the male dancing, with highlighting the role of Siegfried, suggested in the literary narrative, but which failed was not embodied in the choreography of an era where everything revolved around the prima ballerina. To serve
about it, Rudolf Nureyev gave the beginning to the end the prince a strong partner in the person of Wolfgang / Rothbart, a true master of ceremonies of the ballet that makes appearances Odette anecdotal. Is the richness of this relationship that fuels the narrative of ballet.
it a dream or not, since the ballet opens with the prince asleep, everything suggests that Siegfried recognizes the kidnapper Wolfgang Odette, his tutor who comes to wake him. How will he manage that information and what effect it will generate over the course of history?
 |
| Stéphane Bullion (Siegfried) - Karl Parquet (Wolfgang) |
Facing the melancholy prince to repressed desires, the multifaceted face of the "other possible" dream and dark fantasy is embodied by Wolfgang Rothbart, serious teacher in the first act or powerful lord in the third, that night, haunts the nearby lake in the shape of a bird. Siegfried, the prince fatum tragic, not only reads the light his relationship to his alter ego on stage, the mysterious Wolfgang proves each act a facet of his personality.
Un certain regard
 |
| Christophe Duquenne (Siegfried) |
Duquenne Siegfried seizes, it becomes blue flower and plunges into a romance where absolute believe that anything is possible, therefore, that his tutor Yann Saiz solve the equation sad love impossible in these times and these places. By indulging without restraint, he plunged into melancholy which seems therefore to announce a series of events black.
face of romantic and fragile to manipulate, princes strong policies to give the appearance ballet. This is not so much attracted to her but Wolfgang shelved who led the prince away while the label prevents him from speaking more clearly. The slow variation reveals the highly emotional questions and be evil Siegfried and opens the ballet on the poetry of the lake. After the curtain reverie, hunting allows the prince to escape effectively.
 |
| Stéphane Bullion (Siegfried) |
If you are Jose Martinez, we will confront the conspiracy in which the head of s'ourdit Wolfgang Stéphane Bullion for him bite his way to the Court and with the queen, whereas if the 'independent Stéphane Bullion suffered bullying guidelines and Karl Paquette, he looks for derivatives that pressure, finding the lake a communion with nature to escape the constraints of the prince's life that he refuses to be.
The ideal getaway
 |
| Stéphane Bullion (Rothbart into a bird) |
On the lake, resting almost reached the form of idealization and movements of swans are majestic and free, odalisques figures. But this is only surface water ballet and night is also the imprint of an evil genius.
 |
| Stéphane Bullion (Siegfried) |
walking on the lake with its detached telling her princes met at a hunting impromptu detour she could regain his wife if they swore eternal love, but why bother? Surrounded by her girlfriends, she is no more at ease in a world that his interlocutors Stéphane Bullion, Jose Martinez, Karl Paquette seem to refuse? In this strange world, meeting with the prince is not fusion, and if she sees Siegfried an opportunity to escape, she is not recovering entirely to him, acknowledging power and domination of the bird, which ultimately drives the prince.
 |
| Stéphane Bullion (Siegfried) - Emilie Cozette (Odette) |
Ulyana Lopatkina is fatalistic and even if it is a charm to Jose Martinez, no doubt she likes best maximize its condition of narcissistic swan exploring the sinuosity of his movements slow and precise. It remains closed to dialogue as the condition for its strangeness also above her peers.
 |
| Emilie Cozette (Odette) |
the kingdom of the fatal act
 |
| Stéphane Bullion (Siegfried) |
They still dream to open up to the unreal life of another, sometimes embodied by Odette, they were able to glimpse before. The most direct concealed boredom by seeking a way out, participating in the festivities politely while thinking about the most effective way to tell their mother they will not marry the princess proposed. It is also singularly full explanation emerges accompanied by Rothbart and Odile. What
sees Siegfried Wolfgang Odile in the guise of noble Rothbart offers them as a companion? Is it a simple mistake that turns tragic sincere? A league with a tutor transformed? A rejection of parental authority, a kind of affirmation assumed their majority? Symbolic suicide? A distrust of self? Coverage for their love in the lies of the royal decorum?
 |
| Stéphane Bullion (Siegfried) - Emilie Cozette (Odile) |
 |
| Stéphane Bullion (Rothbart) - Ulyana Lopatkina (Odile) |
 |
| Stéphane Bullion (Rothbart) |
But what are the drawings of Wolfgang / Black Bird is presenting Rothbart? Why he hid his daughter Odile to Siegfried? Why then it seems to happen to his goal, he condemns by removing the prince who was substituted Odile Odette well?
If you are Stéphane Bullion, tutor titanic, we still want the fun titillating sexual emotions Karl Paquette, showing him well Odile is frankly a woman while his attractive power appears . If we played the first act shifty, the goal is clearly to gain power by liquidating in any manner whatsoever Jose Martinez, using a very Ulyana Lopatkina voluntary or Emilie Cozette, very playful, the perfect accomplices of his plan. The
Rothbart Karl Paquette part of the mystery of his Wolfgang presence almost invisible yet weighty and incisive when key not three.
Yann Saiz is the water that sleeps better drown in a wave of her little princes dominated Odile, Christophe Duquenne still bewildered, frightened Mathias Heymann. Wolfgang Benjamin Pech in, so desire that seemed to avenge Siegfried, both of the female population on the lake and its disappointed love in a third act very violent and resentful.
While tragedy is at its height, that Siegfried is dead ashamed of having unintentionally condemned Odette in his personal mistakes and the Stations of the Cross is not over, his first adult lesson is to manage the consequences of his actions. We must return to the lake, Odette and review to be forgiven, his engulfed in sorrow when all else fails or be realized in the ultimate escape, ultimate solution to the problems suggested in the first act.
One moment, a life on the lake seems the solution and Siegfried tries again communion with Odette, but if it forgive him, bird watch.
Lake becomes the true hero of the ballet, the swans spread their melancholy, heavy wings, suffering the fate, then Odette and distinguished by the betrayal and dashed hopes, panics.
If you are Stéphane Bullion, tutor titanic, we still want the fun titillating sexual emotions Karl Paquette, showing him well Odile is frankly a woman while his attractive power appears . If we played the first act shifty, the goal is clearly to gain power by liquidating in any manner whatsoever Jose Martinez, using a very Ulyana Lopatkina voluntary or Emilie Cozette, very playful, the perfect accomplices of his plan. The
Rothbart Karl Paquette part of the mystery of his Wolfgang presence almost invisible yet weighty and incisive when key not three.
Yann Saiz is the water that sleeps better drown in a wave of her little princes dominated Odile, Christophe Duquenne still bewildered, frightened Mathias Heymann. Wolfgang Benjamin Pech in, so desire that seemed to avenge Siegfried, both of the female population on the lake and its disappointed love in a third act very violent and resentful.
Lake
 |
| Ulyana Lopatkina protected swans |
One moment, a life on the lake seems the solution and Siegfried tries again communion with Odette, but if it forgive him, bird watch.
Lake becomes the true hero of the ballet, the swans spread their melancholy, heavy wings, suffering the fate, then Odette and distinguished by the betrayal and dashed hopes, panics.
 |
| Stéphane Bullion (Siegfried) - Emilie Cozette (Odette) |
| Siegfried, one last time, seems to be united his future, but it is more to life but to death. If she forgives Siegfried, she accepted the Fate that leads one way or another, driven by Siegfried symbolically or concretely by the black bird, to an inevitable death. | |||
 |
| Stéphane Bullion (Siegfried) - Emilie Cozette (Odette) |
| |
protean defeated. Love revenge or conspirator in a good position to succeed, it requires at least its power over the lake.
 |
| Bird (Stéphane Bullion) triumph of Siegfried (Jose Martinez) |
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