Free like the wind

Libres Como el Viento” is a love story of today university students. It is a modern life chronicle from pragmatic point of view. It is a story of love between Fabiola Azcarate, the youngest of five children in the family, and Miguel Angel, the only son of Acarate estate manager.

After her father’s death Fabiola is leaving her native country for study. She is going to get a bachelor degree at the university. But the nostalgia will make her come back home, although she doesn’t know the Destiny has prepared a surprise for her at her motherland, a great love from her early youth will meet her soon again.

After Fabiola’s arrival she will find her brothers to be in discussion about her father’s inheritance. Brothers cannot make a final decision what to do with it: leave father’s business or fight for it. They can’t find the solution satisfied for everybody and the family friendship is cracking.

Another part of story tells us about Miguel Angel. He is a grown-up strong man who independent and successful. Miguel met Fabiola three years ago, but the life separated them. Now Miguel is surrounded by care of Tibisay, a sensual woman ready to do everything in order to get Miguel’s love.

Miguel and Fabiola will meet again in Nicolas Copernico University and the fire of their love will burn again. Their relations are young and free as air.

The background for their love is not carefree! The Nicolas Copernico University is involved into a struggle between two opposite bands fighting for control over university. The first band is led by Diego Bravo whose goal is to separate all students and make them live in war. Diego’s adversary is Reinaldo Torres, who tries to unite people around into one strong Union of University Students.

But there are not only students who lead the Union of University Students. Two teachers Rogelio Luciente and Ivana Galan are also at the head of this Union. Rogelio turns into a Union Center Figure while Ivana is his right hand and his best assistant in this struggle. Together they are a great example of love wings power that unites two different worlds into one reality.

Dad Dáger is pregnant!

She found out while she was working at the soap 'Libres como el viento'(Free like the wind),where she plays a universitary teacher named Ivana Galván.She leaved the cast of 'Libres como el viento'(Free like the wind) because of the pregnancy,

Dad is married with Alejandro Rivalta for 5 years .

“Isa TKM (I want you to much)

The soap opera “Isa TKM (I want you to much)is released by the Nickelodeon channel.
The production is written by Venezuelan novelist Mariela Romero and the plot is centered on a charismatic adolescent who must confront her first love, her first kiss and, simultaneously, to discover who are her true parents. The novel is released for the international channel Nickelodeon and has been recorded in Venezuela with young talent of the country.
Isa TKM protagonists are Maria Gabriela de Faría and Reinaldo Zavarce. The actors that complete the distribution are: Francis Romero, Dad Dager, Javier Valcárcel, Willy Martin, Sabrina Seara, Donny Murati, Milena Torres and Micaela Castelotti,among others.

The most beautiful 2002

Dad Dáger
Disquieting presence
She is an architect of profession, but publicly you meet her like actress theater and television . Its interpretations in the soap operas My three brothers - as Silvia Estrada- and Viva pepa - Yakionassi- is remembered by the Venezuelan viewers.
Its stellar moment
This year turned one decade of work in television, and the roll of contrafigura of the protagónica pair in the production of RCTV, intimate Rags was assigned to her.
Whatthey like more of her
They consider a beauty little common that, in addition, one has dreamed up a name to certainty end and talent.
Its recognized physical attribute more
The intensity of its eyes almendrados in company of its long black hair.
What the jury said
“It is a rare beauty that radiates a great sensuality” (Guillermo Felizola). A revealing phrase “Always I insist on which I like to make the things well. If I am going to make television it is television; it touches if me to the theater, is theater. I do not like to feel that I do them to the things by half”.

Between heaven and hell

"Intimate Rags"

The actress says that the end of Manuela will be surprising. She thanks for the support of mass media and the public. She confirmed that she will work in the film "El Don" and promised a bold session of photos, in suit of bath for "Of mouth in mouth".

As it is its custom whenever RCTV assigns a new personage to him, the talented actress Allways Dad Dáger robs the show. It is enough to remember to the scandalous Jacky Onasis Guaramato of "Viva la pepa" or the self-sacrificing Silvia of "My three sisters" to make this affirmation.

In this occasion the enigmatic actress, interpreted two of the most demanding personages of "Intimate Rags", we spoke of Manuela and Soledad Andueza. The first great villana of the game, and the other, the ghost of the wife of Fernando Wolf (Carlos Montilla).

"I am very contented with the results reached with this work. Manuela and Soledad have been of the best personages than they have assigned to me. From a principle they supposed a great challenge, and now that ' Íntimos' Rags is in its final stage and first place of syntony, all those that we worked here we can say that we fulfilled our goal ", says proud Dad.

- It is easy to interpret a double paper?

- it is not easy because you must print characteristics to him different from each personage so that people totally identify by her voice or its gestualidad.

- In the street they say that your personage was one of whom the show in "Intimate Rags" robbed how you feel?

- Very proud of to have given the stature towards the public and by to have fulfilled the great responsibility that assigned RCTV to me. As actress I have decided that I gave in body and soul to this personage, and is very rewarding who people have supported it and enjoyed so much. Very happy and I am very thanked for with the mass media and the hearing that always have supported my works.

- How one feels to be the great evil of the story?

- Very, but very well. He has been very rich. Only I have needed the red apple. Clear that training that has demanded me east work has been one of strongest, but the results are worth any sacrifice. To be Manuela and Soledad leaves me exhausted happily and now the best part comes. With them I was between the sky and hell.

- Has been difficult to interpret a woman so tormented as Manuela?

- I believe that in addition to the physical and mental exhaustion that can generate a personage like this,most difficult it has been the approach that has occurred to the relation of Manuela with its familiar nucleus. She has experienced very extreme feelings like the love and hatred, and that makes very hard. And although, when I leave the channel I undress of the personage, to live eight hours daily as contradictory personality as aggressive, it is a great challenge.

- This personage has shown very particular a dark side, Dad Dáger has a dark side?

- As all the human beings Dad Dáger has a clear side and another dark, luckyly, in my case, my dark side is full of light because I do not lodge bad energies.

- Which would be the ideal end for Manuela?

- I imagine that with all the expectation that were created with this personage from a principle and with the good results that has obtained with the public, the end of Manuela must be surprising. I imagine thousand things, but I leave into the hands of the excellent creator of this history, Mrs.Valentin Párraga, because I am sure that something spectacular will write.

- Your last Silvia works "My three sisters", Jacky "Viva la pepa" and Manuela "Intimate Rags" have been very successful which is your favorite?

They are unforgettable. Each one has taught me so much . The three were written and acted with love, for that reason my favorites are the three.

- Before finalizing, it is certain that soon we will see you in bikini?

- How they found out? (laughter) Yes, the next week I will become a session of photos for "Of mouth in mouth", and my photographer decided that we did it in suit of bath...

Later them story!

On the brink of madness

Beginning the 2007 already Venezuelan cinema he will have his space in billboard. On the brink of madness the line, prime opera of Carlos Villegas, is released next the 19 of January after three years of to be produced.

On the brink of madness the line counts the history of Claudia, a employee of hotel that will discover that the destiny has a luck ingredient, but mainly, it dreams up with the decisions and actions of every day. The personage, interpreted by Daniela Bascopé, wants to have a new life, to escape of his misfortune, and at first he does by the mistaken way, entrusting itself only in the chance, but this one will betray it and end up depending on an election, of the reason.

Bascopé shares credits with Roque Valero,Jeronimo Gil ,Dad Dáger and the first actors Caridad Canelón, Armando Gota and Aníbal Grunn.

" Was a little necessity to communicate the history of this girl and that history: what governed it, the chance, the destiny we have a way drawn up or the one plan, and if somehow we have a limited destiny, short ", the director commented, who confessed to experience a mixture of feelings before the imminent opening of his film.

For Villegas the personages of their history have a necessity to love and to be loved, "all are in an obtained search or no, to obtain to the love and the happiness".

In effect, Claudia, besides to leave the crummy hotel in which it works, looks for a blue prince that it finds in the figure of Juan (Jeronimo Gil). This one, as well, is obsessed by Perla (Dad Dáger) and the fame that they had like singers. Salvador (Roque Valero) has overcome all the demons of the death (driver of a van works as) but does not know how to request marriage to him to Claudia. In short, all ramble by dark corridors of uncertainty and lack of affection.

Carlos Villegas, who already has three cortometrajes in his salary, is interested in continuing making cinema where he and the public amuse themselves, but in addition looks for to cause feelings and thoughts in the hearing.

Government defends controversial RCTV closure

In the wake of the controversial shutdown of Venezuela's oldest broadcaster, RCTV, on Sunday night, President Hugo Chavez's government is stepping up the pressure on other local webs and even rattling its saber at CNN for any hint of opposition to its strong-arm tactics.

Minister of Communications William Lara has cited two segments aired by CNN, one depicting crowds of protesters and another placing a photo of Chavez alongside that of a late Al Qaeda leader and of some demonstrations in China. Lara claims latter images were meant to "associate the image of Chavez with that of violence and death" while footage of a demonstration was in fact taken in Acapulco when people took to the streets after the killing of a journalist and was not, as CNN claimed, of protests against the closure of RCTV (Radio Caracas Television).

Lara claimed these images formed part of an international campaign to discredit and attack Venezuela, which would take its case against CNN to an international court.

In a rather bizarre turn of events, Lara said the government will sue local 24-hour news web Globovision for recently airing archival footage of the 1981 assassination attempt on the late Pope John Paul II, stating that the broadcasting of the footage would only serve to "stir up hate."

Globovision, now the only remaining opposition-sided TV channel, does not air across the country. Earlier, pro-Chavez vandals attacked the headquarters of Globovision, chanting obscenities and spray-painting slogans on the building's outer walls.

RCTV's biggest rival, Venevision, owned by local media conglom Grupo Cisneros, has opted to ignore the protesters and their clashes with police in the streets of Caracas, airing movies and telenovelas instead. Public broadcasting licenses for Venevision as well as four other networks, including state-run VTC, were renewed on Saturday.

Journalists from Venevision have taken to the streets to protest against their company's silence.

Founded in 1953, RCTV frequently led in the ratings through its heady mix of steamy telenovelas, heated talkshows and "Who Wants to Be a Millionaire." Chavez's government accuses the web of helping to provoke a coup that ousted Chavez from office for two days in 2002. It further irked Chavez by declining to report on his government's return and aired cartoons instead.

RCTV chairman Marcel Granier said that the company would continue to fight the shutdown in the courts and that the network may transmit via cable in the future. Authorities have seized RCTV's broadcast equipment, including antennae and relay stations.

Meanwhile, RCTV has ordered its telenovela actors back to work. "RCTV has international (sales) commitments, so it has to continue producing its telenovelas," said thesp Dad Dager, who stars in RCTV sudser "Camaleona" (Chameleon) and was among many others who had tear gas lobbed at them by the police. "I feel our freedom of expression has been violated," she said.

RCTV has been replaced by state-backed TVES, which the government claims will be more diverse, acquiring 70% of its content from independent Venezuelan producers.

THE BEST

19 FEBRUARY 2008 :DAD DAGER IS THE WINNER OF THE AWARD FOR BEST ACTRESS IN A NEGATIVE ROLE IN THE TELENOVELA "CAMALEONA".IN THIS 3 EDITION DAD DAGER WAS THE WINNER WITH 1773 VOTES FOR HER ROLE IN "CAMALEONA"..SHE RECEVIED THE AWARD IN THE SHOW OF Alberto Cimino,“El Universo del Espectáculo” THAT CAN BE HEARD BEETWEEN 16-18 HOURS AT 100.3 “La FM de la Gran Caracas”RADIO.
(EL-CARABOBENO.COM)

La MaMa return for Elia Schneider's Teatro Dramma
of Venezuela with "Rooms"
Visual theater production sets three women in a Kafka-esque world of isolation
and everyday obsessions.

March 9 to 19
La MaMa E.T.C. (Annex Theater), 74A East Fourth Street
Presented by La MaMa E.T.C.
Th-Sat at 8:00 pm, Sun at 3:30 pm and 8:00 pm; Fri & Sat $20/tdf; Th & Sun $15/tdf
Box office/audience info (212) 475-7710

"There are Kafka-esque situations everywhere," asserts Elia Schneider, artistic director of Teatro Dramma of Caracas. So even when she's not creating theater pieces of stories by Kafka, she might as well be. "He was a visionary of how the world really functions," she says, adding, "Every time I set out to do something else, I come back to Kafka." This is the idea behind hew newest work, "Rooms," which she describes as "a play that delivers the sensations of imprisonment and loneliness, of the distancing actions we do in everyday life."

One year in development, this 50-minute wordless play takes the lives of three women--played by two prominent actresses of Venezuela and one from Germany--and delves into the basic things they do every day. "The significance of the insignificant" is revealed in a play that is pictorial, metaphoric and imagistic. To illustrate the universality these themes, Schneider speaks of Venezuelan life as especially Kafka-esque. It's a place where, she says, "obsessions with the basic elements of life and survival are mixed with intimations of an apocalyptic end." This particular view was brutally brought home in December, 1999 by a catastrophic flood that killed 100,000 in mudslides.

"Rooms" is a three-woman play that explores dependency on time, space and objects. In the play, three women cloister in solitary rooms, ironing, drinking coffee, cleaning, preparing meat, etc. Their everyday routine--rigid and antiseptic--has extreme order. They are cautious and reserved in their obsessions. They don't talk, but spy on each other. In a lucid moment, one decides to cut her dependency on the space and objects of her room and tries to run away, cautiously and suspiciously leaving her room. The other two leave their rooms to spy on her, withdrawing from their lodgings with equal caution. The first woman, once out, begins to feel repressed and guilty. Returning to her space, she is submerged in profound despair and clings to her hope of being free. The other two women resume the circles of their lives and it is apparent from their routines that they have been imprisoned. All three realize that hope is the only way out, but know this hope is not for them. The play is wordless except for a brief quotation from "The Trees" by Franz Kafka: "For we are like tree trunks in the snow. In appearance they lie sleekly and a little push should be enough to set them rolling. No, it can't be done, for they are firmly wedded to the ground. But see, even that is only appearance."

The actresses are Dad Dager, Bettina Grand and Ricarda Klingelhofer. Dager is a Venezuelan theater, film and TV actress who has been twice nominated as Best Actress for the Casa del Artista Award. Grand is considered one of the best emerging actresses in the country; Klingerhofer is a veteran German actress now living in Venezuela. Set design is by Maitena de Elguezabel, who has won a Venezuelan critics' award and is regarded as one of the country's best designers. Music is composed by Juan Carlos Nunez, winner of the National Award for Modern Symphonic Music. Lighting is designed by Jose Novoa, who as a filmmaker, was nominated for an Oscar for "Sicario" and has won 27 international awards. He has won the Venezuelan Critics' Award for Best Lighting Designer. The production manager, Irlanda Rincon, has managed all productions of Teatro Dramma through the years and numerous other international performances including Disney on Ice and appearances by American classical music and pop stars.

Playwright/director Elia Schneider is known for her hauntingly visual productions which transcend language barriers with strong visual imagery and a dreamlike fresco of movement and design. Her productions at La MaMa to-date include Franz Xavier Kroetz' "Request Concert" (1982) and Franz Kafka's "Blumfeld" (1985). Her last production here was "Gaz," part of the worldwide commemoration of the 50th Anniversary of the Holocaust, in 1989. All three were critically controversial. Schneider, who never envisioned "Request Concert" naturalistically, divided the play's solo character into two versions of herself played by two different actresses in whiteface. The production was a stark contrast to Joanne Akalitis' photorealistic staging of the play two years before and, to some critics, a superior journey into the play's inner life. The New York Times (Mel Gussow) asserted that, by vindicating the abstract approach to this play, Ms. Schneider had helped establish the work as a classic. "Blumfeld" earned accolades for Schneider for a "troubling, startling and beautiful meditation on loneliness" (Laurie Stone, Village Voice). Critiques raised provocative issues on how the essence of Kafka's writing could rightfully be adapted for the stage. In an article whose headline called the play "beyond Kafka," Steven Hart (Villager) observed, "Kafka was a master of finding the subtleties that lie beneath the endless banality of most human relations, and these undercurrents are what Teatro Dramma seems to be exploiting in 'Blumfeld.'" He analyzed the play as "an exploration of the atmospheric conditions the story produces in the reader," an approach that could have been taken from the director's notes of Schneider's current play. "Gaz," a lavish production with surreal images of Nazi concentration camps, was a digression from Schneider's series of works dealing explicitly with Kafka themes.