Nw indiana theatre

For consumers, there are currently four ways to get money at short notice: Credit facilities and credit cards are offered by all banks in Germany. Providers like Vexcash, Cashper and Xpresscredit offer short-term loans, also called Payday Loans. So far, consumers in Germany can only find an instant loan with one supplier .

Credit level in comparison

The amount of the loan can be freely selected only for short-term loans and instant loans. With credit facilities and credit cards, the credit line depends on the creditworthiness of the borrower and regular cash receipts.

Running time in comparison

The duration of the loans is very different. Short-term loans offer the shortest term. The longest maturities are available in Sofortkredit, Scheduled Loan and Revolving Credit Cards.

Cost in comparison

There are also big differences between an instant loan, a credit line, a short-term loan and a credit card. There is no need to pay interest on charge credit cards. The highest interest rates are for revolving credit cards and short-term loans. Benefit consumers with short-term loans the option of express processing and payment increase the interest according to financial tip on over 170 per cent.

Payout speed in comparison

If you need money fast, you can not and do not want to wait long for the payment of the money. Consumers get their money the fastest by using a credit line or a credit card. It takes a few minutes longer in the case of an instant loan. This must first be requested. Thanks to fully digitized processing and automated payment, it only takes a few minutes, according to Nancy Drew. In the case of short-term loans, consumers wait up to 15 days for their money.

Risk of multiple, follow-up or permanent debt in comparison

Who lends money, is in debt to repay it. The repayment modalities are very different for an instant loan, credit line, short term loan and a credit card. Due to a predictable, regularly and evenly distributed repayment and a long maturity, the risk of multiple, follow-up or expensive permanent debt for consumers in an instant loan is the lowest.

Decision support: What is to be considered with which credit?

• A credit line offers fast money, but is expensive, incalculable and risky. It should be used only in exceptional cases and then only for a short time.
• A credit card also offers fast money. But it should also be used only in exceptional cases and only if the loan can easily be repaid with a one-off payment the following month.
• A short-term loan is extremely expensive and not an option for those who want to borrow money quickly, safely and cheaply. It should only be used in exceptional cases and only if you can wait up to 15 days for the money and repay the loan easily with a one-time payment.
• An instant loan is the right option if you want to borrow money at the lowest possible interest rate and the total amount can not be repaid immediately as a one-off payment.

Must we fear the future? Yes, to feel good and protected in the world of Vincent Delerm’s past, as the audience seems to be that night. Prospects for the future are not very flourishing: European culture is in peril, in favor of a universal labile culture.
We are witnessing the disappearance of the ideologies and political powers of the states, at the expense of a globalization that is scary, so well materialized in the 90s by the “world company” Guignols info Alain Duverne.

It is precisely to a trip in the 70’s to 90’s Vincent Delerm invites us. At the age of 35, this singer, author and director of this light and nostalgic play, aided by Macha Makeïeff, impressed a Slavic melancholy with these dusty memories. Seconded here by Nicolas Mathuriau who plays several instruments on stage.

With eight unpublished songs and two upright pianos, the objects of the past are the vectors of these memories. Pell-mix: two bikes, a removable projection screen, a radio-cassette, old electric meters, a xylophone, a tennis racket, two curtains, and a door in multicolored plastic straps.

Vincent Delerm, a little uncomfortable at his entrance on stage, incarnates Simon. An autobiographical role, which he mastered during the game better and better by imparting an offbeat humor. In the prologue, we hear the voice of Woody Allen and in the end, that of Léo Ferré, who sings in Italian Over time.

Delerm singer claims “an emotion, a song, a show”, and this creation is really successful. It leaves its author alone, in the middle of the ocher walls of the bouffes du Nord theater. As Philippe and Martine Delerm underlines in Fragiles published ten years ago: “We do not know what we are waiting for. It would be so simple to see life in black, life in pink. But the days do not follow each other, are not alike. How much time lost? No. How many certainties? Not. How does one come out of the shell? Fragile.”

It is on a very strange journey that the Souffleurs invited us to this old Sucrerie de Coulommiers, where they have been in residence for several months. Olivier Comte works with about forty blowers, actors, musicians, and directors, that we had discovered in 2001 at the Festival d’Aurillac.

We are invited to enter a large shed in groups and walk through a luminous maze; there are small pictures where are written sentences difficult to read because the words are not cut in the right place and therefore must be deciphered.

We access, alone and in silence, enigmatic sentences: “to agree to fail on pages that are often perfect” … “to preserve the secret of emotion above all else” … “the human word, to bring him regularly what breathe”.

This journey must plunge the walker into an inner forest as in a dream! We do arrive in a kind of non-figurative steel forest, a vast space where we wander among twelve tall masts scaled by actors equipped with thin luminous canes that can be grasped when they pass nearby to listen to poetic messages.

At first disconcerted, one wonders if the phrases they whisper in our ears are those that we could decipher, in our solitary walk. Little by little, we let ourselves be won over by the images of the naked actresses, and by the beauty of unreal music.

The theater or dance enthusiast, like the researcher, is in danger of being disappointed if he looks for books or old magazines in these two fields in Paris.

Because of rising rents, the theatrical bookstores have disappeared, except The Paper Cup near the Theater of the Odeon and The Theatrical Bookstore near the Opera-Comique, which mainly distribute recent books.

Elsewhere? For magazines and newspapers, you have to discover La Galcante, a bookstore specialized in the old press, founded in 1975 by Christian Bailly, who died in 2002, former president of the Association of the Press Museum, which on 1200 m2 of warehouses, contains some treasures from the past.

The National Library of France and other institutions use this place for the research of this or that old document. In the basement, Comœdia newspapers have been preserved since 1909; magazines such as Le Théâtre and Comœdia illustrate are on the ground floor with old programs from all Parisian and provincial theaters. It’s a real pleasure to discover the numbers of the Théâtre des Nations that revealed the Berliner Ensemble or the Living Theater, or to find a 1940 program of an unknown play by Sacha Guitry, performed at the Théâtre de la Madeleine.

In the more specific register of old books, it is necessary to move to Clamart at Marc Sainte-Marie who held for fourteen years a booth of old books during the Festival d’Avignon. He has a very complete catalog of more than a thousand books on the show, which he publishes each year. Marc Sainte-Marie has, among other things, bought the library of decorator Roger Hart, or Charles Dullin. Among these books, about fifty books and documents on Russian ballets, rub shoulders with 440 books on the history of theater from 1788 to the present day.

Among his correspondents and clients: the National Dance Center, the Paris Opera Library or Ensatt. Enthusiasts or researchers will be able to cross in these places where the digital age has not yet made havoc; come and lose yourself and discover this beautiful journey in the past of the live show.

The motionless traveler , the title of a show by Philippe Genty, could be a fair summary of what happened at La Gaité Lyrique for 48 hours … Sixty-two volunteers were locked up without any means of communication with the outside world. and any measure of time.

This collective experience was imagined by Michel Reilhac, director of the Arte cinema, inventor of artistic events in the dark, former director of the Théâtre National de Chaillot and former director of the forum de images.

Present with the group of volunteers for this “suspended time” he was assisted by Charlotte Poupon, specialist in confinement, Bruno Masi, journalist, and Laurence Giraud, choreographer. There was also a doctor on duty and a manager for contact with the outside in case of emergency.

It is necessary to underline the remarkable cooperation of Gaité-Lyrique with this almost new experience. In 1971, a group of artists had already locked themselves in a hangar in Nanterre under similar conditions but the initiative had ended very badly because of the use of toxic of all kinds.

Toxic point here: tobacco and alcohol were forbidden, only the package handed to the volunteers contained a small vial of alcohol with a toiletry kit and a logbook. The sixty-seven people in all had two toilets and three sinks. To avoid marking time with meals, sachets of freeze-dried foods were available at all times. The real difference with a submarine was the space, which was quite large since the group had a large, permanently lit theater room and two annexes, one of which was reserved for sleep, which many women quickly colonized.

These 48 hours of life were interspersed with dance or hypnosis workshops, film screenings and a meal in the dark in the middle of the afternoon! Participants also had to fill out questionnaires designed by the journalist. Paradoxically, in the absence of a temporal reference, the sleep / wake rhythm was respected, favored by the time of the beginning of the experiment around 11 pm, inducing sleep quite quickly for most of the participants.

The feeling of hunger, too, has guided the lives of “submariners”. In fact, few people have lived in a really offbeat time. The group was very wise, probably because of a certain socio-cultural homogeneity: no conflict, little anxiety linked to confinement. Only four participants left, three of them because of an estimated lack of artistic activities, and one because of an impression of isolation. Among these “submariners” were composed, many couples and some groups of people who knew each other, which seemed paradoxical for an experiment that was planned as individual.

Boredom was the first complaint voiced, which some made up for by hypersomnia. Michel Reilhac found that “our experience of time was linked to the experience of others, which reveals the strength of the collective”. And each individual experience has been conditioned by collective behavior: “our relationship to time,” he says, “is not so different from our relationship to others.” One of the beautiful images among others to remember this adventure: Michel Reilhac made a proposal for abandonment, and the group then formed a guard of honor and carried from one end of the room to the other each some participants.

As Puck says at the end of the Midsummer Night’s Dream : “On that, good evening to you all. Give me all your hands, if we are friends and Robin will show his gratitude. ” A few minutes later, it was 18 hours, this sunny Sunday evening and the submarine then reopened to the world.

For more than twenty years we have known the very good “all-terrain fanfare” of the Grooms, a musical, vocal and theatrical group that, in recent times, has revisited Wagner with The Tetralogy of Quat’sous , Purcell with A King Arthur (see The Blog Theater) and Mozart with The Flute under construction. Here, Les Grooms, on the occasion of Printemps des Rues, the street arts festival in the 10th arrondissement, took for landing ground, Saturday and Sunday, near the place of Colonel Fabien, the Place Robert Desnos, at the corner of Albert Camus streets, Francis James, crossed a long time ago on the beach of Guéthary and Tadeusz Boy-Zelenski (1874-1941), writer, poet and satirist, and especially translator of hundreds of works French in Polish. Shot by the Germans like a hundred Polish writers and artists from Lwlow in Georgia! In short, only good writers and poets.

There is a small podium (it is not the space of the photo above but we will put it to you as soon as possible) where the mayor of the 10 th district, with behind her the fanfare of Grooms: (a trumpet, four saxos: baritone, tenor, viola and soprano, a trombone) playing with two singers). She welcomes Jigme Singye Wangchuck, king of Boutan (played by the excellent Pierre Samuel, the comedian of Action discrete Canal Plus) with the honors due to his rank.

Bhutan is a small East-Himalayan Buddhist kingship of 800,000 souls, wedged between China and India, who invented in the early 1970s, a new alternative economic measure: the BNB (Gross National Happiness). Whereas France would be only 47 th just before China … Bhutan, a poorly developed country, was prophetically worried about globalization and wanted to preserve its social values ​​by anchoring them in the terms that the whole world will understand and respect. Thus, it sought to measure the notion of progress by taking into account economic development as well as social, cultural and environmental assets. Until the end of the 90s, television and internet were banned even in Bhutan … At present, many economists in the world are beginning to take an interest in this notion of happiness that they try to quantify as well as wrong.

The Grooms make their entry into music, haloed with smoke blue, white, red. The mayor hands over to Jigme Singye Wangchuck, to the applause of the public, the big golden key of the district. Acknowledgments, accolades, and music obviously. The sound set up by the Festival does not work or so little. Too bad, we would have liked to hear, otherwise than in bits, the text of Durif. But Les Grooms play well tunes composed by Antoine Rosset, and as it is well tuned and well staged, it is easy to get caught.

There is thus Mr. Lheureux, always delighted, cutting the good news of the newspapers to drop them in the mailboxes of people he knows, the wife of Mr. Lapilou surprise with his lover, and Mr. Michalon, just deceased, to whom it is decided to award the 1st Prize of the competition posthumously.

The Grooms ask questions to people perched on their balconies who respond without being asked about their notion of happiness, unfortunate arrival of a 4 X4 in the pedestrian street which is watering insults … The many children are even more delighted than their parents This happiness is in the singing continues its small walk in the district, accompanied by the public who, supported by two choirs: The catch-chorus and Always The same , takes again in chorus the songs. It is not very hot, but the rain has had the great courtesy to be absent and the children are delighted, the parents too. That is the demand of the people?

There reigns a sort of peaceful happiness at the Tati at the end of the afternoon, far from the noise and fury of Paris, as in one of the hundreds of small towns in deep France … The show ends with a requiem for chorus, harmony, fanfare and 4 soloists. Between two rounds of elections, it’s good where it goes!

With her company L’Oreille à Plumes , Sonia Jacob multiplies the discoveries of new texts with readings held most of the time at The Terrace of Gutemberg , a bookstore close to the Aligre market. This time, it is at the Atelier that we find her for the reading of the second novel by Elsa Flageul Madame Tabard is not a woman who is a nod to Stolen Kisses, the film of François Truffaut.

The story confronts three points of view: that of Alma, single mother, supported by Sonia Jacob; Antoine, his lover, taken over by Jean-Pierre Darroussin; and finally, Hannah, Alma’s daughter, whom the author reads herself. The memory of Hannah opens this reading excerpts of the novel of Elsa Flageul: as a child, she had one day opened the door to a man who said to be “Fabienne Tabard”, which provoked suppositions that the imagination of the girl had, later, and one thing in a row, enriched. She remembered this event during the screening of François Truffaut’s film Baisers volés in the cinema where she had become a projectionist.

The man, to whom she had opened the door, was none other than Antoine, the lover of her mother, a funny and seductive university student, who fluttered from relationship to relationship, cultivating the fact of not having ties. But Alma, in her forties, suffers from seeing her relationship with Antoine, whom she has known for years, being based only on simple episodic encounters.

The last excerpt from this reading is emblematic of this relationship: Alma is in Antoine’s car, with one of his colleagues to whom Antoine spoke of her, which makes Alma believe that it is a question of proof of attachment. But she quickly disapers … when she hears Antoine tell him that there is no question of moving in together: it is much better for their relationship, he tells him, to live on his own. Alma then decides not to feel the pain of this moment again.

The three readers do not stay focused on the book and really address the audience. With personalities as different as complementary: between Jean-Pierre Darroussin always sober, with the full and varied voice, Elsa Flageul who manages to keep the freshness of the first reading, and Sonia Jacob, always cheerful and long live, the trio knew how to do proof, for this reading, precision and sensitivity.

Madame Tabard is not a woman, intimate novel carried by a beautiful writing, enters the characters inside. For the pleasure of connoisseurs, it is also full of film references, a domain dear to the author, which, thanks to short chapters and efficient writing, scrutinizes the meanders of human nature.

with the participation of Jane Birkin, Jun Miyake, Camille, Pierre Barouh,
Nicole Croisille, Francis Lai, Maia Barouh, The Caravan passes, Salvatore Adamo, Sanseverino, Sublime,
The horns of info. .. and many personalities.

Japan is today affected by a huge humanitarian crisis. The needs are enormous and, with our donations, we can do a lot.
The magnitude of the cataclysm it is facing today is such that emergency aid is imperative. Northeast Japan is home to a small, rural, and often elderly population. The victims have lost everything, they survive in makeshift shelters and lack food, water, gas, and access to medicines. The reality goes beyond the images that reach us.

The cultural attraction between France and Japan has existed for a long time and is still alive. Every year, many French artists of all disciplines will perform successfully in Japan. 23,000 Japanese live today in France. They are anxious and frustrated at not being able to be with their loved ones.

This evening is also for them. It is organized on the initiative of Maïa Barouh and Guillaume Diamant-Berger, with the support of Jean-Michel Ribes and the Théâtre du Rond-Point.

The price of the place is set at 35 euros and 350 euros in support price.
The proceeds from ticket sales will be entirely donated to humanitarian organizations already on the ground: the Red Cross and the “Kokkyo naki Kodomo” (KnK = Children without Borders) association.

Reservations at: 01 44 95 98 21 or on www.theatredurondpoint.fr

We were a few to receive a mysterious invitation for this performance, in a place kept secret until the eve of this event; we were only told to come well dressed and in black. We met at the Polish Library on Île Saint-Louis, we wait in silence, there is a large rectangular table in the middle of the beautiful patio, caddies full of goblets and bottles of champagne.

Marie-Do arrives in full dress, a long dress with train, and makeup carefully, slowly the face of black and rushes into the streets frantically uttering texts whose meaning escapes us, it must turn around death. We follow her, we are served champagne, she crosses the bridge, throws bundles of 500 dollar bills from the Bank of the Hell! She enters stores, the surprised furniture merchant does not refuse him an armchair, that stuffed animals had to be warned, there is a huge bison, which allows him to assert his speech.

We stop in the garden of remembrance of the deportees on the banks of the Seine and on the other side we see on a large banner, My death is the fault of no one ! This is the title of the show she prepares for 2012.
A horn sounds a throbbing music, we cross the bridge to meet us at the Polish Library, around the table where Marie-Do has spread in a mortal fixity. Fortunately she comes back to life and we are still serving champagne strength.

Julien Travaillé, a daring director, has been collaborating for several years with the Granit of Belfort, which this time hosted him in the gardens, on the banks of the Savoureuse flowing along the theater.

He embarked on a strange walk with two choirs, a team of amateur actors, children and a strong professional technical team to evoke the fall of Dom Juan in hell. There is a musical opening, then the action starts on the roof of the theater, we are then taken in a maze of curtains of bridal dresses in a row, we see, on the other side of the Savoureuse, a choir of Wives in white dresses with flaming cups floating on the water: they will take us later to the other side with the Dies Irae of Mozart’s Requiem , to witness the fall of Dom Juan in hell.

On the transparent facade that Jean Nouvel has built in the flan of the theater, we see the abandoned women and the shadow of Dom Juan, who falls, who falls inevitably. Julien Travaillé mobilized for six months a team of a hundred people to present a moving show in his awkwardness and generosity, plastic beauty and overwhelming music.

Only three performances were given, and we regret not having found any document on the show.