Mónica Sánchez: "Charito" al desnudo

Mónica Sánchez: "Charito" al desnudo

Por The Colca Specialist

Mónica Sánchez en los últimos años se ha convertido en uno de los actrices más reconocidas de nuestro país no sólo por su carrera artística sino también por su destacada labor social que viene realizando a la fecha con gran esmero.

Buscando en mi banco de datos tuve la suerte de encontrar entre mis archivos algunas fotografías de Mónica Sánchez que estoy seguro serán del agrado de muchos de sus fanáticos y seguidores de la bella actriz que para muchos representa plenamente a la mujer peruana. Para aquellos que no saben mucho acerca de la bella “charito” he puesto un poco de información acerca de su vida y de sus obras y unas cuantas fotografías que sin lugar a dudas muestran la belleza de esta talentosa actriz peruana. 

Biografía

Mónica Mariel Sánchez Cuadros (nacida en Lima; 13 de febrero de 1970), conocida simplemente como Mónica Sánchez, es una actriz peruana, protagonista de producciones como la miniserie La Perricholi, las telenovelas Los de arriba y los de abajo, Nino, Eva del Edén y la serie estrenada en 2009 Al fondo hay sitio.Mónica Sánchez es "Embajadora de Buena Voluntad", nombrada así por Unicef.

 Carrera

Su interés por la actuación surgió en un taller de verano, cuando cumplía los 10 años de edad y decidió estudiar en el Centro de Formación del Teatro de la Universidad Católica. Debutó en el teatro actuando en las obras Eclipse total y El perro del hortelano. En1992, debutó en televisión con el papel protagónico de la miniserie épica La Perricholi, realizando el personaje de la amante del Virrey Amat. Seguidamente actuó en las producciones Bolero y Las Mujeres de mi Vida, y protagonizó las series Los de arriba y los de abajo y Los unos y los otros.

En 1996 protagonizó la segunda versión de la telenovela Nino junto al actor Christian Thorsen.

En 1999 actuó en las películas Pantaleón y las visitadoras bajo la dirección de Francisco J. Lombardi y La carnada de Marianne Eyde. Sánchez, el mismo año, presidió el Sindicato Nacional de Actores de Televisión y Cine de Perú.En el año 2000 actuó en las obras de teatro Sueño de una tarde dominical y Macbeth.

Sánchez posteriormente incursionó en la conducción, siendo presentadora del programa Cuéntame tu vida en 2005. El mismo año participó en la obra El gran teatro del mundo, bajo la dirección de Luis Peirano.

En 2007 participó en la obra auto sacramental La vida es sueño como "El amor".

En 2008 protagonizó la miniserie Sally, la muñequita del pueblo como Sally Barreto. Meses después apareció en la película Pasajeros, en el papel de Estela.

En 2009 empezó a actuar en la serie de televisión Al fondo hay sitio emitida por América Televisión. Durante agosto del mismo año actuó en la obra de comedia Boeing Boeing, dirigida por Rocío Tovar.

Sánchez, protagonizó la obra de teatro La Chunga—adaptación del libro de Mario Vargas Llosa—bajo la dirección de Giovanni Ciccia, donde su personaje tiene un romance lésbico con Mechita, interpretado por Stephanie Orué.

En septiembre de 2010 participó en el musical La Jaula de las locas (adaptación de La Cage aux Folles), como Marie bajo la dirección de Juan Carlos Fisher.

En 2012 estelarizó el videoclip del sencillo «Invisible», del cantautor GianMarco.

Vida personal e imagen

En 1996, fruto de su matrimonio con el empresario Mario Sifuentes, nació su primera hija: Mariel Sifuentes.

En el año 2000, se casó con el empresario argentino Fabían Reyes, con quien tuvo su segunda hija: Miranda, nacida en 2002. Diez años después, en 2010, se hizo pública su separación.

En septiembre de 2011, realizó un semidesnudo en una sesión de fotos para la edición peruana de la revista SoHo.

Perfil social

Mónica Sánchez, a los 12 años de edad, empezó a participar en el Comité Vecinal de Izquierda Unidad en San Borja. Ella declaró: «salía por las noches junto al subcomité de propaganda a hacer pegatinas porque las elecciones se acercaban; y en las elecciones era una de las encargadas de llevar alimentos a los personeros que desde las primeras horas del día cuidaban los votos de la izquierda».

En 1999 presidió el Sindicato Nacional de Actores de Televisión y Cine de Perú. Sánchez, debido a su formación educativa, así como a su entorno familiar y personalidad; mostró su postura frente a la realidad social y política de su país, como de los diversos hechos mundiales, aunque por ello muchas veces estuvo relegada de la televisión. En repetidas oportunidades criticó a los gobiernos de turno—en especial—a la de Alberto Fujimori; convocando al "Lavado de bandera" en la Plaza Mayor de Lima, frente al Palacio de Gobierno y a la vez, participando en la Marcha de los Cuatro Suyos como integrante de Colectivo Sociedad Civil, junto a otros actores como Carlos Carlín, Vanessa Robbiano, al guionista Eduardo Adrianzén, entre otros. Sánchez, proviene de una familia con marcadas preocupaciones sociales.

Filantropía

Sánchez es imagen, junto a otros artistas, de la campaña de Unicef "Buena onda", que busca recaudar fondos en beneficio de los niños peruanos que viven en las zonas más alejadas y pobres del país. Para colaborar con la campaña de 2010, grabó un reportaje en las zonas más pobres de Pamplona Alta.

En septiembre de 2011, fue nombrada por Unicef como "Embajadora de Buena Voluntad".

Comentarios

Invitamos a todos los fans de Mónica Sánchez a enviar sus saludos a Mónica Sánchez a planet_x_adventures@hotmail.com  los mismos que serán publicados en este mismo blog.

Gracias

Kodak Time,my friends! Simplemente preciosa!

Russian Ballerina Norka Rouskaya danced naked inside the cemetery of Lima

Norka Rouskaya

Russian Ballerina Norka Rouskaya and friends

by The Colca Specialist

Peruvian history is full of curious historical facts.In November we celebrate here in Peru The Day of The Dead and almost everybody goes to the cemetery to pay a visit to their beloved ones so I decided to write about a historical event that took place in Lima in those times.

Early in the morning of Sunday 4th of Novembre 1917,inside the general cemetery of Lima an insolit event happened.

On Saturday ,at 8 pm, Alejandro Ureta and Cesar Falcón payed a visit to Mr Pedro García Irigoyen who was de inspector of the cemetery in order to ask him for permission to visit the cemetery at night. They said that the russian ballet dancer  Norka Rouskaya who did several presentations in Lima wanted to take some impressions of the city. Irigoyen accepted and he called the administrator of the cemetery Mr Valega to provide all the facilities.

After 1am two autos arrived to the cemetery and the visitors got inside the place and visited the main streets. When they got into the main street of the cemetery,the violinist Mr Cáceres took out its violin from its case. Some candles were light on and the ballet dancer Norka Rouskaya removed all her clothes she had on. Totally nakes she covered herself with a very transparent gray clothe and started to dance Chopin´s dead march imitaing in certain way what it was done by the french ballet dancer Isadora Duncan who danced at the Pere Lachaise Cemetery in Paris,France.

The group of visitors was amazed with the dance but the administrator Mr Valega protested and avoided the show to continue because the permission was just for a visit.

Lima woke up the next day with the news that the cemetery had been profanated profanated. The next day the Prefect of Lima at 11am ordered all those who participated in such event to present themselves in his bureau to make clear all this situation.

The newspapers publish many articles related to this incident . The bishop of Lima and the eclesiastical authorities prepared themselves to consecrate again the cemetery because it had been profanated.

Jose Carlos Mariategui, Cesar Falcón,Juan Vargas Gamarra,Kuis Emilio León ,the violinist Mr Caceres ,Norka Rouskaya along with her mother went to the bureau of the prefect to declare and give their respective statements about the situation.

Norka Rouskaya said that it was not her intention to “profanate” the cemetery but in a moment during the visit,she felt inspired and started dancing just for some minutes impressing all the visitors gravediggers included.

She also said that that was the result of a high spiritual artistical spirit whose main intention was not to profanate the cemetery.

The Canonical laws neither the civil laws could prohibit her to dance inside the cemetery. According to the canonical laws the cemetery is only profanated when inmoral situations take place or when human blood is spilled.The penal law said the same.

In those years it was a complete scandal. Nowadays that situation would have been considered diferently.

Peruvian vedette Mariella Zanetti does a video clip inside the cemetery

The peruvian vedette Mariella Zanetti did a video clip inside the same cemetery showing all her voluptuosity.

Mariella Zanetti besides from being just a vedette now works in Risas de America as a comic actress and as a program conductor.

Mariella Zanetti has several fans in Arequipa so if you want to see the video clip it is here available.

The Colca Specialist

The Pongo´s Dream

The Pongo´s Dream

by José Maria Arguedas

(Arguedas learned Quechua as a boy from servants in the household of his

stepmother and his father, an itinerant lawyer. Until his suicide in 1967,

the novelist and anthropologist was perhaps more responsible than any other

Peruvian for the impassioned defense of the Incan tongue and cultural

autonomy for millions of Quechua speakers, challenging the powerful

ideologies of "modernization" and "national integration" predicated on the

erasure of Peru's indigenous past. Although there was a strong utopian

strain in Arguedas, he was not just interested in indigenous traditions. He

also wrote about the challenges of migration and modernity, and proclaimed

himself an "hombre Quechua moderno," a modern Quechuan man, reflecting his

desire for a cultural pluralism for Peru that would go beyond a retreat

into a narrow traditionalism. An adaptation of a story Arguedas heard from

a Cusco peasant, "The Pongo's Dream" captures the rigidity of the feudal

order that still prevailed in many parts of the Andes in the mid-twentieth

century. But the denouement, where the world turns upside down as in the

Inkarri myth, suggests the existence of a spirit of independence and

opposition, which was to fuel the peasant movements of the 195os and the

break-up of the landlords' rule.)

The Pongo´s Dream

A little man headed to his master's mansion. As one of the serfs on the

lord's estate, he had to perform the duty of a pongo, a lowly house

servant. He had a small and feeble body, a meek spirit. His clothes were

old and tattered. Everything about him was pitiful.

The great lord, owner of the mansion and lands surrounding it, could not

help laughing when the little man greeted him in the mansion's corridors.

"What are you? A person or something else?" the lord asked the little man

in front of all the other serfs. The pongo bowed his head and did not

answer. He stood frightened, eyes frozen. "Let's see!" the lord said. "With

those worthless little hands, you must at least know how to scrub pots or

use a broom. Take this garbage away!" he ordered.

The pongo knelt to kiss his master's hand and followed him to the kitchen

hanging his head.

The little man had a small body but an average man's strength. Whatever he

was told to do he did well, but he always wore a slight look of horror on

his face. Some of the serfs laughed at him, while others pitied him. "The

most orphaned of all orphans," a cook of mixed blood once said upon seeing

him. "His frozen eyes must be children of the moon wind, his heart must be

all sadness."

The little man rarely talked to anyone. He worked and ate quietly. Whatever

they ordered him to do was done obediently. "Yes, papacito, mamacita," were

the only words he uttered.

Perhaps because of the little man's frightened look and his thread- bare,

filthy clothes, or perhaps because of his unwillingness to talk, the lord

regarded the pongo with special contempt. He enjoyed humiliating him most

at dusk, when all the serfs gathered to say the Hail Mary in the mansion's

great hall. He would shake him vehemently in of the serfs like a piece of

animal skin. He would push his head force him to kneel, and then, when the

little man was on his knees, slap him lightly on the face.

"I believe you are a dog. Bark!" he would tell the pongo.

The little man could not bark.

"Stand on all fours," the lord would order him next.

The pongo would obey and start crawling on all fours.  "Walk sideways like

a dog," the lord would demand.

The little man had learned to run like the small dogs inhabiting the high

moors.

The lord would laugh heartily. His whole body shook with exhilaration.

"Come back here!" he would yell, when the servant reached the end of the

great hall.

The pongo would return, running sideways, arriving out of breath.

Meanwhile, some of the other serfs would quietly say their Hail Marys, as

if their voices were a wind hidden in their hearts.

"Perk up your ears, hare! You are just an ugly hare!" the lord would

command the exhausted little man. "Sit on your two paws. Put your hands

together."

The pongo could sit in the exact same prayerful pose that these animals

take when they stand still on the rocks, looking as if he had learned this

habit while in his mother's womb. But the one thing he could not do was

perk up his ears. Some of the serfs laughed at him.

With his boot, the lord would then knock him to the brick floor.

"Let us say the Our Father," he would then say to his Indians as they

waited in line.

The pongo would get up slowly, but he could not pray because he was not in

his place, nor did any place belong to him.

In the darkness, the serfs would leave the great hall for the courtyard and

head to their living quarters. "Get out of here, offal!" the master would

often order the pongo.

And so, every day, in front of the other serfs, the master would make his

new pongo jump to his demands. He would force him to laugh, to fake tears.

He would hand him over to the other workers so that they would ridicule him

too.

But . . . one afternoon, during the Hail Mary, when the hall was filled

with everyone who worked and lived on the lord's estate and the master

himself began to stare at the pongo with loathing and contempt, that same

little man spoke very clearly. His face remained a bit frightened.

"Great lord, please grant me permission. Dear lord, I wish to speak to you."

The lord could not believe his ears. "What? Was that you who spoke or

someone else?"

 "Your permission, dear master, to speak to you. It is you I want to talk

to," the pongo replied. "Talk... if you can."

"My father, my lord, my heart," the little man began. "Last night, I dreamt

that the two of us had died. Together, we had died." "You with me? You?

Tell all, Indian," the master said to him. "Since we were dead men, my

lord, the two of us were standing naked before our dear father Saint

Francis, both of us, next to each other."

"And then? Talk!" ordered the master, partly out of anger and partly

anxious with curiosity.

"When he saw us dead, naked, both standing together, our dear father Saint

Francis looked at us closely with those eyes that reach and measure who

knows what lengths. He examined you and me, judging, I believe, each of our

hearts, the kind of person we were, the kind of person we are. You

confronted that gaze as the rich and powerful man that you are, my father."

"And you?"

"I cannot know how I was, great lord. I cannot know my worth."

"Well, keep talking."

"Then, our father spoke: 'May the most beautiful of all the angels come

forth. May a lesser angel of equal beauty accompany the supreme one. May

the lesser angel bring a golden cup filled with the most delicate and

translucent honey.'"

"And then?" the master asked.

The Indian serfs listened, listened to the pongo with a limitless

attention, yet also afraid.

"My owner, as soon as our great father Saint Francis gave his order, an

angel appeared, shimmering, as tall as the sun. He walked very slowly until

he stood before our father. A smaller angel, beautiful, glowing like a

gentle flower, marched behind the supreme angel. He was holding in his

hands a golden cup."

"And then?" the master asked once again.

"'Supreme angel, cover this gentleman with the honey that is in the golden

cup. Let your hands be feathers upon touching this man's body,' ordered our

great father. And so, the lofty angel lifted the honey with his hands and

glossed your whole body with it, from your head down to your toenails. And

you swelled with pride. In the splendor of the heavens, your body shone as

if made of transparent gold."

"That is the way it must be," said the lord. "And what happened to you?"

"When you were shining in the sky, our great father Saint Francis gave

another order. 'From all the angels in heaven, may the very least, the most

ordinary come forth. May that angel bring along a gasoline can filled with

human excrement.'"

"And then?"

"A worthless, old angel with scaly feet, too weak to keep his wings in

place, appeared before our father. He came very tired, his wings drooping

at his sides, carrying a large can. 'Listen,' our great father ordered the

angel. 'Smear the body of this little man with the excrement from that can

you brought. Smear his whole body any way you want and cover it all the

best you can. Hurry up!' So the old angel took the excrement with his

coarse hands and smeared my body unevenly, sloppily, just like you would

smear mud on the walls of an ordinary adobe house. And in the midst of the

heavenly light, I stank and was with shame."

"Just as it should be!" crowed the master. "Keep going! Or is that the end?"

"No, my little father, my lord. When we were once again together, changed,

before our father Saint Francis, he took another look at first at you, then

at me, a long time. With those eyes that reach the heavens, I don't know to

what depths, joining night and memory and oblivion. Then he said: 'Whatever

the angels had to with you is done. Now, lick each other's bodies slowly,

for all eternity.' At that moment, the old angel became young again. His

wings regained their blackness and great strength. Our father entrusted him

making sure that his will was carried out."

(From "The Peru Reader", edited by Orin Starn, Carlos Degregori, Robin Kirk)