From 1958 to 2009, Estudio Luisita — the photographic studio run by sisters Graciela (“Chela”) and Luisa (“Luisita”) Escarria — produced iconic images of the stars of Buenos Aires show business, and the Maipo theater’s brand of — which translates to “Night light” in English — on view at Teatro San Martín’s Fotogalería, reveals two sides of Estudio Luisita’s photographs: the nightlife on Avenida Corrientes and the Escarria sisters’ home studio on the avenue, between the arresting illusion of the shows and Luisita and Chela’s self-effacing and meticulous work in achieving it.
In contrast to the Maipo theater’s vast billboards, the photographs presented here allow the audience to see the artifice up close..
From the last decades of the 19th century through the television age, it has held Buenos Aires’ theater district within its grasp.
Mixing comedy and musicals with strong doses of eroticism and political satire, the genre leaned heavily on the virtuosity of the show girls, or , like Ethel and Gogó Rojo, who sold out shows with their ability to simultaneously sing, dance, act, and charm the audience.
Please choose one of the essay topics below, limiting your response to about 300 words.
(Include your name and date of birth on your essay.) You might want to read our essay writing and application tips first.Their mother had operated a successful photographic studio in Colombia; in Buenos Aires, Luisa took up the mantle, establishing Estudio Luisita by cordoning off part of their living room.Here, Luisa would take portraits of musicians, models, comedians, sex workers, and actors — anyone interested in commissioning a portrait — and Chela would creatively edit the images to align them with the prevailing ideals of beauty and the register of their intended publication.To the left is a series of portraits interspersed with a few performance publicity images.Three images — a 1986 portrait of Luisa Albinoni, Of these three images, Luisa Albinoni’s portrait and accompanying inscription reflects the spirit of the show.The alcove space figuratively restages (1973), filling out the wall facing the central gallery space with three images from the show, two of which focus on the performance of the Rojo sisters.On the facing walls — a stage left and stage right, if you will — a neat line of clowns shrugs in front of sparkling, topless women who step through the red, yellow, and blue multicolor in “Fantástica, Teatro El Nacional” (1972).The last photograph, perhaps the most enigmatic of the group, is undated album cover, “Boleros que matan.” It shows a couple tenderly embracing, their faces hidden from view.At the center of the image are the woman’s hands ripping the back of the man’s shirt and leaving lipstick-red scratch marks on his exposed skin.This is the one chance you have to be creative in the application process; let your true self come through.— Gogó and Ethel Rojo gaze out toward an invisible audience.