José González Castillo (January 25 of 1885 in Buenos Aires, Argentina – died 22 October 1937 in the same city) was a well-known playwright, theatre director, librettist of cinema and Argentine tango lyricist. Hundred theater plays which he wrote include El Parque, the wife of Ulysses Luiggi, the Serenade, the investments, bad reputation, written in collaboration with José Mazzanti and the teeth of the dog with Alberto T. weisbach. Widespread tangos he wrote then, as on the pucho (1922), music of Sebastián Piana, whistling (1923), Griseta (1924) and the afternoon Organito. He founded the Popular University of Boedo, the second people’s University of Argentina, where thousands of students studied for more than twenty years. In his tribute was given its name to the corner is San Juan and Boedo.
His father was Manuel González, a Galician worked at currents such as Hunter and seller of leather and his mother surname Castle, was Argentine. González Castillo was I daguerrotipo of a distant relative from the branch of the Castle, in the province of Buenos Aires, Army military uniform at the time of roses.
He was raised from the age of nine in Oran (Salta), by a priest, with a view to further an ecclesiastical career but then moved away from religious faith and adapted anarchist ideology.
He exerted various trades and was reporter for a daily Rosario. At age twenty earned his living as a hairdresser in the neighborhood of Boedo in Buenos Aires.
Its beginnings as a playwright
In 1905 a company composed of bakers – Guild that anarchism – was widespread premiered his first work the rebels but in 1907 when begins known name when it was represented by Pepe Podestá company mud at the Apollo Theatre. Of works followed: oxen do not include statue and the portrait of the boy in 1906, Luigi in 1909 and Cobweb in 1910.
In 1911 he travelled to Chile where he conducted an intensive political and wrote the Serenade with which he won first prize in the contest organized by the national theatre and was represented in the same year. When he returned to Buenos Aires continued to produce works: greater prejudice (1914), the reversed (1915) and the son of Agar (1915).
Headed a traditionalist company who represented Juan moreira Santos Vega and Martín Fierro in the theatre “San Martin” in November 1915.The teeth of the dog work
20 April 1918 premiered the farce the teeth of the dog in collaboration with Alberto T. Weisbach which marked a key milestone in his career. Elías alippi, which was responsible for putting in scene, had the idea of presenting staged a cabaret with the live performance of the Orchestra Roberto firpo, best at the time, running tangos, which included my sad night with Pascual contursi, letter on the proposal of Gardel which had recorded it the previous year.
The farce is a playful dramatic piece, in an Act, and typically of popular character, represented as an intermediary of a function or end. José González Castillo, prolific sainete said at a Conference in 1937 that:
“género chico Spanish, offered a magnificent copy model.” The pimp was d’fern our Buenos Aires compadrito original. “The people, our neighborhood taquera, sablista the Madriles pelma our Vulgaris pechador Street, the verbenas our milongas, the Angers our bochinches.”
In the play justice criolla (1897) had implemented and danced a tango, is with the premiere of the teeth of the dog tango became an item of which few sketches prescindían. The tango Mi noche triste, sung by the actress Manolita Poli had a great success and the work which remained that year ran with Enrique muiño and Elías Alippi leading figures. The following year he returned to represent González Castillo Tango what have you done my love replacing Mi noche triste.
González Castillo continued to produce works and thus appeared the wife of Ulysses (1918), full grace (1919), Holy Mother (1920), bad reputation (1920) and sister mine (1925).
The first tango González Castillo was what have you done of my love, written for the play Don agenor Saladillo in 1918, Juan maglio (Pacho) music and was the first recorded Carlos Gardel. Then followed Clarita with music by Domingo Fortunato; Pages in love with music by Luis Riccardi; Griseta with music by Enrique Pedro delfino; Whistling, with music by Sebastián Piana and son cátulo Castillo; On the pucho, with music by Piana; Arrabal acuarelita that the Bank cantina, pleasure toy and afternoon Organito, all with music by Cátulo Castillo, and on the road with music by José böhr.
Other popular pieces he wrote were tangos Circus goes, El Aguacero, confetti, A montmartre, envy, bandoneon, I love you and what you care about the world, the last Waltz waltz and ranchera love lamb.
With on the pucho (1922) became entrenched in the genre and marked a new direction in tango. He presented with Sebastián Piana, author of the music in the competition of cigarettes Tango getting second prize. Pompeii is the scenario that González Castillo describes listing classic mythical elements of tango: the alley, el farolito organito Earth Street. Then metaphor that arises to remember the malevo his lost love: “… your crazy fickleness / I grabbed your mouth/like pucho is throwing/when/neither flavor nor fragrance is.”
Whistling (1923), premiered at the teatro San Martín, by Azucena maizani enumeration describing the scene reaches more poetic flight. Lighting (the fading light of a bluff), sounds-an accordion, a dog howling, hissing a reo decoration Fund (a very blue sky in summer night). Then the action where with few words sums up a dramatic story: a betrayal, a new love, the stealthy arrival of the Avenger and the deadly attack.
The cabaret stage Griseta (1924), on music by Enrique delfino, González Castillo uses characters from several French novels (Museta, Mimi, Rodolfo and Schaunard appear in scenes of the Bohemian life of henri murger;) Manón and Des Grieux in manon lescaut of Antoine François Prévost D´Exiles and Marguerite Gauthier and Armando Duval at the Lady of the camellias by Alexandre Dumas (h). Prostitution, alcohol and cocaine impose the fatal fate of the francesita arrival in these lands and it is dying in the “cold sordidness of the suburb” which the author contrasts “the purity of their faith”.
Its relationship to cinema
González Castillo wrote the libretti for several silent films: Gaucho nobility (1915), Resaca (1916) and Juan without clothes (1919). Between them stood the first, which used themselves and texts of Martín Fierro of José Hernández, Faust of Estanislao del Campo and Rafael Obligado Santos Vega. The movie had an extraordinary impact in due course to the public.
Already at the stage of sound he wrote the librettos of the law that forgot (1938) addressed to Joseph a. Ferreyra and they starred in Libertad lamarque, Santiago arrieta, Herminia Franco and Pepita Muñoz and Juan moreira (1936) according to the novel by Eduardo Gutiérrez.
The disseminator of culture
12 February 1928 José González Castillo, Cesar Garriogós and a group of visionaries gave light to the Popular University of Boedo, which for more than 20 years broadcast culture among those who belonged to the disadvantaged classes of the population. He taught there a lounge, English learned in Chile, corridor wine and dealt with English. Founded in 1932, on the heights of a café situated in Boedo 868 Peña Pacha Camac, one of the most important irradiators its time, culture centers where there were classes in drawing, painting, music and Declamation.
He lived with Amanda Bello (whom virtually kidnapped from his home) without marrying her because the couple had not accepted the civil marriage. He had three children: gem – later dancer at the Teatro Colón – Carlos Hugo and Catullus. Amanda Bello, who died in 1930, was the daughter of Germán Bello, a caretaker of racehorses in La Plata. His son Cátulo intended enrolled in the Civil Registry as rest Sunday González Castillo, but as refused it his friends they convinced him that it transara and then he scored as Ovid Cátulo Castillo.[ 5 ] José González Castillo died in Buenos Aires on October 22, 1937.
* Clarita with music by Domingo Fortunato;
* Pages in love with music by Luis Riccardi;
* The canteen of the Bank with music by Cátulo Castillo
* Pleasure toy with music by Cátulo Castillo
* On the road with Jose Böhr music.
* The circus will be
* To Montmartre
* I love you
* What you care about the world
* The last Waltz (Waltz)
* Love lamb (ranchera).
* The canteen of the Bank (1926) with music by Cátulo Castillo
* Downpour (1931) with music by Cátulo Castillo.
* Caminito workshop (1925) with music by Cátulo Castillo.
* Griseta (1924) with music by Enrique Delfino.
* Music merry-go-round (1930) with music by Cátulo Castillo.
* Afternoon Organito (1923) with music by Cátulo Castillo.
* On the pucho (1922) with music by Sebastian Piana.
* Whistling with music by Cátulo Castillo and Sebastian Piana
* Papel picado with music by Cátulo Castillo.
* Acuarelita suburb (1925) Catullus Castle music.
* Milonga in red with music by Roberto Fugazot and Lucio demare.
* My sister
* The shirt of eleven sticks
* The error of the wise
* Ultra plus
* ACEs poker
* Aurora Borealis
* The shadow of the past
* The payadores
* The somersault
* Film priolla
* Air of the Earth
* The son of Hagar
* The evening Edition
* The pebeta of bar “Copetín”
* Divine magazine
* Lieutenant Maciel
* The wife of Ulysses
* The Bible verse
* Full grace
* Divine Treasury
* The rebels
* Oxen do not include statue
* Greater prejudice
* The homeland of the tango
* The shackle
* Behind of each door in collab. Alexander e. Berruti and Peter e. peak.
* Turkey wedding in collab. Alexander e. Berruti, Camilo Dartés and Peter e. peak.
* The night of the revolution adaptation of the work of Jacques Deval
* The conquerors of the desert in collab. with Enrique Garcia hairy and Folco Testema.
* !God in collab.! with Enrique Garcia hairy and Folco Testema.
* Right of asylum
* Engagement ring
* The pleasure of the gods
* The poor man
* The portrait of the boy
* The cradle of the anthem
* The Serenade
* The investments
* Taba in the air
* Yunta brava
* Where there was fire…
* The road to hell in collab. with Alejandro Berruti.
* Few desire in collab. with Francisco e. Collazo.
* The shadow of the past in collab. with Enrique Garcia hairy.
* Holy Mother in collab. with Vicente Martinez Cuitiño.
* Bad reputation in collab. with José Mazzanti.
* The Bush on fire in collab. with Federico Mertens.
* The sparkle in collab. with Charles Schaefer cock.
* Full grace in collaboration with Alberto T. Weisbach
* The teeth of the dog in collaboration with Alberto T. Weisbach
* Acquaforte in collaboration with Alberto T. Weisbach
* Puerto Madero in collaboration with Juan Comorera
* As do a drama.
* Martín Fierro adaptation of the work of Jose Hernandez.
* In cooperation with Alberto Vacarezza and Alexander Berruti, tomorrow is another day.
Filmography as a scriptwriter
* The law forgot (1938) dir. José a. Ferreyra
* Juan Moreira (1936) according to the novel dir. Eduardo Gutiérrez Nelo Cosimi.
* Clothing (1919) John dir. Georges Benoît and Héctor Quiroga.
* Hangover (1916) according to the play of dir. Alberto T. Weisbach Atilio Lipizzi.
* Gaucho nobility with own texts and Martín Fierro by José Hernández, Estanislao del Campo Faust and Rafael Obligado, dir. Santos Vega Humberto Cairo, Ernesto Gunche and Eduardo Martínez de la Pera