A sacristan is an officer who is charged with the care of the sacristy, the church, and their contents.

In ancient times many duties of the sacristan were performed by the doorkeepers (ostiarii), later by the treasurers and mansionarii. The Decretals of Gregory IX speak of the sacristan as if he had an honourable office attached to a certain benefice, and say that his duty was to care for the sacred vessels, vestments, lights, etc. Nowadays the sacristan is elected or appointed. The ''Cæremoniale episcoporum'' prescribed that in cathedral and collegiate churches the sacristan should be a priest, and describes his duties in regard to the sacristy, the Blessed Eucharist, the baptismal font, the holy oils, the sacred relics, the decoration of the church for the different seasons and feasts, the preparation of what is necessary for the various ceremonies, the pregustation in pontifical Mass, the ringing of the church bells, the preservation of order in the church, and the distribution of Masses; and finally it suggests that one or two canons be appointed each year to supervise the work of the sacristan and his assistants.

Custos

The under-sacristan (custos) is also mentioned in the Decretals. He was the assistant of the sacristan, was subject to the archdeacon, and discharged duties very similar to those of the sacristan. By the early twentieth century the office was hardly ever attached to a benefice and so usually a salaried position. The Council of Trent desired that, according to the old canons, clerics should hold such offices; but in most churches, on account of the difficulty or impossibility of obtaining clerics, laymen perform many of the duties of the sacristan and under-sacristan.

Altar Societies

Altar societies used to be commonly organised within most Catholic parish churches. The duties of members vary according to circumstances, in some instances including those which ordinarily fall within the sacristan's province, such as the vestments and altar vessels, making ready for the priest's Mass, and so on. In general they consist of the payment of yearly dues into a fund for the maintenance and repair of the accessories used in the ceremonies of the Church and usually also include a certain amount of labour for this purpose. Altar societies differ from tabernacle societies in that altar societies work for the benefit of the church to which they are attached and tabernacle societies work for the benefit of many different poor churches.

Eastern Churches

In the Eastern Churches, the sacristan is known as the ''ecclesiarch'', particularly in monasteries. In large monasteries he may be assigned an assistant known as the ''paraecclesiarch''. In parishes, however, the sacristan is called church sexton. In addition to the tasks and responsibilities mentioned above, if an individual has a message for the priest while serving in the sanctuary, it is given to the sexton to give to the priest or deacon.

Academia

Many Christian faith schools appoint sacristans as members of their prefect bodies, particularly in British public schools and institutions founded on the British model. Sacristans will have responsibility of aiding the school’s chaplain in the day-to-day running of the chapel, as well as the promotion of a Christian ethos within the school. In terms of seniority, they are often regarded as second only to the school captains.

References

Category:Ecclesiastical titles

cs:Kostelník de:Küster (Kirche) es:Sacristán eo:Sakristiisto fr:Sacristain (église) io:Sakristo it:Sacrestano la:Aedituus lt:Zakristijonas nl:Koster (persoon) pl:Zakrystian pt:Sacristão ru:Кистер (церковная должность) fi:Suntio

Name	Violeta Parra
Background	solo_singer
Birth name	Violeta del Carmen Parra Sandoval
Birth date	October 04, 1917
Death date	February 05, 1967
Origin	San Carlos, Chile
Occupation	Vocalist, Songwriter, Plastic Arts
Instrument	Vocals, Guitar, Charango, Cuatro, Percussion
Genre	Folk, Singer-Songwriter, Andean music, Latin music, Chilean music, Experimental Music
Years active	1939–1965
Label	EMI-Odeon Alerce Warner Music
Associated acts	Víctor Jara, Quilapayún, Inti-illimani, Patricio Manns, Illapu, Ángel Parra, Isabel Parra, Roberto Parra, Sergio Ortega, Margot Loyola, Pablo Neruda, Nicanor Parra, Soledad Bravo, Daniel Viglietti, Mercedes Sosa, Joan Baez, Holly Near, Elis Regina, Dean Reed, Silvio Rodriguez
Website	Official Website }}

Violeta del Carmen Parra Sandoval (4 October 1917 – 5 February 1967) was a notable Chilean folklorist and visual artist. She set the basis for "Chilean' New Song," La Nueva Canción chilena, a renewal and a reinvention of Chilean folk music which would absorb and extend its influence far beyond Chile.

Biography

Parra was born in San Carlos, province of Ñuble, a small town in southern Chile. She was involved in the progressive movement and the Communist Party of Chile. She revived the ''Peña'' (now known as ''La Peña de Los Parra''), a community center for the arts and for political activism. Some think she established the first 'peña' but according to the records of the Royal Academy of Spanish Language, places such as these had been called that since 1936 (RAE).

Violeta Parra was a member of the prolific Parra family. Her brother is the notable modern poet, better known as the "anti-poet", Nicanor Parra. Her son, Ángel Parra, and her daughter, Isabel Parra, were also important figures in the development of the ''Nueva Canción Chilena''. Their children have also mostly maintained the family's artistic traditions.

In 1967 Violeta Parra committed suicide. She had previously been romantically involved with Swiss flautist Gilbert Favre.

Music

Her most renowned song, ''Gracias a la Vida'' (Thanks to Life), was popularized throughout Latin America by Mercedes Sosa and later in the US by Joan Baez. It remains one of the most covered Latin American songs in history. Other notable covers of this tragic, but widely beloved folk anthem include the Italian guitar-vocal solo of Adriana Mezzadr and La Oreja de Van Gogh at the 2005 del Festival Internacional de la Canción de Viña del Mar, en Chile. It has also been treated by classically trained musicians such as in the fully orchestrated rendition by conservatory-trained Alberto Cortéz. Gracias a la Vida has been re-recorded by several Latin artists & Michael Bublé to gather funds for the Chilean people affected by the earthquake in Chile, February 2010. http://www.vocesunidasporchile.com/ The song is in waltz time (3/4) and thus suitable for romantic dance forms; it opens with a simple but relatively unusual shift between A minor and E Major chords, setting up a tension between sad and cheerful which is reflective of its meaning; then it devolves to G7-C/C7 before returning to the Am/E motif. This is remarkable for music rooted in folk tradition because it essentially modulates between keys, a sophisticated move which does occur in folk-influenced music but only the more advanced forms.

Gracias a la vida

The song opens with a simple strumming at a leisurely tempo and exploits the poetic beauty of the Spanish language with consummate skill:

:''Gracias a la vida que me ha dado tanto

:Me dio dos luceros que cuando los abro

:Perfecto distingo lo negro del blanco

:Y en el alto cielo su fondo estrellado

:Y en las multitudes el hombre que yo amo''

:: It continues with several more such stanzas before refraining "Gracias a la vida" in a poignant but riveting fade.

Roughly translated, these lyrics mean:

'':Thanks to life, which has given me so much.

:It gave me two eyes, which when I open

:I can perfectly distinguish black from white

:And in the distant heaven the starry backdrop

:And amongst the multitude

:The man that I love.''

And the closing refrain "Gracias a la vida", ironically, '':Thanks to life :Thanks to life :Thanks to life''

Another highly regarded original, Volver a los Diecisiete (To Be Seventeen) similarly celebrates the themes of youthful life, in tragic contrast to her biography. Unlike much popular music, it moves through minor key progression creating an introspective if not melancholy mood and thus has lent itself to classical treatment as well as popular music. Despite its originality, Parra's music was deeply rooted in folk song traditions, as is the case with Nueva Cancion in general.

As noted by Mercedes Sosa, with regard to Gracias a la Vida, Parra's music was, though about "simple things", always "prophetic and true".

Discography

Studio albums

''Chants et danses du chili. Vol. 1'' (1956)

''Chants et danses du chili. Vol. 2'' (1956)

''Violeta Parra, Canto y guitarra. El Folklore de Chile, Vol. I'' (1956)

''Violeta Parra, acompañada de guitarra. El Folklore de Chile, Vol. II'' (1958)

''La cueca presentada por Violeta Parra: El Folklore de Chile, Vol. III.'' (1958)

''La tonada presentada por Violeta Parra: El Folklore de Chile, Vol. IV.'' (1958)

''Toda Violeta Parra: El Folklore de Chile, Vol. VIII'' (1960)

''Violeta Parra, guitare et chant: Chants et danses du Chili.'' (1963)

''Recordandeo a Chile (Una Chilena en París).'' (1965)

''Carpa de la Reina'' (1966)

''Las últimas composiciones de Violeta Parra'' (1967)

Posthumous discography

''Violeta Parra y sus canciones reencontradas en París'' (1971)

''Canciones de Violeta Parra'' (1971)

''Le Chili de Violeta Parra'' (1974)

''Un río de sangre'' (1975)

''Presente / Ausente'' (1975)

''Décimas'' (1976)

''Chants & rythmes du Chili '' (1991)

''El hombre con su razón'' (1992)

''Décimas y Centésimas'' (1993)

''El folklore y la pasión'' (1994)

''Haciendo Historia: La jardinera y su canto'' (1997)

''Violeta Parra: Antología'' (1998)

''Canciones reencontradas en París'' (1999)

''Composiciones para guitarra'' (1999)

''Violeta Parra - En Ginebra, En Vivo, 1965'' (1999)

''Violeta Parra: Cantos Campesinos'' (1999)

Further reading

Moreno, Albrecht: "Violeta Parra and 'La Nueva Canción Chilena." Studies in Latin American Popular Culture 5 (1986): 108—26.

Alcalde, Alfonso: "Toda Violeta Parra" (biography plus anthology of songs and poems) Ediciones de la Flor. Buenos Aires 1974

References

External links

Violeta Parra

Discography

Issac 2001 Triptych version of ''Gracias A la Vida''

Remembering Violeta Parra

Violeta Parra's Gravesite

Violeta Parra Category:Chilean communists Category:Chilean folk singers Category:Chilean female singers Category:Chilean singer-songwriters Category:Musicians who committed suicide Category:Nueva canción musicians Category:Suicides by firearm in Chile Category:1917 births Category:1967 deaths

br:Violeta Parra da:Violeta Parra de:Violeta Parra es:Violeta Parra eo:Violeta Parra eu:Violeta Parra fr:Violeta Parra gl:Violeta Parra ko:비올레타 파라 it:Violeta Parra sw:Violeta Parra nl:Violeta Parra ja:ビオレータ・パラ pt:Violeta Parra ru:Парра, Виолета fi:Violeta Parra sv:Violeta Parra tr:Violeta Parra

Name	José Sacristán
Birth date	September 27, 1937
Birth place	Chinchón, Madrid
Occupation	Actor
Spouse	Liliane Meric(m.1979-?) Leonor Benedetto(m.?-present; 3 children) }}

José Sacristán (born September 27, 1937) is a famous Spanish film, theatre and television actor.

He has directed three films:

''Yo me bajo en la próxima, ¿y usted?'' (1992)

''Cara de acelga'' (1987)

''Soldados de plomo'' (1983)

Selected filmography as actor

''Cosas que hacen que la vida valga la pena'' (2004)

''Roma'' (2004)

''Fumata blanca'' (2002)

''La marcha verde'' (2001)

''Ja me maaten'' (2000)

''7000 Días Juntos'' (1995)

''Convivencia'' (1993)

''Todos a la cárcel'' (1993)

''Madregilda'' (1993)

''El pájaro de la felicidad'' (1993)

''Historias de la puta mili'' (1993)

''Un lugar en el mundo'' (1992)

''El vuelo de la paloma'' (1989)

''El viaje a ninguna parte'' (1986)

''A la pálida luz de la luna'' (1985)

''La vaquilla'' (1985)

''La noche más hermosa'' (1984)

''Epílogo'' (1984)

''Soldados de plomo'' (1983) (also director)

''La colmena'' (1982)

''Navajeros'' (1980)

''Operación Ogro (film)'' (1979)

''Miedo a salir de noche'' (1979)

''Mis relaciones con Ana'' (1979)

''¡Arriba Hazaña!'' (1978)

''Un hombre llamado flor de otoño'' (1978)

''Solos en la madrugada'' (1978)

''El diputado'' (1978)

''Oro rojo'' (1978)

''Reina Zanahoria'' (1977)

''Asignatura pendiente'' (1977)

''Hasta que el matrimonio nos separe'' (1976)

''Ellas los prefieren...locas'' (1976)

''Las largas vacaciones del 36'' (1976)

''El secreto inconfesable de un chico bien'' (1975)

''La mujer es cosa de hombres'' (1975)

''Lo verde empieza en los Pirineos'' (1975)

''No quiero perder la honra'' (1975)

''Los nuevos españoles'' (1975)

''Mi mujer es muy decente, dentro de lo que cabe'' (1974)

''Vida conyugal sana'' (1974)

''Sex o no sex'' (1974)

''El abuelo tiene un plan'' (1973)

''Señora doctor'' (1973)

''Las estrellas están verdes'' (1973)

''El padre de la criatura'' (1972)

''París Bien Vale una Moza'' (1972)

''Guapo heredero busca esposa'' (1972)

''Vente a Alemania, Pepe'' (1971)

''Vente a ligar al Oeste'' (1971)

''No desearás a la mujer del vecino'' (1971)

''Las ibéricas F.C.'' (1971)

''Españolas en París'' (1971)

''El apartamento de la tentación'' (1971)

''Pierna creciente, falda menguante'' (1970)

''Cateto a babor'' (1970)

''La tonta del bote'' (1970)

''Don Erre que Erre'' (1970)

''Una señora llamada Andrés'' (1970)

''El ángel'' (1969)

''Sangre en el ruedo'' (1969)

''Soltera y madre en la vida'' (1969)

''Relaciones casi públicas'' (1968)

''¡Cómo está el servicio!'' (1968)

''Sor Citroën'' (1967)

''La ciudad no es para mí'' (1965)

External links

Category:1937 births Category:Living people Category:People from Madrid Category:Spanish film actors Category:Spanish film directors

es:José Sacristán fr:José Sacristán

Miguel Hernández Gilabert (30 October 1910 - 28 March 1942) was a 20th century Spanish poet and playwright.

Biography

Hernández was born in Orihuela, in the Valencian Community, to a poor family and received little formal education; he published his first book of poetry at 23, and gained considerable fame before his death. He spent his childhood as a goatherd and farmhand, and was, for the most part, self-taught, although he did receive basic education from state schools and the Jesuits. He was introduced to literature by friend Ramon Sijé. As a youth, Hernández greatly admired the Spanish Baroque lyric poet Luis de Góngora, who was an influence in his early works. Shaped by both Golden Age writers such as Francisco de Quevedo and, like many Spanish poets of his era, by European vanguard movements, notably by Surrealism, he joined a generation of socially conscious Spanish authors concerned with workers rights. Though Hernández employed novel images and concepts in his verses, he never abandoned classical, popular rhythms and rhymes. Hernández campaigned for the Republic during the Spanish Civil War, writing poetry and addressing troops deployed to the front.

During the Civil War, on the ninth of March in 1937, he married Josefina Manresa Marhuenda, whom he had met in 1933 in Orihuela. His wife inspired him to write most of his romantic work. Their first son, Manuel Ramon, was born on 19 December 1937 but died in infancy on 19 October 1938. Months later came their second son, Manuel Miguel (b. 4 January 1939, d. 1984).

Unlike others, he could not escape Spain after the Republican surrender and was arrested multiple times after the war for his anti-fascist sympathies, and was eventually sentenced to death. His death sentence, however, was commuted to a prison term of 30 years, leading to incarceration in multiple jails under extraordinarily harsh conditions until he eventually succumbed to tuberculosis in 1942. Just before his death, Hernández scrawled his last verse on the wall of the hospital: ''Goodbye, brothers, comrades, friends: let me take my leave of the sun and the fields.'' Some of his verses were kept by his jailers.

While in prison, Hernández produced an extraordinary amount of poetry, much of it in the form of simple songs, which the poet collected in his papers and sent to his wife and others. These poems are now known as his ''Cancionero y romancero de ausencia'' (''Songs and Ballads of Absence''). In these works, the poet writes not only of the tragedy of the Spanish Civil War and his own incarceration, but also of the death of an infant son and the struggle of his wife and another son to survive in poverty. The intensity and simplicity of the poems, combined with the extraordinary situation of the poet, give them remarkable power.

Perhaps Hernández's best known poem is "Nanas de cebolla" ("Onion Lullaby"), a reply in verse to a letter from his wife in which she informed him that she was surviving on bread and onions. In the poem, the poet envisions his son breastfeeding on his mother's onion blood (''sangre de cebolla''), and uses the child's laughter as a counterpoint to the mother's desperation. In this as in other poems, the poet turns his wife's body into a mythic symbol of desperation and hope, of regenerative power desperately needed in a broken Spain.

The poet's works include:

''Perito en lunas'' (1934)

''El rayo que no cesa'' (1936)

''Vientos del pueblo me llevan'' (1937)

''El hombre acecha'' (1938–1939)

''Cancionero y Romancero de Ausencias'' (incomplete, 1938–1942)

In July 2010 the poet's family filed a law suit in the Spanish Supreme Court in which they asked for his guilty verdict ( for his supposed crime of left wing sympathies), to be annulled. In 1939 he had been condemned to death as " an extremely dangerous and despicable element to all good Spaniards." Franco later reduced the sentence so that he would not become an international martyr, as Lorca did. In March 2010 the family had a posthumous " declaration of reparation" from the Spanish government, but, his daughter-in-law Lucía Izquierdo said ; " We want something more, that they void the death sentence.. that they hand down a ruling of innocent." Lawyers for the poet's family had new evidence, a 1939 letter from a fascist military official, Juan Bellod, testifying to his innocence. "I have known Miguel Hernandez since he was a boy", the letter began. "He is a person with an impeccable past, generous sentiments and deep religious and humanist training, but whose excessive sensitivity and poetic temperament have led him to act in accordance with the passion of the moment rather than calm, firm will. I fully guarantee his behaviour and his patriotic and religious fervour. Franco and his Vatican supporters had actually called their mutiny a 'crusade'. I do not believe that he is, at heart, an enemy of our Glorious Movement."

See also

Miguel Hernández University of Elche

References

External links (Spanish)

Association of friends of Miguel Hernández.

Hernandian Center of studies and investigation.

Biography of Miguel Hernández of Orihuela.

Miguel Hernández non-profit foundation.

El Eco Hernandiano.

Miguel Hernández University.

Website with more information about the author.

A lot of sounds and videos about Miguel Hernandez and his works. Web about the poetry in general. Internet Radio..

Category:1910 births Category:1942 deaths Category:People from Alicante (province) Category:People from Vega Baja del Segura Category:Deaths from tuberculosis Category:Spanish people of the Spanish Civil War Category:Valencian writers Category:Spanish poets Category:Spanish people who died in prison custody Category:Infectious disease deaths in Spain Category:Prisoners who died in Spanish detention Category:Spanish prisoners sentenced to death Category:Prisoners sentenced to death by Spain

br:Miguel Hernández Gilabert ca:Miguel Hernández Gilabert de:Miguel Hernández et:Miguel Hernández es:Miguel Hernández eo:Miguel Hernández fr:Miguel Hernández gl:Miguel Hernández it:Miguel Hernández he:מיגל ארננדס mr:मिगेल हर्नान्देझ no:Miguel Hernández oc:Miguel Hernández pl:Miguel Hernández pt:Miguel Hernández ro:Miguel Hernández qu:Miguel Hernández ru:Эрнандес, Мигель sv:Miguel Hernández tr:Miguel Hernández

name	Héctor Alterio
birth date	September 21, 1929,
birth place	Buenos Aires,Argentina.
occupation	Actor.
children	Ernesto AlterioMalena Alterio }}

Héctor Benjamín Alterio Onorato (born September 21, 1929 in Buenos Aires) is an Argentine theatre, film and television actor, well known both in Argentina and Spain.

Biography

Alterio's theatre debut came in 1948 as the lead in ''Cómo suicidarse en primavera'' ("How to commit suicide in spring"). After finishing drama school, he created the ''Nuevo Teatro'' ("New Theatre") company in 1950, where he worked until 1968 and helped change the Argentine theatrical scene of the 1960s.

He also worked in the Argentine cinema. His debut on the silver screen took place in Alfredo Mathé's ''Todo sol es amargo'' (''Every sun is bitter'') in 1965. He then participated in many of the most important Argentine movies of the 1970s, including ''La Patagonia rebelde'' (''The Rebel Patagonia''), which was awarded a Silver Bear at the 24th Berlin International Film Festival. His voice was used in ''Ya es tiempo de violencia'' (1969), an anonymous film about the ''Cordobazo'' riots which took place the same year. The film was produced by Enrique Juárez, close to the ''Grupo Cine Liberación''.

While in Spain in 1975, he received death threats from the Argentine Anticommunist Alliance. He decided not to return to Argentina and remained in exile.

Consequently, Alterio began to work in Spanish films, including ''A un dios desconocido'' (1977) and received the Best Actor award at the Donostia-San Sebastián International Film Festival, and ''El nido'' (1980), and for his effort received the Best Actor award from the Association of Latin Entertainment Critics in 1983.

After the restoration of democracy in Argentina in 1982, Alterio worked in films produced in both countries and some co-productions.

In 2004 he received an Honorary Goya Award for his lifetime body of works.

Roles in Academy Award-nominated films

Héctor Alterio has been in five Oscar-nominated as Best Foreign Language Film pictures:

''The Truce'' – (1974)

''The Nest'' – (1980)

''Camila'' – (1984)

''The Official Story'' – (1985)

''Son of the Bride'' – (2001)

The fourth of them won the award in the 58th Academy Awards, and was also nominated as Best Original Screenplay. All of these films, except for The Nest, which was submitted by Spain, had been submitted to the awards by Argentina.

Filmography

''Semen, una historia de amor'' (2005)

''Cleopatra'' (2003)

''El Último tren'' (2002)

''Kamchatka'' (2002)

''Apasionados'' (2002)

''Nobel'' (2001)

''El hijo de la novia'' (2001)

''Plata quemada'' (2000)

''Los libros y la noche'' (2000)

''Esperando al Mesías'' (2000)

''Un dulce olor a muerte'' (1999)

''Suenas en la mitad del mundo – Cuentos ecuatorianos'' (1999)

''La mujer más fea del mundo'' (1999)

''Las huellas borradas'' (1999)

''Pequeños milagros'' (1998)

''Cenizas del paraíso'' (1997)

''Caballos salvajes'' (1995)

''El detective y la muerte'' (1994)

''Tanguito'' (1993)

''Yo, la peor de todas'' (1990)

''Gentile Alouette'' (1990)

''El verano del potro'' (1989)

''El hombre de la deuda externa'' (1987)

''Barbablu Barbablu'' (1987)

''Sofía'' (1987)

''Mi General'' (1987)

''Manuel y Clemente'' (1986)

''Puzzle'' (1986)

''Contar hasta diez'' (1986)

''A la pálida luz de la Luna'' (1986)

''Los chicos de la guerra'' (1985)

''Adiós, Roberto'' (1985)

''La historia oficial'' (1985)

''Flesh + Blood'' (1985)

''El señor Galíndez'' (1984)

''De grens'' (1984)

''Camila'' (1984)

''La mujer del juez'' (1983)

''Il quartetto Basileus'' (1982)

''Asesinato en el Comité Central'' (1982)

''Corazón de papel'' (1982)

''Antonieta'' (1982)

''Volver'' (1982)

''Kargus'' (1981)

''Los viernes de la eternidad'' (1981)

''Tac-Tac'' (1981)

''El crimen de Cuenca'' (1980)

''El Nido'' (1980)

''Tiro al aire'' (1980)

''Marian'' (1979)

''Memorias de Leticia Valle'' (1979)

''Serenata a la luz de la Luna'' (1979)

''Tres en...'' (1979)

''Las truchas'' (1978)

''¿Qué hace una chica como tú en un sitio como éste?'' (1978)

''Tiempos de constitución'' (1978)

''Arriba Hazaña'' (1978)

''Asignatura pendiente'' (1977)

''A un dios desconocido'' (1977)

''Las palabras de Max'' (1977)

''La guerra de papá'' (1977)

''Pascual Duarte'' (1976)

''Cría Cuervos'' (1976)

''La tregua'' (1974)

''La Patagonia rebelde'' (1974)

''Los siete locos'' (1973)

''Quebracho'' (1973)

''La maffia'' (1972)

''El santo de la espada'' (1970)

''Don Segundo Sombra'' (1969)

''Todo sol es amargo'' (1965)

Awards

Won:

Goya Awards: Lifetime Achievement Honorary Award, 2004.

Cinema Writers Circle Awards: CEC Award Best Supporting Actor, for ''El Hijo de la novia,'' 2002, Spain.

Valladolid International Film Festival: Best Actor, for ''El Último tren,'' 2002.

Association of Latin Entertainment Critics: Best Actor, for ''El nido,'' 1980.

Donostia-San Sebastián International Film Festival: Prize San Sebastián, Best Actor, for ''A un dios desconocido,'' 1977.

Argentine Film Critics Association Awards: Silver Condor for Best Supporting Actor for ''La maffia'', 1973.

Nominated

Argentine Film Critics Association Awards: Nominated for four Silver Condors (1998, 2001, 2002, and 2003).

References

External links

Allocine biography

Category:1929 births Category:Argentine film actors Category:Argentine stage actors Category:Argentine television actors Category:Living people Category:People from Buenos Aires Category:Argentine expatriates in Spain

ca:Héctor Alterio es:Héctor Alterio eu:Héctor Alterio gl:Héctor Alterio oc:Héctor Alterio pt:Héctor Alterio