Fire Emblem Sword Of Seals Were I Can Buy It

(from Judgement , web)
No surprises in Characters staged by the talented comic back to the Minister of Fear, and Epifanio Laqualunque Cetto, a show completely devoid of inventive
Igor Vazzaz

There is something terribly wrong in the spectacular Italian system, and not talking about cultural policy, if players of undoubted talent, creativity and experience to deliver on time ending solo theatrical unsatisfactory and frustrating for the lost opportunity it represents. Last Series Albanian Antonio, which has plenty of credit for our part, and not only: a versatile performer, inclined to a polyphonic not constrained within the limits of rice, capable of good performance both on stage and on screens large and small and recently discovered even an opera director.
Characters , from the title, foreshadows what will be, a compendium of those characters that the artist has presented over the years on TV and you are appealing look, thanks to a sophisticated and nuanced acting, the unconditional affection of 'a loyal audience. Public, it must be said, does not coincide with almost no applause forced the Zelig bisiano (and Woody Allen, if given a damn about, would have every right to demand the blood of those who have so ill-used one of his best games), but that now seems to have contracted the critical thinking and independence of opinion on who knows what other area of \u200b\u200bits own existence.


The reasons for our hatred, only in appearance too, are motivated by sincere admiration felt for the plaintiff, as if to say: the higher the level, the more resounding thud when the target is not hit. Provided, however, agree on what should be the target in question. You go to the theater to try visually living the emotion of a performance, to feel, breathe, feel the presence of the actor. This involves an expenditure, not only economic: faced with this effort, for which the viewer should receive a commendation anything but conventional by artist, author and social workers, it is not reasonable to expect something less than the basic result of all artistic expression: the surprise.
The scope of others is more comical, however, certain tests such as athletic high jump or pole vault: it is necessary, urgent, that the peg is placed higher and higher, even slightly, the penalty have seen, equivalent inertia deadly stage. Instead, nisba: number of characters in valuable in itself (the Minister of Fear, Alex drastic Cetto Laqualunque until tender Epifanio) for so many long numbers (at least this one) in the name of recurrence, enriched by a small improvisation, however, is very well known truccaccio.
The good, or bad, is that Albanian is really good: stamping voice always rich in harmonics, some ripples in the beautiful baritone, good for reading declamatory, authoritative stage presence in the management of obesity a graceful and elegant, even in the heavy emphasis of some pelvic characters, talent, size and credibility to be able to appeal to the public without bones from normal man would be all that be tested with certain scores Gaber, so to speak. And the beginning bodes well, with the solitary figure on a barren stage to deal with a red suitcase appeared suddenly on the side: skillful management of space, with these minimum steps, sketched and measured in the fear of approaching a trivial object transfigured into unknown and frightening threat. We are, precisely, around the Gaberscik in the number where you feel followed by a terrifying figure who turns out to be a harmless through the night.


Faced with such grace, writing stravecchia, seasoned with humor, radical-chic living room, sometimes indulgent in scatology easy come. And not enough of the desolation outsider of the most "human", the satire of the viper paradoxical powerful, the emphasis of the priapic Sicilian come "down to the North": viewed and reviewed, in this show did pretty well, but that remains embroiled in a pure entertainment genius nor blood. And the audience appreciated, happy and blessed in the reassurance of a performance that gives what it promises, nothing more, nothing less, in the logic of an equal exchange: no waste, no nothing. All
happy, then? No. Why would it be preferable to an obscene spectacle and irritating rather than two hours spent in the comfort of gay magazines, reassurance of not being like those who go to see Christmas in Miami (we are ironic: we hate the snobbery). Reassurance that, given the structure of certain staging born on the assumption that the public should be satisfied, cajoled and nothing more, proves even more guilty, the presumption of being insufferable best.
(February 15, 2010)

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Reviewed Subject:

characters, and starring Antonio Albanian

Poster: texts by Michael Serra and Antonio Albanian, with the collaboration of Piero Guerrera, Enzo Santin, Giampiero Solari, production Bea srl \u200b\u200b
Viewed: in Cascina (Pisa), The City Theatre, February 1, 2010
Upcoming: Milan Ciak, 11/2-7/3, Piacenza, 9 / 3, Modena, Storchi, 10-11/3; Alexandria, 12 / 3, Torino, Colosseum, 13-14/3; Still, 16/17/3
rating (knowingly hard): plaintiff only three, four umbrellas to the texts of each character
The bar in the hopper: too little reference to the piece of Alex Falcone drastic is a piece of fifteen years ago and feels
Albanian work: in October 2009 he conducted The conveniences and inconveniences Donizetti's La Scala theater, without disfiguring
argument: because Guzzanti had been treated better?
Answer: because, despite the repetitions, some parts of the show were scratched, something that no character of Albanian managed to do

rating: