How Hook Extra Speakers To 5.1 Receiver

(from Judgement version web)
is the slogan written on the skin of the protagonists of Too late! , contemporary reinterpretation of the myth of Antigone proposed by Motus
Igor Vazzaz (photo by Valentina Bianchi) is a relevant game

accumulation and subtraction, this Too Late! , new work by Motus, historical group that Romagna felix of key bridgeheads of our contemporary theater. Starting from the title, Antigone is placed in brackets and private capital: Too Late, too late for a generation that grew up in times overblown, devastated by comunicazione, drogati di simultaneità, velocità, rumore. Troppo tardi per penetrare del tutto il mito tebano della sorella ribelle al tiranno e fedele alla legge divina. Troppo tardi per non "vergognarsi di questo paese", come afferma la stessa Silvia Calderoni , durante un passaggio intimistico della performance.

Si entra in sala da un ingresso laterale, attraversando per intero la scena sviluppata in larghezza; il serbo Vladimir Aleksic e la già citata Calderoni, vesti mascoline con tanto di chioma e baffi, entrambi convincenti e posticci, aiutano gli spettatori a prendere posto. Lo spazio è intriso d’una tenue atmosfera lattiginosa: luce diffusa da una serie di neon posti in linea about an American woman, about eight feet high, middle and long sides of the rectangle parallel to the stage, behind which is available to the public. The spotlight, square, light of a dense, dirty shades of yellow, make the room claustrophobic, prison-like corridors seen in the movies. At the ends of space, two rolls of green cloth. A sweet smell of smoke fuels a suspended silence.

Silvia took the floor, she performed with uncertainty: the show can begin. You contest, as in hip hop competitions, which draws on the same setting: tunnel, road, inert language of space, Suburban, which give meaning through words and movements. The comparison of spatial and physical relationship, you tight, animal, played on fine-tuning, and scientific in constant avoidance of conventional theater: the actors do not act, not mimic, act, speak.
classic mixed with fragments of text output from the character, intimate confessions, reflections on the staging metatheatrical ongoing . The two actors are terrific machines theater: her body is a set of muscle groups that are tense and nervous rope, athletic and vibrant. The skin is, itself, theater, page, scene, strips, thin leathery nell'efebica, written messages on the arms and chest with a marker dark. "Better dogs masters, despair, and political yearn animal, annihilated and ideological version of a hypothetical I Want to Be Your Dog , which refers to the body of the actress, very Iggy style. The sequence in which it takes, you dog barking is a marvel of physical effort and skill players, which perfectly meets the power, fast and robust, the canine version of the equally Aleksic. He proceeds to tear
: acceleration-break, accumulation-subtraction. The comparison is with Power mise en abyme relations, social or family members who are. And the actors are there, escape, to dribble the interpretation, out continuously.
Portentoso the game space, which is psychological, a place of compulsion, irresolute drama, desolate scene of a tragedy, on the one hand, true to itself, second, trapped in the metastasis of contemporary social. This is one of the key outputs of the performers, their dialogue from the breach of the representation: "To me the irony hurts. Indeed, the hatred," hissed the fierce protagonist, expressing discomfort for a laugh almost always used as a lubricator social carrier conciliatory, conformist, hypocritical.

show minimal under the technologically turnaround compared to other realizations of Motus. Specimen, however, the use of technology: the microphones, the far dall'enfatizzare said, the speakable , carriers are boosting organic inhuman. The embrace between the two, incipit and explicit performance, noise becomes liquid, sob blown, unprecedented and impressive. The few props are polymorphous appearances: the masks are dog meat from contention, and soon after, inhuman face of the tyrannical, with the American spotlight is (also) bar, swing, point of support for the fabric that allows developments contortionists with Silvia / Haemon / Antigone under the gaze cold and cruel Vladimir / Creon. Tragedy
life impossible or impossible? Too Late, fortunately, does not respond, ask questions, a rare honor in the theater and beyond. It is up to viewers (and their critics), constantly displaced, by detecting these fifty minutes as sharp as a razor, reverse engineer, theorized a response. The solutions are never outside.
(January 19, 2010)

Viewed Scandicci (Florence), Teatro Studio, January 15, 2010

Entertainment
Too Late! (Antigone) contest # 2 of Motus, design and direction by Enrico Casagrane & Daniela Nicolò

Rating:

Card
The rest of the poster: Daniela Nicolò, drama, Enrico Casagrande, sound field, Andrea Comandini, audio, Valeria Foti, technical management, project collaboration with Fondazione Teatro Stabile di Torino and Turin Festival of the Hills, Magna Grecia Film Festival '08, The Arboretum - Teatro Dimora di Mondaino, Project Gecko - Emilia-Romagna and the Ministry of Youth
Upcoming: Track www . motusonline.com
The project in Paris in autumn 2010, will be presented Syrma Antigónes , the show in Too Late! is the second step of approach and study, after Let the Sushine In (antigone) contest # 1