(da Giudizio Universale , versione web)
La più celebre storia d'amore del teatro è ambientata in un campo nomadi nello spettacolo di Federico Tiezzi in anteprima nazionale a Prato
di Igor Vazzaz
I classici non possono essere affrontati senza tradimento: questione etica ed estetica. Riproporre Shakespeare secondo i canoni dei suoi tempi (strano a dirsi: il Bardo è stato anche un contemporaneo ) non avrebbe altro senso che quello archeologico, where the theater is always consumed in the here and now of the performance, not in place the scene. That is the idea of \u200b\u200bsetting the most famous love story of the scene in a gypsy camp is plausible and allows Federico Tiezzi to work on images of great beauty.
The beginning sees spectators accommodated on the steps of a closed space, the center of which, below, opens a narrow bedroom, with two human figures. Francesca Benedetti and Franco Graziosi , vintage men Giulietta e Romeo, give birth to one of the most famous dialogues of the drama, highlighting the fixed eternity of agony of love, mocking almost linear time in the forms of withered bodies are no longer young, though beautiful to see: our embrace lying, in which the woman's legs trap beloved ones, is a figure of great sweetness.
We move in amplitude of a Fabbricone transformed and made the road with street lights, dust, guardrail and two stands on either side of the road that will host the final in the smog of a real pimp Bmw style. Around five caravans define the 'en plein air of a Roma camp: from the costumes scruffy young guappi walk proud, tracksuits, shirts open, gold chains, and show pride ambiguous sexual potency. Collide, wink, lots, to the tune of Balkan music and pop-flavored choreography, torn from the films of Kusturica , including the blond Juliet Caterina Simonelli . Acting painful, throbbing, aggressive, the first death, simulated, with burial in the sand, it remains the most powerful part of the whole hoax.
Capulets and Montagues are facing the street, with umbrellas and bare ash as furniture, props that become platforms, slides and trampolines for all types of developments, including the main character's monologue runs smoothly on a pair of rollerblades . Roberto Latini Mercutio is a thug and ancheggiante, talkative as a must and pelvic indomitable exuberance: the crushing force of a voice exasperated the other bullies, including Romeo Matteo Romoli , less histrionic and gigione character and, therefore, more complicated to make in its infinite nuances, especially in this particular setting gypsy.
The show flows well, despite the more than two hours, alternating between moments of great effectiveness to other stall: the southern hemisphere Roma, spiced with influences and inserts latinamericane travesti , risks of appearing trick not meaningless, but on the difficult realization. The conflict between the language of Shakespeare and frame suffers an unfinished choice: either go along the path of poetic power original or the equally strong, of a dirty language, slang, but even more extreme. Tiezzi would be able, think its Pasolini and Testori. The problem is that the actors of the Laboratory of Prato, while good, are not gypsies, but they are gypsies : cry, but not uproot. You end up not believe it, not to hear the terrible violence, the hubris, as we should not remain upset and we would like, feeling a sense of exteriority little help from pop references is not too surprising. Nor is the thrill of help, stuck on the skin surface of all rational observation: there is strength, but not power, not that they deserve and text construction. Sorry, even in the face of other good ideas, like quell'asfalto colored red roses representing the bloody funeral of Juliet in a wedding dress. In the final scene in the entire cast, including the two actors in the prologue, to close the circle of violence and a love story that has not stopped speaking to our hearts. To be reviewed.
(December 14, 2009)
La più celebre storia d'amore del teatro è ambientata in un campo nomadi nello spettacolo di Federico Tiezzi in anteprima nazionale a Prato
di Igor Vazzaz
I classici non possono essere affrontati senza tradimento: questione etica ed estetica. Riproporre Shakespeare secondo i canoni dei suoi tempi (strano a dirsi: il Bardo è stato anche un contemporaneo ) non avrebbe altro senso che quello archeologico, where the theater is always consumed in the here and now of the performance, not in place the scene. That is the idea of \u200b\u200bsetting the most famous love story of the scene in a gypsy camp is plausible and allows Federico Tiezzi to work on images of great beauty.
The beginning sees spectators accommodated on the steps of a closed space, the center of which, below, opens a narrow bedroom, with two human figures. Francesca Benedetti and Franco Graziosi , vintage men Giulietta e Romeo, give birth to one of the most famous dialogues of the drama, highlighting the fixed eternity of agony of love, mocking almost linear time in the forms of withered bodies are no longer young, though beautiful to see: our embrace lying, in which the woman's legs trap beloved ones, is a figure of great sweetness.
We move in amplitude of a Fabbricone transformed and made the road with street lights, dust, guardrail and two stands on either side of the road that will host the final in the smog of a real pimp Bmw style. Around five caravans define the 'en plein air of a Roma camp: from the costumes scruffy young guappi walk proud, tracksuits, shirts open, gold chains, and show pride ambiguous sexual potency. Collide, wink, lots, to the tune of Balkan music and pop-flavored choreography, torn from the films of Kusturica , including the blond Juliet Caterina Simonelli . Acting painful, throbbing, aggressive, the first death, simulated, with burial in the sand, it remains the most powerful part of the whole hoax.
Capulets and Montagues are facing the street, with umbrellas and bare ash as furniture, props that become platforms, slides and trampolines for all types of developments, including the main character's monologue runs smoothly on a pair of rollerblades . Roberto Latini Mercutio is a thug and ancheggiante, talkative as a must and pelvic indomitable exuberance: the crushing force of a voice exasperated the other bullies, including Romeo Matteo Romoli , less histrionic and gigione character and, therefore, more complicated to make in its infinite nuances, especially in this particular setting gypsy. The show flows well, despite the more than two hours, alternating between moments of great effectiveness to other stall: the southern hemisphere Roma, spiced with influences and inserts latinamericane travesti , risks of appearing trick not meaningless, but on the difficult realization. The conflict between the language of Shakespeare and frame suffers an unfinished choice: either go along the path of poetic power original or the equally strong, of a dirty language, slang, but even more extreme. Tiezzi would be able, think its Pasolini and Testori. The problem is that the actors of the Laboratory of Prato, while good, are not gypsies, but they are gypsies : cry, but not uproot. You end up not believe it, not to hear the terrible violence, the hubris, as we should not remain upset and we would like, feeling a sense of exteriority little help from pop references is not too surprising. Nor is the thrill of help, stuck on the skin surface of all rational observation: there is strength, but not power, not that they deserve and text construction. Sorry, even in the face of other good ideas, like quell'asfalto colored red roses representing the bloody funeral of Juliet in a wedding dress. In the final scene in the entire cast, including the two actors in the prologue, to close the circle of violence and a love story that has not stopped speaking to our hearts. To be reviewed.
(December 14, 2009)
Viewed in Prato, Fabbricone Theatre, December 10, 2009
Entertainment
Scene from Romeo & Giulietta , di William Shakespeare , regia di Federico Tiezzi
Giudizio:
Entertainment
Scene from Romeo & Giulietta , di William Shakespeare , regia di Federico Tiezzi
Giudizio:
Scheda
Il resto della locandina: Pierpaolo Bisleri, scene; Marion D’Amburgo, costumi; Roberto Innocenti, luci; Giovanni di Cicco, coreografie; e con: Marion D’Amburgo, Ciro Masella, Graziano Piazza, Alessandro Schiavo, Fabricio Christian Amansi, Giorgio Consoli, Simone Martini, Alessio Nieddu, Francesco Tasselli
Prossimamente: sino al 20/12, Prato, Fabbricone; in tournée nella prossima stagione
Il pregio: l’ambientazione has a high potential
The flaw: not be entirely up to the potential
Hypothetical solution: dirty language, increase eversività (... is a word) or Roma really put on stage by applause
: well Benedetti and Graziosi, Marion D'Hamburg and Graziano Piazza
Il resto della locandina: Pierpaolo Bisleri, scene; Marion D’Amburgo, costumi; Roberto Innocenti, luci; Giovanni di Cicco, coreografie; e con: Marion D’Amburgo, Ciro Masella, Graziano Piazza, Alessandro Schiavo, Fabricio Christian Amansi, Giorgio Consoli, Simone Martini, Alessio Nieddu, Francesco Tasselli
Prossimamente: sino al 20/12, Prato, Fabbricone; in tournée nella prossima stagione
Il pregio: l’ambientazione has a high potential
The flaw: not be entirely up to the potential
Hypothetical solution: dirty language, increase eversività (... is a word) or Roma really put on stage by applause
: well Benedetti and Graziosi, Marion D'Hamburg and Graziano Piazza
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