Monday, February 21, 2011

Heat Loss Calculator For Mac

A perfect (and ruthless) machine

(from teatro.org )
It has become customary with some actors made famous by big and small screens, for reasons more or less sincere, more or unless stated, they decide to test the wood of the stage, "going back", as they say in these circumstances, the theater, "old love never faded." Not infrequently, it is ill-concealed fold, inglorious retreats, strategic setbacks in waiting for a new impetus to reassess their careers and finances: in these cases, reached the goal, the scene, seduced and abandoned, is regularly called by, for silver is elsewhere and there is no time to squander in such cases, the aesthetic results are reprehensible and dramatically apparent.

not always the key is that, fortunately, and we are delighted to be able to say at Nicoletta Braschi , actress discussed, if only for the dual role, often penalizing of first lady and one of our unique muse of Oscar-winning just discussed. It is, in fact, that the artist Cesena four years on the scene with shows at all easy, not at all trivial, picking up a fair success, suppose, very pleased. After two years of touring with The Grönholm Method of the Catalan Jordi Galceran Ferrer, here she is struggling with of Betrayal Harold Pinter : same scene mates, different director (before Cristina Pezzoli, Andrea Renzi hours ), different text.

Betrayal is a key example of dramaturgy pinteriana: minimal action, tank, characters nailed in dialogues that are tripped chatter, blasé, exposition human, too human , weaknesses, slip, mechanisms and reiterative, At the same time, killing surgical distillate misery behaviouristica Continuous line and ruthless overturning strength. And this history of horns, inflicted and suffered, hidden and declared, only seems bitter representation of a civilization from the social institutions in fatal dissolution: rather, it is a perfect stage machinery, machined, polished, too meticulously set criteria functional and rhetorical as to appear almost unbearable. It is not the English society, contemporary or western, the real, or only, objective poetic, as the device, all scenic, all dramatic, and human, the reconstruction failed, time to recover, the back cover a story, already in Oedipus Rex is alive and pulsating flesh of our great theater. With the public, all-knowing one and only witness of flaws of this pathetic trio enlarged upper middle class: her, him, the other and, in addition, some pictures never physically present, but returnees protagonists in the speeches of the trio.


The set of Lino Fiorito well-respected economics minutes of drama: two screens, knowingly twisted, rear projection home hour hours camouflage the limits of abstraction. The space is large, undefined, absurd in a quite metaphysical, even when the photographs that fill color paintings seem realistic, slow to fade in color patches of a certain suggestion. And the scene is the scene of clashes and encounters, always a double meaning, double bottom, the imbalance of information and truth, with captions Stationendrama dry thunderstorms that mark at the beginning of the reverse chronological framework of events. Each term has a round boxing in which blows are all to enjoy, interpret, understand, embodied in the everyday wasteland of vacuous words yet sticky. Nicoletta Braschi is comfortable with the unique texture of the lexicon Pinter: its recitation paratactic, dried in bringing the wording of the text, stands out the joke by giving it a deep ambivalence. She is beautiful, wrapped in clothes that show the shapes of Emma, \u200b\u200bas maliciously cattlemen, charming woman and pin main intrigue. Henry Ianniello, paying loving is Jerry, a successful literary agent, her lover and, especially, appears the best husband, Robert, editor "arrived", played by a dazzling Tony Laudadio , especially in sequences Venetian .

The time machine slides backwards, and every new stop is a betrayal of nature and weight is always different: the verbal fencing, loose or tight depending on the sequence, the truth unravels elastic and supple, intertwined lives ridiculous, no good taste or decency. It is the identity, the center of everything: memory, we and others, is that pile of rubble stolen, shabby, arranged (almost always) in bad faith, we build, which makes us obvious and unforgivable. Pinter portrays this fall, not moral but existential, in a merciless slow motion, an entomologist with the eyes. Sometimes we laugh, but bitter that the play is, we have said, human, too human . Play difficult, high risk: the text is a continuous deception, and for the interpreters, who have to calibrate wind, breath, the slightest sign gesture. Not always the orchestration meets the requirements: it reflects the rhythm, that at some point spreads, with a tendency to spread that puts at risk the centering. What is missing, it seems, the last blood supply, then scratched to rip the flesh to engrave in the soul of the spectators, however, this Betrayal remains enjoyable, strong in its own veracity, without falling and without tricks . Not cheap. Given the

16/02/2011 in Colle Di Val D'Elsa (SI) Theatre: Del Popolo


Entertainment
Betrayal , of Harold Pinter Alessandra Serra translation
with Nicoletta Braschi, Enrico Ianniello, Tony and Nicholas Laudadio
Marchitiello
director: Andrea Renzi
sets and costumes: Lino Fiorito lights
: Pasquale Mari
Sound Daghi Rondanini
production: Teatro Stabile Foundation turin - OTC Mr Casertano
Theatre (Photo: Giorgio Sottile)

Amoxicillin Seasonique

theatrical everything from a Machiavellian laugh

(from Judgement )
The company Ugo Chiti stages The Mandrake , black comedy of our sixteenth century. Rough humor and music to a story of ancestral horns and intrigue in which the word is the protagonist
L. Photography Bojola


A comedy austere, sharp, solemn and tense as the string of a bow, geometric, stylized view of a sophisticated and ever free, as well consistent with the language of old-fashioned and modern, unmistakable, Ugo Chiti . Needless wasting time and breath in sguerguenze : Arca Azzurra has, for decades, one of the best reality of the Italian scene, almost old-fashioned company around, almost family, so peripheral resistance and proud, brings a world of theater, a idiom has always been the fruit of work deep and rigorous. And the results, not yesterday, you see: as this Mandragola perfect theatrical machine set up centuries ago by the wizards of Machiavelli viper, black comedy and harsh, while disenchanted philosophical drama about humanity, or rather on her inevitable misery.

mandra.JPG masterpiece theater of our century is filtered with skill, head and feet soaked in chitiana poetics of the grotesque, as the ruthless code of rough humor, which offers no respite nor free, so is based on a cunning consciousness physiology and on a far worse regarding the alleged lack of confidence human morality. In a dark picture, dominated by dark colors and a disturbing backdrop of linearity, it gives a slope downward toward the audience, after which we find opposite the main entrance portal and obvious step of abstraction. the sides of the ramp, human figures sitting on blocks are red, the center, a solitary individual, feminine demon theater, coagulates in the nymphs and shepherds him to sing the ' topic. Explains the public players one by one, each time throwing to the person a long wooden stick, a rite of evocation stage, as if the passage of souls and bodies covered enliven otherwise motionless oblivion fixity of the text. That the early states.

The story is known, or should be: savory intertwining of sensual appetites, horns and balls, after which no value is saved to the dramatic surgery Machiavellian: Callimachus (presented by the author as mean lover) can lie with the beautiful and conscientious Lucrezia, wife of Nicias, decrepit old man with the ambition to play late. All thanks to the connivance of the servant Siro hairy, friend Ligure, in a corrupt brother, Timothy, and mother of the girl, substrates, unaware of the deception, although decisive in its implementation. The conclusion does not escape anyone: Lucrezia discovers the plot and decides to take the young man left as a secret lover, so punishing the idiocy of her husband and then engaging in a life of lust and deception. But it is in becoming flesh and blood of the verb ser actor Nicholas captures the depth of a well-deserved tongue earthy, organic of concreteness, in which the grafts unpublished signed by Chiti are thick and comfortable: the recitation of Arca Azzurra so fitting idiom, in contact with the hemorrhagic character yet able to create gaps between actor and character, shines in its never enough commended difference compared to national average of aseptic and bloodless linguistic standardization.

mandra4.JPG Dimitri Frost is a splendid Nicias, with that throaty voice at times, foolish old man ready to cheat themselves, as are praiseworthy, as usual, the monkish Massimo Salvianti in the shoes of Timothy and, not to mention all, the beautiful Lucia Socci in the most fascinating, edgy and luciferin, the prologue of that. Excellent selection of music in the alternation of medieval themes, as atavistic by digging into streams of buried emotions, and ominous sounds dissonant : modulation hit and consistent with the colors and rhythms of staging. Times movements and more accurate, allowing nothing to ribobolo superfluous, well calibrated in a setting antimimetica and thin.

Ride of the public good Teatro Dante di Campi Bisenzio, a complicity of strong language evident but not essential: ride, and if you really want to move a minimum relief to a show that runs along the boundary of ' inappuntabilità could laugh more, for the matter to be fierce and guffaw ever there is something comforting to Sfar. Chiti, not giving up on a dark humor and disillusioned, sometimes green, tannic, prefer to this network of drives, pettiness and deceit, u n unforgiving knot clotted, sad eiaculatio without enjoyment, after all, he's right Nicias, when, right in the topic, you ask what good is it worth all quest'uggia, this weary miserable resolved in what is, after all, is only a compartment "spit of pleasure."
February 10, 2011

Reviewed Subject:
Mandragola , Nicolò Machiavelli, directed by Ugo Chiti
The poster: Ugo Chiti, design space, adaptation and director, Julian Colzi, costumes, Marco Messeri, lights, and Vanni Cassori Jonathan Chiti, music, and Giuliana Rape, Andrea Costagli, Carmagnini Lorenzo, Giulia Rupi, Paul Ciotti, production Arca Azzurra Teatro
Coming on stage: 12 / 2, San Gavino (Vs) 13 / 2, Lanusei (Og) 17 / 2, Campiglia Marittima (Li), 26 / 2, Scansano (Gr), 6 / 3, Città della Pieve (Pg) 18 / 3, Portoferraio (Li)
The Mandrake: solanaceae violet or white flowers, whose roots indeed toxic, have been for centuries considered medicinal; nell'imbroglio, is the basis of the potion that would make fertile Lucrezia, however, resulting in the death of the first that the girl was lying with
rating:

Breastfeeding To Husband In Islam

And to think that there was Giorgio Gaber


(from Judgement )
The good Maddalena Crippa shows the genius of the theater scene in the song. The actress tries to distance itself dall'inarrivabile model and does it better than others but not enough

To avoid misunderstanding, we reiterate what we said before: the theater is the kingdom of reinterpretation, the reinvention of the resurrection of the head, body and balance of power once sewn on to other bodies, other voices, other actors. What Gaber, in our opinion, was and still is great theater, original, urgent, and although tied hand in glove with the reality of the period in which it was conceived, yet able to speak to the audience.

This does not imply that the most recent revivals have hit the mark, not at all: think Giulio Casale, Blacks Marcorè artists who for one reason or another, have shattered the image of the first interpreter, failing, beyond skill and applause. The point, however, is not, as you might think trivial, Gaber which may be interpreted only by himself: the idea simplistic, unfair, and also in respect of an authentic writing, full of banks and kinks still to be explored fully. The same charge, moreover, was addressed to Dario For, only to realize that, even in the seventies, the texts of the future Nobel were set up every evening in languages \u200b\u200band locations around the world. For this reason, first of all, we are curious and well-disposed towards Maddalena Crippa, an actress of great stature and undoubted curriculum, which brings to the stage And to think that was the thought .

A woman in the role of G, nice idea: you want to see a physical difference so the net does not ensure a successful operation which saw a shipwreck popular male colleagues? The choice of the text, however, confirms personality: not a greatest hits as Marcorè or a show like the mythical chickens echoed by House, but a work of 1994, the first novel of the nineties by the duo-Luporini Gaber. Texts tricky, not easy, that led the Lombard cantattore wisely, taking advantage of that unmistakable voice full, intense, and the characteristic suppleness corvina embodiment of a crooked and perfect.

the middle of the show, a bitter and ironic reflection on the individual post-reflow
, the enigma represented by a dishonorable back order and not in relation to total resignation d’una realtà ormai immutabile. Mi fa male il mondo , urlo di dolore tra ironia e frustrazione, refrain d’uno show cui si sovrappongono dubbi viperini ( Destra-Sinistra ), vecchi temi e una serie d’acute osservazioni sulle menzogne che ci raccontiamo. Paradossale e beffarda, l’utopica soluzione alle trappole della nostra cattiva coscienza coincide, per Gaber, con un egoismo "antico e sano", ma, per una volta, autentico.

Si inizia con La sedia da spostare : un fascio luminoso illumina dall’alto una scranna in legno e due voci identiche si fronteggiano dai lati opposti della scena. È Gaber, ma non è lui. Il timbro è femminile, la calata Lombard, phrases, please note by heart, are the same, but the times, the results are new, different. Here's the music: on the left hand plays a piano, live, on a record. Join the actress, microphone in hand, dressed in black, amphibians to the feet, hurts the world. Shake, crosses the stage several times, accompanied by three singers with the bodies in the shadows on the white background. The amalgam of sounds is unknown, the quickest time, too, you lose something.

The idea, confirmed during the performance, the actress has a contract with a steady hand to hand with the original model: Madeleine unmarked, dribbling melodies, adding sharp, changing on the score. He is right: it can not do Gaber, and for that we are grateful, regardless of the outcome.
not bad, in fact, some blown up, when the modulation dying down, finding its own intensity. And if you save an actress in the monologues, though not fully convincing, the songs are the most critical: the use of the chorus is not bad, but a mixture between live and recorded phone call is, not enough, the song often inaccurate, in front of a model that more and more years pass is unsurpassed. The strategy, deliberately adopted, in the performance of waste accumulation and to work on gesture, if on the one hand, represents an effort encomiabile, dall’altro, lascia sin troppe perplessità.

Monologhi e brani musicali s’inseguono, con qualche anomalia rispetto al testo adottato: ecco Il dilemma , bella canzone da Anni affollati (1981), iniziata con un recitativo, poco dopo, Qualcuno era comunista , monologo del 1991, in un gioco di ricomposizione lecito, ma non provvisto di una sufficiente congruenza. E, infatti, manca quella Canzone della non appartenenza che della messinscena originale rappresenta la chiave, lo spiraglio, la timida soluzione proposta da Gaber. Le si preferisce, invece, L’attesa , sempre da Anni affollati , anch’essa proposed in the form of acting.
orizzontale.jpg
The show unfortunately does not work, does not take off, not for matters of order philological theoretically negligible, but because of lacking a coherent aesthetic which must be the cardinal principle of any staging. Bring back Gaber, has run now understood, is no joke: we need talent in singing, acting, and artistic authority that indescribable quality that seems stronger, and as yet not investigated, the late Gaberscik. And sorry to lose both, after all, a good actress, hero, for once, a show but no pimp, not cunning and, ultimately, too honest.
February 8, 2011

Reviewed Subject:
And to think that was the thought , Giorgio Gaber and Sandro Luporini with Maddalena Crippa, directed by Emanuela Giordano
The rest of the poster: Massimiliano Gagliardi, piano and arrangements; Calderale Chiara, Miriam Longo and Valentina Swiss singers, production Tieffe Milan Teatro Stabile of Innovation in collaboration with the Fondazione Giorgio Gaber
Upcoming: 8 / 3, Cesano Boscone (Mi) 12-13/3, Brescia, T. Association; 13-14/3, Savona, Social Chiabrera, 19-20/3. Jesi, Pergolesi
Radio / 1: that the public does not "take" the end of the show and the actress must, with sly wink, report viewers
Radio / 2: that the best parts are, in surprise, the two bis singing with a pot-pourri gaber a cappella truly enjoyable
And to think that was the thought in cd: two versions, one recorded Alfieri in Turin in 1994, el 'the other Regio di Parma at the end of 1995
Closed Lyric of not belonging : "It does not save us the idea of \u200b\u200bequality / or altruism or unnecessary pity / self-interest but old and healthy / those who do not even know / that does good to himself and to humanity "
rating:

Silent Reflux Mylanta

If Dona Flor has lost the passion

(from Judgement ) sensual
In Bahia, a woman is divided between a scoundrel husband, died, and a loving and boring live. The good news is that Amado's masterpiece to theater could make sparks. The bad news is: not in this show
We have a certainty, having seen the stage version of Dona Flor and Her Two Husbands : Amado's masterpiece stands up to the big stage translation. Remarkable that such a conviction, the more strict than the preliminary questions, both tetragon result of a poorly made show. Clear: the transpositions are not only possible, but be encouraged, and there is to disturb Nekrosius to prove it. Necessary, however, is that the spirit of the model is well clots, filtration of s'impreziosisca in a different medium of expression and not merely a sterile proposition dell'inessenziale work adopted, its peel. pleasure, in fact, should multiply: the memory of the original invention may add enjoyment profitable, interpreting extensive playing of resonances that is the beauty of aesthetic enjoyment.
Amado's novel is a triumph of color and life, carnival and romantic representation of an infinite love for theater that has the explosion of music that is Salvador Bahia, Brazil button heart of Africa. Now, it can also be unthinkable that an Italian company brasilianizzi is a distortion, in order to seek a soul which is lacking, but this can not be resolved simply abdicate in a cornerstone work art determined. Bahia You can not do? Take Naples. But there is a sense of magic, mythology intrusive, there are sounds, colors and, above all, smells, scents from the kitchen as Flor, those of carnal desire. There is consistent replacement, equipotent, not the suspension of a cowardly choice severed.

The show: the beautiful idea of \u200b\u200bthe three giant screens as a scene, with endless possibilities of ideas. Good also the first picture, with legions of candles replicated on screen for the wake of Vadinho, rogue of a husband and yet adored by the protagonist. shame, though, that the potential visual and remains unspoken, with predictable iconic symbols, without expressive power, without genius or backbone. Good the music scene in the trio (guitar, cello, double bass), but the stellar distance romance with the climate, burning of samba and African rhythms.

Mourning Flor, honest woman grew up in respect and decency, it is real suffering of flesh and spirit: that irresistible whores Vadinho, betrayal, money squandering, disappointing on time, really loved her, in his way, and not v 'is questionable. Just as in any other way, loves her new husband, Theodore, pharmacist lethargic, yet lively attention of all sincere , in all respects to that flower that the previous marriage had, scrambled, leading to life when the ghost comes back from the first for the hot invocations of the widow, the matter becomes more complicated.

dona-flor-1.JPG is sensual, Dona Flor, Creole formosa discovered by the appetites, yet measured, ill-contained in a discipline that can not stop thinking, desire, memory. Yet Caterina Murino is icy, never in part, the desire never torn and clotted continence self-inflicted. caricaturist, unjust, then the Theodore Paul Calabrese, trapped in effettacci which have nothing in common with the character : Amado makes us laugh pierced the pharmacist who wants his wife (but sparing those practices for which are affixed to "street women"), but respects him, makes him love, understanding: Theodore us, our projection of confidence. Instead, we look for the distortion inert, easy laughter, digestive, ignoring what is Teodoro dense, has a thickness, and the two-dimensionality of a farcical figure. Better Vadinho Max Malatesta, character easier, but never disturbing, never brash as such.

History should excite, disturb, put the viewer in anguish, trapped in two paradoxical and true love, in one embodiment overflowing: three scenes, Flor should kiss her mouth in both, and not just a picture of bourgeois interior. A sfangarla, the chorus of feminine friends Flor, net of any ribobolo not necessary, the hag Dona Rosita (Simonetta Cartia), a bit 'too young for the part. Little, too little to bring justice to a novel so deep and beautiful. missing the magic: the Bahia, syncretic, orisha between African and Christian mysticism, that of a sex irresistible and intoxicating gifts to the public that the smile and the belief that love, that's true, is something overwhelming and deformed, hardly suitable for a living set of categories and bourgeois. Too bad, because Dona Flor deserves a translation stage, almost cries out: the novel contains an irresistible nature and even a theatrical staging Fallata confirms it clearly. We hope to see you, tomorrow, do not ask for more.
February 4, 2011

Reviewed Subject:
Dona Flor and Her Two Husbands , Jorge Amado, directed by Emanuela Giordano
Coming on stage: until 6 / 2, Brescia, T. Social, 10-13/2, Monza, T. Manzoni, 15-27/2, Rome, T.Quirino-Vittorio Gassman, 28/2-2/3, Pavia, T. Fraschini; 3-6/3, Bolzano, T. Hall, 8-13/3, Bergamo, Donizetti T.; 14 / 3, Legnago (VR), T. Salieri, 15-17/3, Vigevano (Pavia), T. Cagnoni, 18-20/3, Lucca, T.del Giglio; 23-27/3, Messina, T. Vittorio Emanuele, 29-31/3, Fano (Pu), Fortuna T.della
The rest of the poster: Andrea N. Cecchini, scenes, Claudio Garofalo, visual installations, Juan Diego Puerta, choreography, Michael Vitullo, lights, with Claudia Gusmano, Serena Mattace Raso, Laura Rovetti, original music performed by Orchestra Bubbez (Massimo De Lorenzi, Ermanno Dodaro, Giovanna Famulari); Mario Chiocchio Production Company / Theatre Emmevu
Viewed: in Pistoia, Teatro Manzoni, 30 January 2011
The anathema of Stanislavsky: "I do not believe it," terrible word with which the Russian director haunted his actors . He was right: well are simulated orgasms, but manage to cheat
The anathema of Benjamin art, the essence is incommunicable, and what is communicated is not essential, this is the worm that should animate any translation, linguistic and expressive
On Language: Italian, sometimes it does not help, and as regards the French, but also applies to our language, George Brassens argued that it is unjustifiable that such a "sublime instrument of pleasure" was shown with improper names d ' vegetables or animals. Chip, pelatina in the original text in translation, lose all flesh, are caricatures without even the strength of the trivial
love for the characters: first rule of acting, unless you want to do caricatures. The Theodore Calabrese (actor we love and not just for the amazing mumbles in serial Boris, that character so funny, but with thick) Furio more reminiscent of the Greenfinch (speck willed and well-managed) that the pharmacist's novel
the movies: Dona Flor e seus dois maridos (Bruno Barreto, 1976), in the shoes of the protagonist a bright and sensual, Sonia Braga
rating:

Self Portrait With Slr And Tripod

With Garcia Lorca, Madama Butterfly is not suicidal

(from Judgement )
Nubile Donna Rosita , born from the pen of the English poet, has spent a lifetime waiting for a man who will not return. The dignity and strength of character in its own way epic are enhanced by a wonderful cast, all female. Lluis Pasqual directs

Count the days that pass, slipped away to be weeks and months and years. Almost senz'accorgersene and marvel at the girl tongue that recalls, by chance, the time elapsed since he left. That time scivolatole him as a conviction, the sentence or conditional mercilessly, imprisonment of the soul before the body, conscious and self-inflicted.
Donnarosita1.jpg
lorchiana La Rosita is the heroine of an expected stubborn woman titanic force grappling with the usual, customary, half man. Or rather, with the usual man , which means by nature or vocation, that when love, your love is a simulacrum of the eternal solidity, then allocate to the ongoing obstacle, the sinking so often inglorious. In the case of Rosa, to a life far away, an ocean away, while he repairs the arms of another, in the most common conditions, The Gram epilogue is a joint captivity, when living together becomes a mixture of moods during the day and the night smells evil.

After all, the history of abandonment of Donna Rosita nubile is a topos all too simple: two lovers torn himself from that life, and he goes away, never to return, she awaits tidings Butterfly without horizons of suicide. Garcia Lorca was inspired by the real pain of Aunt Clotilde, defected to his love, which you, your whole life, not to abdicate, opposing harsh indifference to the gaze of the vulgar and insolent Granada bourgeoisie. The result is a fine text and clean, distilled of feelings, situations, and the background environment Hispanic thirties, in a language which does not feel tight and clean the Italian translation.

donna-rosita3.jpg Lluís Pasqual, already home to the Piccolo in Milan - which produces construction - drawing a picture of extreme elegance for a broken-hearted comedy where the real issue is time: a theory of sliding panels tones makes candles changing the unitary space, suggestive of bourgeois interior styling. icy scene is the ideal place for the recitation of an exceptional cast, where to become the main protagonist is not the Rosita Andrea Jonasson, but at times the brightness of the beautiful harlequin Giulia Lazzarini , whose ruler is the real engine of internal states. Drama feminine, it was said that the well-dashed Zia Franca Nuti is another good choice, as well as for various spinsters that punctuate the chorus that saw the gradual disintegration of the protagonist's dream of love.

austere staging, balanced, at times majestic: you stand out pastels of womanly manners, nell'intermezzo music that gives the whole a nice chromatic, even before the rhythm. The story unfolds as a razor blade, relentless, all-too-measured every , as if the intention was to play the expansion, the gaps, but risk of penalizing the performance as a whole.

It is the final picture to recover that spirit that seems sore need, emotional shock in a position to deal the coup de grace: Rosita finally dominates the scene that opens toward the audience through a workable lineup, found that far seemed mere affectation of style. The Soltera abandoned in a progression aftertaste Pirandello proves Scientia and tragic heroine, who played the Queen of pain congealed in his dignity, that only a tiny and can be considered conventional wisdom in some ways, laughable. It remains uncertain whether that suffering, that pain that the drip has consumed the soul eroding over the years, really worth worthwhile: after all, still speak of little stuff, or men, avoiding sexism of any kind of wretched, depressing humanity.
January 20, 2011

Reviewed Subject:
Nubile Donna Rosita by Federico Garcia Lorca, directed by Lluis Pasqual
tour: January 19 to 23, Trieste, Politeama Rossetti, January 26 to 30, Udine, John T. New, 1 to 3 February, Pavia, T. Fraschini, 5 to 6 February, Cremona, Ponchielli
T. The rest of the poster: Elena Clementelli, translation; Ezio Frigerio, scenes, Franca Squarciapino, costumes, Claudio De Pace, lights, Josep Maria Arrizabalaga, music, Montserrat Pujol Colomé, choreographed movements, with (in alphabetical order) Andrew Coppone, Gian Carlo Dettori, Pasquale Di Filippo, Martina Galletta, Alessandra Gigli, Eleonora Giovanardi, Rosalina Blacks, Stella Piccioni, Franco Sangermano, Sara Zoia.
Production: Piccolo Teatro di Milano - Teatro d'Europa
The Guest of Stone: George Streheler because the show combines three generations of actors and not only, or directly related to Small or to its main author
rating: the level of the performers deserve (at least) three suns, the elegance idem. The pace of the show, however, fails to convince entirely
rating:

Seating Chart Wedding For Mac

Beppe Grillo and policy performance

(from Judgement )
cameras that followed him during the past there are no more tours, and newspapers have abandoned a long time. But he is back with a new show, Grillo is back

How can you review a show of Beppe Grillo? Foreseeable demand, but necessary: \u200b\u200bthe analysis of an object, whatever it is, can we hope to have a shred of sense only on condition of agreement on a definition of the same as unique, otherwise the misunderstanding or secure the total uselessness of the analysis itself - assuming that it has a value in itself, something that we take for granted, not without a faint hope.

Well, the wavering nature of Cricket character (an actor? A comedian? A satirist? A counter? A politician? A blogger? All these things together?) places us from the very beginning before the question on how or rather, what to look at a watching his show. Which, honestly, is in itself a great thing, since they are always interesting phenomena aimed at putting a strain on predetermined forms.

To be honest, is not denied of being arrived at the Teatro Verdi in New Montecatini armed with some prejudice about our obvious result of the constant over-exposure - but it would be appropriate to say bad exposure - media coverage in recent years . On one side of him, a little 'holy man, a little' Paraculo, some of communication as skilled and knowledgeable in the work around (the continuing refusal of direct comparisons and the tendency to put him in contact with one-sided monologue in an amazing way with his enemy 's election, the PresDelCons), on the other newspapers that, when they are points in vivo (the question of state funding to head a wound is bleeding quite silenced by category) more of cobra bite, regardless of color, masters or sides.

beppe-grillo-verdi.jpg An empty stage, a giant screen behind him, on which images are projected onto a set of themes, many, touched in two hours of heavy one man show. No television cameras to follow him, unlike some previous events, especially no frills, just him, his body, his curly head, more and more salt and less pepper. comes down and the applause. Not a standing ovation, to be honest: we were expecting one of those motivators American-style rallies, with people in delirium, replicant ad libitum and given the verb, On the contrary, we see a room some "hot", but lucid.

him, slyly, gigioneggia its allegations (of people, of demagoguery, even fascism) that rain down daily on . "Yells Italianiii !!!", standing up with arms akimbo, in a pose that smacks of parody plastic (model not mentioned) and grimace (the authors of the combination). It will be the only, nor abused catchphrase of the show, proving that someone who can do the job of the comedian - and this is no doubt there are none - the tricks they use them, but not abused.
standing up with arms on hips, posing in a plastic that smacks of parody (model not mentioned) and grimace (the authors of the combination). It will be the only, nor abused catchphrase of the show, proving that someone who can do the job of the comedian - and this is no doubt there are none - the tricks they use them, but not abused.

Shake, less than at other times, and also the voice reveals some fatigue in the audience no longer wanders like a madman, encircling the audience off guard, bathing in sweat. Not that he is calm, it is clear: the vehemence of some of his climax is indisputable and are almost afraid (we are in Tuscany) all'inenarrabile excess language of which we discussed some time ago (read here ) . The reality, for that matter, does imbufalire. We are imbufalire. And, as usual, at the end of a non-stop parade of issues, data, advice, comes the hope represented, he says, by direct participation , "his" Movements in Five Star, by taking responsibility individual, it is necessary to risk personally if you really want to change something.

There is no doubt: it is a spectacle, with its tricks, its contradictions (the amount of information is liable to cause more confusion than clarity of ideas ...), some mischief. even among his best (and sometimes we seen stronger, more effective, more fun), but it's a show. Which is not to deny its importance, anything : there are also some basic honesty in trying to explain to them that they are cheering in the hall to get up, organize, fight, and no one else will ever do on their behalf.

which then serve as a comedian to appeal to the conscience of the people, we never tire of repeating, is a problem of a joke country, an era of confusion, the intellectual class of a vacancy, and certainly not a sin (l 'again) to be allocated to a category - that of the comic - Which once refused to even consecrated burial.
December 28, 2011

Reviewed Subject:
Grillo is back, by and with Beppe Grillo
Tour: 31/12, Udine, PalaCarnera, 12 / 1 , Palermo, T. Golden, 14 / 1, Agrigento, T.della Valle, 15 / 1, Trapani, T. Titus Brown, 17 / 1, Messina, T. Vittorio Emanuele, 18 / 1, Catania, Metropolitan, 22 / 1, Bellinziona, indoor stadium, 23 / 1, Legnano, T. Gallery, 24 / 1, Varese, T. Mario Apollonio, 28 / 1, Bergamo, Creberg, 31 / 1, Parma, PalaRaschi; 2 / 2, Piacenza, Politeama; 4 / 2, Verona, indoor stadium, the other information on the official website

The fact: recurrence does not help, ever, and the effect seems Grillo integrated into an information system that regulates, anesthetized, neutralizes anything, but we must admit that the Woodstock 5 Star held in Cesena last September with the participation of more than 150,000 people was virtually obscured by the "traditional" media

rating: not to be referred to the political but the man of the show, the first excited there, although it is difficult even preferring one name of the current "professional" in the field
rating:

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The rest goes to the theater of Gomorrah

(from Judgement )
In Earth Father , Eugenio Allegri and Blacks Marcoré read stories Saviano before and after the novel, with whom they share themes and tones. A text of the complaint and growled angrily, which just manage to add actors and director


If, in recent months, a result has run irritating obtained malgre soi, at Roberto Saviano, is just to make it impossible, if not sticky and be heard, to express any opinion about him or his work. And the fault, this fault is not his, a writer who tries to do their job in the non-trivial position of someone destined to split in two public opinion every time you breathe. With this belief, then, we are going to attend Earth father, George Gallione show that draws from the "narrative material written around Gomorrah ", volume monstre author field that is, willy-nilly, one of the most sensational literary cases and discussed in recent years.
Not that the idea is entirely original, to be honest: the peculiar novel-essay by Saviano, a mixture of intimate narrative, chronicle hyperrealistic wise and anthropology, has already been subject to various reductions, theater and cinema.

F02092010151726.jpg The light illuminates the scene, a theory stony wall of rock that the irregular contours of minerals makes the labyrinth by the calls arabesque. All around, a dark background, almost a black sky that the lights dotting reflections almost starred in a few moments (brief?) of the play. Two locations, fixed, with their laws, which appear Marcorè Blacks and Eugenio Allegri. The voices, strictly microphones, alternated in chrestomathy readings, giving substance to the narrative voice of Saviano : stories if they are not directly traced to Gomorrah, however, appear to be material to a sort of sequel to the book, or desiring to be malignant, what the Mondadori did not include at that time in the future publishing success. Stories of suffering humanity and compromised, dealing with abuse, crime, wickedness of a tragically ordinary South, and an Italy whole, more and more distracted, indifferent, selfish.
Earth father, meanwhile, does not look like a mere translation of the famous scenic book, but as a -reading about the show (also) of his later writings, notes that they share with narrative Gomorrah issues, the environment and the need for a hot story , stylistically looks stronger, in our opinion, the novel.

The complaint, snarling and angry at the edge of despair, almost counter to the sound full and round two of the items measured, well-worn by actors. Not that it lacks the pathos: s'avverte, However, a subtle disconnect between the language of Saviano, whole blood, tears, pain, and that the two tellers, turned, at times Apollonian. would not have been crazy idea, perhaps, to propose two Neapolitan actors, bearers of a certain idiom closer to the original tones, but clearly wanted to avoid has run, it is unknown whether a reason, a hypothetical order ridondanza.Alla However, the limits are pretty obvious and multifaceted: the overall construction is quite weak, and little can make the two performers, trapped in a structure that seems to limit their potential. Similarly, the direction of Gallio is suspended between the exterior of an impalpable scene which has no effect, beyond the bright unnecessary emphases, and a fundamental choice that seems, however, destined to an inevitable failure.

The question arises: are these really necessary operations theater? Or rather: what are the real purpose of productions like this one? Only by answering these questions can be carried forward analysis. Having no certainties in this respect, we can not assume the critical responsibility to say no, some do not need staging, not because they are not offering anything new or memorable, from the theatrical point of view, which, however, you should ask each work of art. You do not need even as politicians, when they do not get effects whatsoever: they end on time to leave it at that, confirming the belief of an audience that already agrees with certain positions, leaving indifferent, however, who does not agree and, with most likely not even take the trouble to attend the performances. You do not need, finally, because a play, especially if, by implication or otherwise, of a political nature, it must demand doubts, questions, and certainly not the terrible and insidious feeling of "being in the right place."

December 9, 2010

Reviewed Subject: FATHER EARTH
, reading-performance by the stories of Roberto Saviano, directed by Giorgio Gallion
Coming on stage: Fabbri Theatre on December 9, Vignola (Mo), 10 December Teatro Comunale, Carpi (Mo), 11-12 December Arena del Sole, Bologna, for more information about the tour visit the site of dell'Archivolto Teatro di Genova
Gomorrah beyond the page / theater in 2007, Saviano draws, with Mario Gilardi, a script for a show, bitter but valuable, made by Stabile of Naples, not fought in the streets easier, than the narrative or reading, preferring theater and choral dramatized
Gomorrah beyond the page / cinema: in 2008, Matteo Garrone, always in consultation with the author, it produces a fine film that, despite the Oscar nomination (a phenomenon that usually pertains more to the distribution power that the aesthetic value), had the effect of crying, in conjunction with of Il Divo Sorrentino, and it shared the actor Toni Servillo, and soon a utopian denial rebirth of the great Italian cinema
Saviano beyond the page: not only recent broadcasts alongside Fazio, but in 2010, also starred in a solo titled The scenic beauty and hell , inspired by its namesake book, directed by Serena Sinigaglia and production of the Piccolo Teatro Milan
rating:

Friday, February 11, 2011

Filmy Online Lektor Polski

Enneagram and Gestalt therapy

The Enneagram is the oldest instrument of knowledge of the various types of personality. Born from the ancient oral traditions of Asia has been reintroduced in the West by Gurdjieff, around the year 20 'and his current form of increased use comes from the work of Claude and Ichazo Oscar Naranjo.
The Enneagram describes nine personality types highlighting, for each of them the basic emotional the cognitive structure (ie the type of thoughts that crowd the mind of a person), the spoilage by a specific passion (or the passion that leads the person to engage in conduct repetitive and rigid) and specific virtues (or behaviors that help the person to hang up her character).



The Enneagram is a tool that has many affinities with the use of Gestalt therapy.

The description of the character, in fact, is aimed at highlighting how a person moves within its environment . The intention, in other words, and intended to describe how the character influence, with its rigidity, the way of being in relationship with each other. Second, states that each person has a particular character, and therefore, the therapist has the same character. It is not, therefore, a system that tends to classify people and split them into healthy and sick, but rather a tool that puts all people at the same level, ie each character has a particular alteration.

A second affinity with Gestalt therapy is the identification of an emotional base that sustains the whole character structure. The three primary emotions that divide le nove tipologie in tre gruppi, sono il risentimento , la diffidenza e la disillusione . L'attenzione costante all'interno di un percorso terapeutico sul sentire, ovvero su cosa una persona sta provando nello stare in relazione con il terapeuta e nel mentre esprime sé stesso, porta alla luce chiaramente la tonalità emotiva di base della propria struttura caratteriale.
Ancora, la proposta di una virtù come direzione per riuscire a liberarsi dal proprio carattere centra l'azione terapeutica, ovvero ciò che aiuta la persona a migliorare la qualità della propria vita, sul fare . Per la psicoterapia della Gestalt change and the welfare of a person does not take place, stopping to understand what is happening, but experimenting and finding new ways and new behaviors to stay in relationship with others.

Finally, and probably the most subtle and profound affinity between the Enneagram and Gestalt therapy, both of these two instruments see the fluidity the key to change. The character, in fact, is described as a crystalline structure, which responds with repetitive behaviors and rigid environment. Gestalt therapy promotes in its therapeutic action experience of creativity as a way to exit from their problems.
Behind it is the awareness that everyone is creative, but many have stopped practicing to be.

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Experience the dream

E 'usual talk about my experience and hear about the dream as an exciting and engaging activities. Sometimes, however, is not so, I meet people who can not find it interesting dream. Inside of me I say it is a pity, in the same way when I hear some say they do not like reading or going to the cinema or theater. I I say it's a shame to give up the experiences that give the opportunity to open something else . Dream. The very word gives a little 'fresh. Imagine a life without dreams, desires, an illusion of a good future for ourselves, close the field of existence in a vise at the limit of endurance.

opening a small digression, I am reminded of the many difficulties I have encountered in integrating the ability to dream, of illusion in the broad sense of its meaning, and the existential position that Gestalt proposes, the here and now. At this time I was wondering, how can the illusion of a future without losing the size of the present. I was confused and I discussed the subject with refusal, until I experienced it.

When we support the illusion that we are living in the moment, or in the here and now, we note the emergence of a warm sensation that gives energy, as though immettessimo petrol in the tank of a car. The illusion becomes desire. When desire is channeled into small project actions that pull towards the realization of his dream, in a similar way when the engine comes into contact with gasoline, we feel like life begins to move and to go through their days in a full and satisfactory. The illusion-desire creates the tension that gives the motivation, strength and enthusiasm to make small choices every day functional.

When we shift our illusions in the future or the past, we expect that our wishes and dreams come true and do nothing and blame the world when it does not. Our life and our existential horizon goes dangerously close to frustration and malaise, polluting not just our quality of life.

But back to the dreams, the ones who usually do at night while we sleep. These are considered in Gestalt therapy experiences similar to those which we are awake, except that dreams are not bound to our usual sense of reality. From this point of view, dreams do not carry or conceal any truth secret and within them there is to discover or understand something, do not tell a dream to understand the hidden meaning or to try to make predictions about the future. In other words, the dream is not an object separates into pieces to be analyzed by expert eye, but is an experience that may have been pleasant or unpleasant. The activity of dreaming allows us to tell stories through the our life in its unfolding in the most varied situations. The dream is our business fiction, through which we speak and tell us what we want, what are our fears, our sorrows and our joys. Within of a dream we are living full and exciting experiences with all our being present. You open a theater stage where they begin to ask all of our internal parts. Watching and listening to the theater you can see the quality of relations between our inner parts and from within transform the interactions between these functional or if they do not deem interesting.

One of the most beautiful refunds that people have given me at times during their journey is to have realized the amazement of returning to dream at night.

Here! I say, we found the petrol.

Thursday, February 10, 2011

What Color Goes Well With Pale Yellow?

The dual test of the Betrothed

(from Judgement )

to H the charm of magic box Pirandello, the rigor of a classic drama which is now Testori, and language, spoken, whispered, turned, waiting to be (re) discovery of a surprisingly modern. We refer to The Betrothed the test, the last show directed by Federico Tiezzi, that avails itself, as usual, the great interpreter and friend, Sandro Lombardi. The two former "criminals" retie many common threads of poetry that, over the years, has seen its Testori in an author attended with diligence and passion that, on this occasion, has the right to double compared with two titans of our tradition such as Pirandello and Manzoni.

The curtain opens and is immediately another stage set, more crumbling, modest Metastasio in Prato that hosts us. In a building from the basic contours, geometric, from the gloomy gray blue shade, stands in a central position and raised, a red curtain, battered, with a sign of a sad circus faded yellow. On either side, spotlights to view. Besides the cloth, and a large board on the wall, two reports of regular features: "No smoking" prescription promptly rejected by the characters that we see on stage, and "emergency exit".


Place "test" the most important novel of the nineteenth century is our enterprise, very complex, full of subtleties and variations: experience means the text as a translation Manzoni dramatic, but at the same time find out the representative force in his (double) implementation stage (the "real" the show offered us the public, and that the evidence in the theatrical narrative) and, finally, in the required readings implied by such operations.

promessi4.jpg The test is, in fact, the one staged by the actors / characters in a fictional game matryoshkas that refers directly to Pirandello's Six Characters. Sandro Lombardi is the master (no director, also in harmony with this particular Testori Nobel girgentino) and is directing a shabby company around in the staging of Betrothed : the situation is an ideal prerequisite for a thorough stripped of work and play of the game, made of praticaccia tests, actors listless , prima donnas nerve elements that the actor-manager must be able to harmonize. All , sparing no suggestions, comments and input on the joints and the themes touched on by this version of novel and drama.

is a dizzying hall of mirrors that conducted by the patient-director, composed of reflections and refractions that hatch openings, rivulets of sense, innervate the original score with new life: the seventeenth century Lombard explodes in the twentieth century, because both the dialogues between the actors turn to unpublished aporias romance, in a continuous shift of the imagination. It is a constant mise en abîme of events and characters, to test the seal, the practicality in a debilitating dialectic between inside and outside, between the fiction of the first and second degree to remember some of the byzantine narratives of Borges.


But we are in Italy, in Lombardy, a land loved and hated by Testori, difficult genius, full of fertile contradictions and, paradoxically, after rewriting the classics (Ambleto, Macbeth. Edipus) that prevailed a material language, dialect and dirty in these Betrothed to the test is really a triumph for the language Manzoni modernity. Not the characters, in the face of a good test case of the young actors (Frank Colella, Deborah Zuin, the good Caterina Simonelli) supported by most experienced interpreters (the actress who is Gertrude Iaia Forte, who also suggests some break too Massimo Greenish, funny in the role of interpreter of Don Rodrigo, Hamburg and Marion D'Alessandro Schiavo). It is to be guided by Manzoni, too often relegated to school malsopportato footage and inert, to signal their strength, indomitable vitality, emerging in the patchwork of languages, records and plans are.

You get to laugh at certain phrases suspended between bitter parody and pastiche unlikely, as if this text, fairly recent (dated 1984), advances made in many other re-writes the novel, except that clearly chooses Testori of being anti-modern, obstinate lover of words and a theater whose fate, he was perhaps aware, is to succumb under the merciless blows of contemporary media. Submit this tragedy today is a formidable challenge, if not a desperate attempt to: Test of hope given by the author with utopia Lombard s'affianca, by Lombardi and Tiezzi, shape, commendable and courageous resistance.
Igor Vazzaz


(07 December 2010)
Reviewed Subject:
The Betrothed THE TRIAL OF JOHN TESTORI, directed by Federico Tiezzi, dramaturgy SANDRO AND LOMBARDI Federico Tiezzi
Coming on stage: Turin, Carignano, 7-19/12, Naples, Mercadante, 12-23/1/11; Cortona (Ar), 25/1/11; Ravenna, Alighieri, 27-30/1/11 , Genoa Court, 2-6/2/11, Bologna, Arena del Sole, 10-13/2/11, Modena, Storchi, 16-20/2/11, Rome, India, 22/2-6/3 / 11, Piombino (Li), Metropolitan, 7/3/11; 09/03/2011 Grosseto (Gr), Teatro degli Industri, 10.03.2011 Barga (Lu), 11-13/03/2011, Mass (Ms), Teatro Guglielmi
Production: Teatro Metastasio Stabile of Tuscany, Teatro Stabile di Torino , Sandro Lombardi Company
The rest of the poster: Pier Paolo Bisleri, scenes, Giovanna Buzzi, costumes, Gianni Pollini, lights, Giovanni Scandella, assistant director, Francesca della Monica, singing teacher
Quote (almost) the initial " I know that you have sold all those television stories that have come to take away any sense of it is the job of being here, actor (Master)
final Quote: "To you, pass this test, can tell you what, leave, your teacher? What if the life or here, at the scene, you will meet, as it deserves, difficulties, sorrows, anxieties and problems, knock on his door. A hers. Hope "(Master)
About the recent" mud "Saviano: " I, not you, let alone her in our history, I am really new character , enlightened, unconventional, revolutionary. What will fall to the ground taboos, they will dissolve, as the sun with the snow, rot, swill, mud, mud, under his, that is my shoe. "Word of Don Rodrigo
rating:

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killer John Malkovich and the massacre of

(from Judgement )
Presented in Piazza del Duomo in Prato, Infernal Comedy has Having regard to the interpreter in the role croatoamericano Assassin Jack Unterwerger. But the context does not play and gives him free of his best qualities



Year unfortunate, for theater, for Hollywood in Italy: after the attempt is not entirely centered in John Turturro with the Italian folktales by Calvin, Pitre and Basile, John Malkovich turn to disappoint the expectations of the public come to watch his portrayal of Jack Unterweger in The Infernal Comedy Viennese author and filmmaker Michael Sturminger .
challenge is the heat of the Tuscan, intrigued by a show of international invoice (debuted in California in 2008 and passed to the Festival of Two Worlds in Spoleto), the most confident of closing a year full of visions and shows.

ohn-malkovich-2009-7-1-5-50-41.jpg It gives the case that the famous actor (the one that many would like to be, according alcelebre film of 1999) has opened an atelier in Prato, a city that, over the years has shown a much more active cultural life of the noble towns. As it also happens that, at the opening of this center (which will take care of, contemporary art and other things that we did not understand), the ordinary citizen is able to secure the inclusion in the summer program of 'theatrical and musical interpreter who sees the darkness of Croatian origin in the shoes of a serial-killer Austrian really existed, the protagonist of a paradoxical and bloody history of conviction, and final rehabilitation apparent death by suicide.
The show promises to be interesting and ambitious: not only theater of words, since to accompany the monologue Assassin are a baroque orchestral training (with the Wiener Akademie Orchestra, directed by Martin Haselböck ) and the actions of two soprano (Laura Aikin and Aleksandra Zamojska), evidence of a productive effort far from irrelevant.
The idea, then, that to assume the role of a crafty murderess, the eventful history and full of surprises, is one of the most ambiguous of world cinema causes the public of the beautiful square of Prato is prepared to attend a real event.

Here, then, John, white dress and black, slender, sharp, direct trajectory. The theater, especially the theater in the streets, where the distances are set to increase, deprives him of his weapon main actors the face. You can not play sull'increspatura eyebrows, at the smallest, minute changes in the expression, touch and subtle details and close-up magic that amplify enormously: the theater is the art of gesture round of white on his face, the amplitude of movements. If this text is added to thin - played on a sense of humor almost never well-led, which is always far more straightforward and the macabre and the finest fencing, here that Malkovich finds himself playing in an unknown field, forced to interpret halfway between the stand-up comedian and the character-who-should-be. Does not disturb and even laugh , also a leading voice at all in keeping with "his" character and that the killer dropped in English limping Austrian is no center, no depth, no depth.

infernal-comedy-malkovich.jpg face of so much waste of resources, shoulder musical badly amplified, it is a totally unnecessary luxury , as well as actions of the two soprano (Zamojska better), since the play and scores s'amalgamano evil, creating a split along: the administrative attention songbirds are often heavy, poorly managed in duration (some cut to the shapes of the baroque was a typical refrain certainly be beneficial for use) and a synopsis of the economy broken, sore satireggiante supported by the acting of the protagonist.

One debacle. debacle that Malkovich can do little or nothing, even with some small passage where the text would seem to tap some ideas worthy : nothing shocking, in a nutshell reflections on the concept of truth, guilt and innocence, which remain the ' object of investigation most of the drama and narrative.
applause out there, it's true, but I'm pretty shy, especially when compared to the stature of the cast. Do you see smiles stretched, broken dreams, a feminine audience make ready to orgasm, which was promptly betrayed. Too bad, not so much for expectations disappointed, but for a show ill-conceived and badly implemented, could aspire to great results and, instead, is mired in the tired and revised scheme of superstar feed the public. It happened like this, just to add, if not a goodbye to all in September.
Igor Vazzaz
July 29, 2010

Subject Reviewed:
The Infernal Comedy - Confession Of A Serial Killer , Michael Sturminger, with John Malkovich
Information and replicas : www.theinfernalcomedy.org
Send : can be found here
The music: songs variously selected from works by Gluck, Boccherini, Vivaldi, Mozart, Beethoven, Haydn and Weber
sounds out of this world: the peculiar composition of net ' a baroque ensemble, how do you have to hear a sound completely devoid of low frequencies, where the double basses seem to come from a vintage radio?
Disappointment / 1: voice, and the paucity of an interpreter that we expected titanic
Disappointment / 2: like a waste of resources is unbearable, especially when you consider that Americans can do theater and great bill. Maybe it's our year unlucky
Sadism: voluptuous pleasure contemplating the disappointment of the ladies and young ladies present
rating:

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The end of the season in Don Giovanni Rezza versacci

(from Judgement and )
sung the famous work Mozart in the chapel, with the noises and raspberries that children and imperturbable expression on her face. E 'de I found the last Sandbags , the company that tosconapoletana reported in the masterpieces of the lyric a bit 'of sound malice


foto_dongiovanni.jpg In an impeccable dark suit, a male figure, lean traits Dalí, welcomes the audience in silence, in the middle of a barren stage. Unique furniture, a screen on the bottom and, a few steps later, a double step of wood. erect, the man in dark suit carries with it a shoulder bag, in with tip until the public no longer takes place and the buzz preceding the regular theatrical performances. Blind. A voice off-stage, female and neutral, provides a synopsis of the thin Don Giovanni, citing situations and joints of Mozart's masterpiece (and Da Ponte): the words match the movement spread from the coffers dry, well-led human kind of stewart aircraft. The imperturbable expression, compared to the gestures and phrases in the background, generates laughter hours shy, now louder, now potentially explosive atmospheres: complete exposure of the plot or argument, if you prefer, you can then begin. Enter

six figures: the two men take the place further down, in front of them, the two pairs of girls, spread over many steps. All dressed schoolchildren, white shirt, dark trousers or skirt at the knee of the same fabric and length, almost reminiscent De Amicis (but at that time the classes were separated), retro touch that surprises and entertains the room. Julia Solano, the first in the lower left corner of the public hunting Flautino a minute to set the tone and, armed with a wand from direction orchestral beats time. The six

throats open. Concerto. Bewilderment. The white-listed sing a chorus of onomatopoeia, stumbling speech, rendered in a plastic nasal screeching sound from puzzled. For the first full minute the audience is thrilled: "It is he or is not he?", One wonders, and the answer - just an ear to s'adusa soaring virtuosity of the score of Wolfango-can only be affirmative. L 'Ouverture winds, supple, innervated modulations that undercurrent of humor is not giving up his masterful author, still leave presage the tragic gloom of the story: six adults and they sing like a happy childhood regression was extended in underbelly and welcoming of babbling. The public understands, feels, tunes to the frequency of this unsettling punished loose and the laughs coming as the timely monsoon storms: the first tentative bursts, followed by waves of unstoppable comic orgasm.

It is clear adaptation for six voices (which are often three, combined) is tasty, not at all amateurish, respectful, indeed, in certain joints metric and melodic to the point of not highlight the inevitable shortcomings compared in orchestral performance. Also on the faces. Yes, the faces: sharp, series, secchioncelle, those in the front row (with the aforementioned Solano, a wonderful Giulia Gallo), more Welcome and soft Arianna Maria Paciosi simply irresistible Matthew Pizzanelli and the Polish FA. One, tenor and air, subtle facial expressions and comic timing in rapid outline of the face, the other seraphic, placid, baritone, with a grace of paradox and happy in drooping eyelids: a perfect performance in the unforgettable Perozzi-Philippe Noiret madrigalist of my friends - the second act .

Sold the prologue to the symphonic, here is the screen displaying the words of the musical drama, in which we couple a happy marriage of love, and the verses of our singers versacci noisy. Don Giovanni is a button, alive, torn certain (not always) staid opera forums. It comes from shouting: "This is Mozart! (And Da Ponte), recreated in its push groin, in his mischievous spiritaccio in the corrosive power of an irrepressible talent. But not only is this performance that is Zappa in theater, opera, music and the Zappa's orchestral certain directions, the Zappa of certain raveliani boleros, deeply respected, yet removed from the inside as toys by children curious.

The risk is - it was - the length, for a game (not a joke ) has a similar endemic time: John Warren carves well but nothing that a reduction omits while streamlining the whole. Other gags are found, always well taken, by way 'of variations on the theme, according to an even more musical and karst guessed.
surrenders basically recreated the mood and muscle, happy that a company which remains Sandbags can always surprise us, to avoid the beaten track and to demonstrate again, if proof were needed, that the fidelity maximum work of art is expressed only in a miraculous reinvention and necessary.

Igor Vazzaz July 12, 2010

Reviewed Subject:
Don Giovanni by WA Mozart, played by The Sandbags, designed by Giovanni Guerrieri Giulia Gallo Giulia Solano
Production: The Sandbags / Sandro Lombardi Society, in collaboration with Theatre of St. Andrew Pisa, The City Theatre Festival Armunia Etruscan Coast, with the support of Regione Toscana
Viewed: in Cascina, The City Theatre, Metamorphosis Festival, June 5, 2010
The tour: 21 / 7, Calci (Pi), Certosa, 5-9/9, Rome, Teatro India, 21-24/9, Castiglioncello (Li), Festival In-Balance, 6 / 11, Turin, Teatro Stabile, November (date to be defined), Lucca, Teatro del Giglio; 9-10/12 Pisa, Teatro Verdi, 18-30/1/2011, Milan, Crt
suspect: is that Mozart would have loved this version, he's Don John wrote it just like that, but it would be impossible for those times I
Sandbags: tosconapoletana company that offers entertainment for years in between research and comedy, with rigor and invaluable skill, won the 2008 Premio Ubu
be (re) see : Sandokan (or the end of the adventure), 1939, not to mention Essedi , in collaboration with artist (and for the occasion actor) Gipi
For info: www.sacchidisabbia.it
rating: