Polaroid 600 P Fuji Film

not reviewed

Even in his latest show, 7-14-21-28 , the performer performs in spectacular maze created ad hoc by Flavia Mastrella. Their experiments on the language scene displace both the public criticism

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The review is not the ideal way to deal with the theater, and art in general, when they make language (and not the language ) its field of battle while undermining conventional forms and proposing new ones. This is the case Antonio Rezza and Flavia Mastrella: too elusive their speech, apparent immediacy of a cruel comedy that takes viewers on critical and difficult terrain of misrepresentation , pointing his finger and ignoring the moon.
and strabismus - touching naivete - of some chronicles on 7-14 - 21 - 28 , confirms how hard it is to attend the evolution of this emaciated body of an acrobat and word, and then quit in their brains to study and spremer looking for something clever to say.

theater is not ordinary, this union of visionary figurative and exasperated performativity nihilistic fury. theater is not ordinary text, director, author, but write a stage came to the theater and theater, as expressed in its making, innervated by the interaction of body and architecture and those words darting, elastic, all strains, tensions and gaps that the Mastrella years submit to the acrobatic actor. And if it is not an ordinary theater, comes short of the journalistic form elected, the news stretched the interpretation witty, educated intuition, when the installation cultural smug, confident in the magnificent and progressive communication. More suitable would be the studio - in his etymology of desire and love - not to understand, but only to hear, to cover the tracks of a speech fun (again nell'etimo) and fierce. We can not speak comfortably of those who died on the scene, let alone one can retire in order with a clear conscience.
Faced with the constant constraint actors in the scenic frames in the sequence of events two artists, there is a progression subtractive, both in terms of vision, for both work and eliminated on the dynamics of body and verbal Rezza performer. From an almost two-dimensional pictorial ( Pitecusa , 1995, and I , 1998), habitats prepared by Flavia acquire plastic depth : in 7 to 14 - 21 - 28 elements appear to contribute to a daily dialectic Volume triangular, in the depiction of character for an unexpected scene. Domina
verticality: the only actor flat trajectories and a madman. Not only that s'estenua Rezza, by himself, of his body dug, neurotic, lithe, and her face by Toto Cubist, a theater in the theater of unprecedented ruthlessness. Wind broken, torn, strained chest in the swings or changes in mocking mimicry of industrial chaos, dribbling expertly any temptation didactic.

No wire, although it is natural to look for: the actors are terrible traps ruthless solipsism of disasters (in) human comedy gag of recurrence, defibration language attrition of any plausible meaning. Evoke insecurity, pedophilia and religious funds to the show did not end or social nature, the scatological, viper stab at the scene of narration is not polemical attack (Also capital), but cruel and desperate protest of any instance in the affirmative, attack the very idea of \u200b\u200bnarrative as a metastasis of expression, not unlike the attacks on the figurative operated by Bacon. The battlefield is not, nor can it be, the company, but the existence, the temptation exists to put it Cioran.

Numerology, denounced the martial rhythm of a nursery rhyme of the title, is also extremely challenging, subtraction last : meaning, of logos , pedagogy. Space is arithmetic who became delirious dance of death track, hopscotch that every box keeps the sign of the earlier acts, even blasphemy that reveals its inner nature fun.

Laughter: aches and jaw for the insanity, the total massacre which undergoes Rezza, involving the companion scene, and a sacrificial victim, Ivan Bellavista, precious presence (de) hours in humanized animal now object.
Laughter, running the risk: the violent sobs of laughter erupted and tear, look over the abyss, physiological anarchy and unspeakable abyss of not knowing. It can not speak. Laughter, and the risk is to misunderstand the rice, converted into money social misunderstanding of the extreme rigor of the work of Rezza : "The comedian is cyanide. It is released into the body of the tragic, the cadaverizza and exhaustion grin in waiting ", the word of Carmelo Bene. Everything else is, or is likely to be less favorable review, that opinion leaders and chiacchiereccio. He laughs, but is expected to disappear.

Igor Vazzaz

May 5, 2010

Reviewed Subject:
7-14 - 21 - 28 Antonio Rezza and Flavia Mastrella

The rest of the poster: Massimo Camilli, assistant to the creation, Mary Shepherd, lighting design, stage Ivan Bellavista
Production: Theatre 91 - Piedmont Theatre Foundation Europe - RezzaMastrella
Upcoming: Rezza toured all the shows produced since 1995 ( Pitecusa , I , Fotofinish , Bahamut and the latter), the dates are updated on the site www.rezzamastrella.it
Viewed: in Florence, Teatro Puccini, March 20, 2010
Audience: less battered than usual
Quote: "What for you is a memorable evening for us is the norm "
DVD: Antonio Rezza and Flavia Mastrella, Democratic Optimism. 12 shorts in black + The past is black and my staff , Rome, Kiwido 2009, 19 €

rating:

Esophagitis And Marijuana

The devil is elsewhere

(from Judgement )
is not theater, not is music, not dance and is not art: it is the new show Marco Parente, a poor devil literally horned and bouquets for the protagonist

Photographed by Maga

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What future, if we can speak of the future, for theater song ? hybrid form and fruitful, passed by Gaber become a "classic" and still waiting for interpreters worthy (experiments in this regard have success, but aesthetics and politics of the flasks), this particular (de) typically twentieth-century still seems to take time to be able to declare their health. And while the "pure" standard bearers of Italian rock, Afterhours, open, in a questionable way, the performance, there are those who, under track but not too much, develop strategies to undermine the expressive styles of the usual song on stage, looking for new and mergers between different music, image, word, gesture and narrative.

Marco Parente is an original artist, strange beast, which does not lack curiosity, courage and humor : five (or six?) album by singer-songwriter (?) behind an activity as a musician, writer and performer who has seen him work with CSI, Carmen Consoli, Patty Pravo, Lawrence Ferlinghetti in a maze of paths very difficult to summarize. Artist, in a word. With some allergy labels, but, more importantly, the definitions concluded.

A lead at the Studio Theatre of Jesi Valeria Moriconi, a former religious building that now houses a fine exhibition dedicated to the actress, is his latest creation stage, the devil . Question of a modern operating in which is narrated by a clot of different forms of expression, the epic strategic crescent of a poor devil, narrated protagonist-narrator of the whole. It looks like a concert: battery on the left, on the other end keyboards, amplifiers and speakers spy, but, right now, you feel something ' another, rather than standing out for the screen to the bottom. With noises and voices offstage, between stories and songs dissolved aphorism, that's devil-Parente, guitar in hand and umbrella on the head, held high by a figure behind him. The reminiscence Magritte rips the veil on a story mocking and playful, dreamy tones and witty, in which a lord it is a figure out of time, out of sync, out of hand.

The devil in question is not an evil being and powerful, but the dis-graced the star of Russian fairy tales, always cheated, and literally blow horns. antihero of manque , failure to act, dell'inciampo expresses its elusive nature, as the show that his complaint be always elsewhere, something to bring and which they will testify paradox: it's not theater ( fortunately), it is not pop, not dance, although the skill of Frank Rounds is undeniable, it is not, finally, not even art, even if the projections are beautiful exploiting the background and the two side niches of the former church of San Floriano.
not and do not, you forgive the pun, in denial, but because the subtraction is the focal point of this project in which the structure itself is in crisis: songs performed in a position of imbalance, projections, light cast in the public eye , recorded voices that blend fables and regurgitation between Kafka and Joyce, went down in the stalls and developments in the scene of a "five-figure shoes," in which the legs and head are contained in gym shoes, like the poster of the show (the picture next is Roger Wolf Mengoni).

All in an hour of unusual weight, end up feeling not to have grasped everything, and the thirst for review, to understand. The word, as this is worm-eaten, used for mo 'of sound object, meaning that it lacks (at least in part) the meaning, the witness of an irreversible crisis. And here's the lighting: the pejorative title is homage to the Tuscan way of adopting relatives, but echoes of a lost Carmelo Bene is cited for not too much, and appreciate, respect, that of a memorable Lorenzaccio , in which the portmanteau of the sense of time and were pushed to extreme limits. Thus, then, that this show is not, nor can it be, theater song: is another, and ok, in the hope that the replicas can grind better than a brilliant stage writing, but with room for improvement, and that there might be an audience can get involved, and play with the same grace of this demonic dis-graced devil.

Igor Vazzaz

April 26, 2010

Reviewed Subject:
the devil, by and with relatives marco

Upcoming: May 8, Espace Senghor - Maelstrom Festival (Belgium), on tour in the coming months, see the appropriate page of the site Parente
The rest of the poster: Andrea Allulli, piano and several talking machines Emanuele Maniscalco, everything related to the time, Mattia Coletti, sound, Mark Falai, lighting design; Serena Costarelli, sets and costumes (designed by Parente) Study Robert Bua, set design, John Antignano, visual, production Mole Vanvitelliana Fund with support from the Marche Region and the Ministry of Youth
looks like: anyone, even with tracks and memories that we have tried to reconstruct
The previous show: The sound of books , 2005, that at this point we repent of having failure, but perhaps it was fate
The good: someone, from time to time, is truly trying to do something unexpected
shoe-Being: the bizarre image of the poster is somehow reminiscent of the cover of Trout Mask Replica Captain Beefheart , legendary (and still unbelievable) the cornerstone of rock
addition devil : Parente has a duo with the ironic name Barsantini Betti (showy anchorwoman Tg3 Tuscan) in league with Alessandro Fiori , Speech, and author of the Mariposa

rating:

Can You Pierce Areas Where Warts Are Around

Loneliness of Hamlet

(from Judgement )
We saw a preview of the national spectacle of the Wheelbarrow Shakespeare Company's . An anti-hero prince strikes men as puppets, hallucinatory metaphor of the trap play and frivolity of every gesture

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A quadrilateral draperies in purple quilt ring board, arena and theater. The only side that shines turns to the audience, and insurmountable wall paradox for what it is the drama of dramas, the story of the Danish prince. What is a metaphor, the second declension: the modern man, the stage machinery, the Oedipus complex, the hero-antihero well aware of the infinite vanity of gesture and, therefore, decided to stage dive into the game, contrary to the realities of crime and revenge. (Photo by Philip Brancoli Panther)

At hatching the scenes, the visual picture, dark and obsessive in its stillness, is tormented take the form of the paranoia of a Hamlet lost in pale carmine, opposed by the supplier of half-naked bodies and feral materials that appear on walls. On stage, the right of the viewer, a shelf on which figures as Rising crib, projection of the table mind that Shakespeare's text mentions several times. Here the plot takes place in the stage mirror is double: the fall of the actors is the thud, at the hands of Hamlet, figurines, and vice versa.
Everything revolves around him, everything is creation, vision and dream of the prince alone, child-directed, warper of performances for soldiers whose severed head at the time agreed. Giandomenico Cupaiolo quest'Amleto is standoffish, thoughtful, stubborn, desperate than the revenge ordinatagli, fool and comedian for staging guittesca orchestrated by himself. Everything revolves around him, dressed in dark, surrounded by a white appearance fatal. Vertigo and is raised with cloth to animate the scene, lights to cross the stage, body sizes of the marble countenance hours sometimes grotesque. This shaver is in the visual system which is echoed in a stentorian sound of brass, and percussion blades hissing stubborn, has turned in these epiphanies, stabbing which is expressed fully the poetry of the body and sound, an authentic North Star Theatre of the Wheelbarrow. The saga Scandinavian congeals, coagulated around its first interpreter, his visionary delirium: each segment of the story is solipsistic birth and distorted, yet the poignant death of Ophelia (Elsa Bossi, who is well cast as Gertrude), which The same girl said in the third person with heart-rending and alienating litany, expanded over time and repeated ad libitum . There is also space for an interlude between Tim Burton and Hitchcock when the notes of funèbre Marche pour une marionnette Gounod, funny skeletons lame mention a macabre dance in the cemetery, miming the act of digging it: when ripping smiles and applause , although not seem consistent with the overall direction of harmony Maria Grazia Cipriani.

Entertainment dense, sometimes difficult, which has yet to find a pace, as often happens to the preparations carrettiani: keeping up the scenic writing a personal gain rhythm and flow to the passage of months and replicas. Cupaiolo It is true that, in the penultimate Pinocchio good work the company does not seem to adequately support a score far more complicated and dynamic changes: its interpretation is sometimes chipped, not without its false notes, though it is only right to acknowledge the excuse of a 'high execution risk factor.
swords drawn close to the tragedy: Hamlet is given to the white against the ghostly presence of his mental scene, a distance of the stage, the darting gesture is enough to inflict the mark and stored. All fall down, bodies on stage and puppets, bulky residues of a complete failure, hallucinatory and haunting loneliness of those who, in the rejection of a desperate criminal world, is only possible to address in the scenic ritual, the repetition of that liminal and effective serious game that is the theater, magic box trap and immortal.

Igor Vazzaz March 23, 2010

Reviewed Subject:
Hamlet by William Shakespeare, adapted and directed by Maria Grazia Cipriani

Upcoming: Rome , Theatre India, up to 28 / 3; Bagnone (Ms), 7 / 4; Pomarance (Pi), 8 / 4, Grosseto, 9 / 4; Casalmaggiore (Pr), 30 / 4, on tour in the 2010/11 season
Warning: check every single date with the theaters, there may be significant variation, due to serious injury of an actor
Viewed: in Lucca, Teatro del Giglio, Thursday 11 and Saturday, March 13, 2010
The rest of the poster: Graziano Gregori, sets and costumes; Westkemper Hubert, sound, Angelo Linzalata, lights, Luca Contini, sound engineer, Giacomo Vezzani, Giacomo Pecchia, Nicola Belli, Jonathan Bertolai, Carlo Gambaro , the actors on stage, theater production of The Theatre of Carretto
Carretto founded in 1983, the company is notable for writing a scene that addresses the strong theatrical tradition (From Shakespeare to Greek tragedy), and the fairy tale genre (with onset in the said Pinocchio, Snow White) with a marked taste grotesque by a fine job on the plasticity of the images, coming to perform in the world
rating : to break in, nothing prevents that, going forward, the only shine bright

rating:

Custom Green Egg Tables

heroine protofemminista

(from Judgement )
Isabella, the protagonist of ' Italian in Algeri by Gioacchino Rossini , triumphs with the guile of a world led by the only male sexual appetites

kaleidoscopic, bright, swirling, The Italian Girl in Algiers valuable data on the boards of the Maggio Fiorentino. And the city provides the lily well this season a special relationship with Catalonia fitters of visionary and courageous, if the previous were the fantasies of hyper Fura dels Baus shocking video screens to illustrate the power of two quarters of Wagner's Ring ( Siegfried and Götterdämmerung , directed by Mehta), recently it was the turn of the unforgettable masterpiece of Rossini, which has benefited from Els Comediants playful creativity, historical formation Barcelona at the turn of the fortieth year of activity.

First chapter of a radical and unimaginable revolution comic opera, The Italian in 1813 represents a further and decisive confirmation for a twenty-one Rossini initiated greatest success: hard to make it fully into account what the Pesaro was considered already in life, we think that Stendhal, in his biography dedicated to him, comes to comparing it to Napoleon for the ability to win swift and public consensus.
In a time when it was feared that the musical theater, especially the comic, he spent solutions and issues, Rossini Fell on the contemporary scene, including the market, from genuine cyclone: \u200b\u200beleven works in less than three years, the creative exuberance able to denote an absolute mastery of composition and impressive sense of theater characteristic overstated in the author Marche. The period between 1813 and '17 (in addition to ' Italian, Turkish The in Italy, of '14, The Barber of Seville of '16, and La Cenerentola ) buries work comic due, in Italy, a localist tradition, to mark a renewed sensitivity to a genre that will only further development in the land of France, a nation that will dazzle your Rossini.

The Italian is not an original subject, since a few years earlier, with music by Luigi Mosca libretto by Angelo Anelli: It is in extremis to save the program of the Venetian theater San Benedetto (later renamed, not surprisingly, Rossini ) that the young composer wrote the two acts of jet, be sure to put a hand to dramatic structure. The theme of the sinking of love and happy crowned in hostile land (Turkish that environment that continues to fascinate the public italics) was widely used since antiquity, but, in the declension of Rossini, acquires an unprecedented color gamut, on d ' a fresh sheet in a position to revitalize the situations and characters, from Isabella wonderful, smart and stubborn, and authentic model of heroin protofemminista goddess ex machina of the plot .
At the Court of Algiers, the mean and lecherous Mustafa Bey divorces his wife, Elvira, to marry her and get to the slave Lindoro un'agognata Italian Italian woman. The arrival, following the pirate assault, on an Italian boat brings the irresistible Isabella, already in love with Lindoro, escorted by cicisbeo Thaddeus (who was also infatuated with her) and now coveted by the Arab tyrant. Is triggered in a plot that will see the protagonist perfect fit to exploit their talents in order to circumvent the union with the enchantress Bey, crown love Lindoro and to impart a wonderful lesson in conduct and dignity at Elvira, in the complete triumph dell'astuzia feminine on a man's world prey to sexual appetites and incapable of strategies in problem situations. Rossini leads the game with writing airy, full of spikes, not given to sentimentality and revealing in brilliant arias of many voices, those in crowd scenes that are, by overwhelming impact and effectiveness of theater, the value added work. This modern 'Italian , which traces the development of the lessons of Mozart and Haydn, composers central to the early formation of the master of Pesaro, and already it seems that of a pregnant sentimento nazionale, arricchito dal topos del confronto tra due culture, una barbarica e ingiusta, l’altra civilizzata e moderna.
Tale ricchezza di temi rende di per sé interessantissima qualsiasi messinscena dell’opera: senza voler cadere nella misera contemplazione dell’attualità politica, in cui gli intrecci col sesso sono da decenni all’ordine del giorno e quindi non necessariamente legati alle recenti vicende del nostro Papino il Breve, la questione del rapporto tra diverse civiltà e, soprattutto, del ruolo della donna, sono argomenti per niente esauriti e, anzi, qui trattati con profondità e, soprattutto, mirabile sorriso.
 
The reduced (subject to the original score) Orchestra of May, under the guidance of Enrique Mazzola deals with the very well known overture perhaps too timidly, especially in the off time. The opening of the curtain gives the eyes a large space, a huge recall hammam in which many human figures (the Chorus of, well directed as usual by Piero Monti) wear cumbersome headgear spherical. Already intuits as directed by Joan Font is full of movement and color, thanks to the clever choreography Xevi Dorca: move quickly, well concerted, liveliness to be savored for the ideas assigned to acting for a building paintings in which we can recognize whether naive and a taste for pop anything annoying. How can we forget the face of the arts carnival giants and the investiture of Kaimakàn in certain sequences from Beatles Yellow Submarine surprisingly guessed that readily harmonized with the humor of the score century ...
In terms of singing, bass Carlo Lepore is a comical and histrionic Mustafa Bey, a prey to greed, which is a dull stretch still foolish modern masculinity, Enea Scala is a nice light tenor, at ease with his phrasing moved Lindoro, Marco Filippo Romano is funny very low effectiveness in the role of which Taddeo and Trajan most savory characters in his laughable stupidity. But it is the female cast to be the best known the specification: Manuela Custer un'Isabella intelligent, mischievous, flirtatious enough, all cunning and mossettine, brilliant acting and theatrical interpretation the nuances of a character beautifully supported by the score. In the face of laborious work, mezzo-soprano (in part by a contralto) governs the rhythms of this well Italian since in the end, which indicates a commendable physical training and great ability to tune to a director of guidance aimed at enhancing the texture highly theatrical work. Elvira Patrizia Cigna and Zulma Katarina Nikolic 'effectively complete a trio of women separated from the occurrence of different life situations, but linked by a subtle and surprising female solidarity.

The large space created by Joan Guillén, also responsible for the amazing costumes, while remaining fixed in the overall structure (two side columns, wooden grandstand in the center viable, multi-colored background) shows beautifully functional in its changing diversity: what are collective scenes as the triumph of the quartet of onomatopoeic end the first act, hallucinatory piece of literary modernity overstated, ol'irresistibile scene Coffee in the second act, the set, no specific historical reference, is the final complement of a hoax that binds to the quality of its overall effectiveness . Needless to stop looking at every detail, for it is imperfect, when what matters, the show outright , offers many ideas and such observation: on the creative director of a conscientious but, in a performance, singing and stage, and that hand happy and experienced team, but most of the world of music, a composer who never cease to tear smiles, thoughts and admiration.

Igor Vazzaz

March 15 2010

Reviewed Subject:
The Italian Girl in Algiers, by Gioachino Rossini, the Teatro Real in Madrid with the Maggio Musicale Fiorentino

The rest of the poster: Walter Franceschini (Haly / low); Italo Grassi, director of the stand; Albert Faura, lights, Andrea Severi, fortepiano; production of Teatro Real Madrid, Maggio Musicale Fiorentino, Opéra National de Bordeaux, Houston Grand Opera singing
The other cast: Simone Alaimo (Bey), Vincenzo Taormina (Haly), John Osborn (Lindoro), Daniela Barcellona (Isabella), Bruno de Simone (Thaddeus)
Upcoming: in Bordeaux, Opéra National, and Houston Grand Opera in the 2010/11 season, not around the corner, but the show is well worth
Quote / 1: "Dear hast broken the eardrum: I talk to frank and round "(Mustapha, I, 1)
Quote / 2: " It's the music that I know more physical "(Stendhal, on cavatina Lindoro, languishing for a nice )
Repair history (partial): Angelo Anelli was branded a "fool" by a disgruntled Ugo Foscolo for being awarded the chair of eloquence at Milan, in 1809, but in fact, Rings was highly respected scholar and librettist
Papyright: the magnificent expression of the Short Daddy is Daniel D'Aquila ( www.indiscreto.it )

rating: