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GREAT START TO THE YEAR FOR SELF AND

As scheduled, Friday, March 11 began the course organized by the Academy of Self Defense Shotokan Karate in collaboration with the Youth Project of Sesto Fiorentino and sponsored by the Youth Policy. Greater participation of the boys for this lesson, the first of ten, have had more information in the legal sull'autodifesa and excessive self-defense. In fact, after the presentation to the course of Daniel (operator of the Youth Project) and Nicholas and Gabriel (AKS athletes and instructors of the course), the host of the lesson was Luke Gorron, Vice Questore State Police and Deputy Director Team Judicial Police Commissariat of the Sesto Fiorentino. He started the discussion talking about two examples of films: Rambo and Gandhi, or the duality of force and aggression compared to peace and tranquility.

"I could kill them all, I could kill you. In town you're the law, here I am. Forget it, leave me alone or locked in a war that you do not even dream of. "

Then went to the judiciary and legal self-defense, pointing out how one can defend only by a present danger caused by an injury unfair, considering that the defense is always proportional to the offense (Article 52 of the Criminal Code). He also pointed out that drunkenness or use of drugs are not a mitigating factor to aggression (art. 92 and 93 of the Criminal Code); told some of his experiences, and it may seem strange, very often the aggressors justify their acts of violence as under the influence of alcohol or drugs.

The boys in the lesson of Luke Gorron

Latest topic of the evening was the use of weapons: any object capable of offending and his possession without good reason can not be taken out of his own habitation and the offender shall be punished by imprisonment and a fine (Article 4 of Law 110/75). With the word "weapon" shall also mean the Swiss boxcutters taken out of a possible context such as camping or a trip to the country, but also the weapon is considered pepper spray in recent years because of exaggerated fears fomented by television, has had great success among women.

Maximum attention when instructing Luke Gorron

For those who felt truly in danger, for greater security, was recommended to use deodorant spray instead of pepper spray for several reasons: first of all is legal and cheap, also contains alcohol, it creates the same irritation to the face and, finally, is effective on animals (the pepper spray was in fact born to defend themselves from aggression by stray dogs) and on all ethnicities of the human species, as some people in Africa are not immune to the active ingredient of hot pepper (capsaicin).

During the next 9 lessons will be taught the classic defense from blows, strangulation and outlets, as well as some forms of free movement in crowded situations or aggression in the group. The purpose of this course are not teaching techniques to offend, but we aim to give greater security to the girls and boys so that if one were found in dangerous situations, they can respond quickly without fear, using their instincts and technical knowledge that they have acquired.

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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)

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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

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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.

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.

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

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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.

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 "

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