Are There Any Racing Games That Are Street?

WHO 'THE SCENE!

compendium of the shows that we must not lose in week 14 to 20 March

MONDAY 'March 14

EVENTS ...

Biblioteca Sormani - 18.30

Hall Grechetto - Via F. Sforza 7

Filippo Timi meets the public ahead of the debut of its next show, "Fable. There was Once a child. And I was because now there is no more ", which will be staged at the Teatro Franco Parenti from 21 March to 10 April.

DEBUTTI...

Citus, altius, fortius - Teatro Martinitt - via Pitteri 58

dal 14 al 16 marzo

Nuovo spettacolo di Stefania Pigato, primo appuntamento della rassegna "Olympic Games: la danza incontra lo sport"

MARTEDI' 15 MARZO

DEBUTTI...

Nathan il saggio - Piccolo Teatro Grassi

Nuova produzione del Piccolo Teatro. Con la regia di Carmelo Rifici e un cast di altissima qualità (su tutti Massimo De Francovich e Fausto Russo Alesi)

FRIDAY 'March 18

DEBUTS ...

I could be me - Space Theatre 89, via F.lli Zoia 89

18 and 19 March

Dionisi New production of the Company, one of the emerging realities of the independent theater

Saturday, March 19

DATE ONLY ...
Francois Bon's Daewoo, directed by Serena Sinigaglia - Piccolo Teatro Studio Theatre
office within the fifth edition of Face à face - Words of France for scenes of Italy, Italy's leading contemporary authors in France staged by Italian companies

Sisters of Italy - Varese, Varese Theatre - Piazza Repubblica

The Unity of Italy as seen through the songs that have made history, reinterpreted in two brilliant women of the stage as Isa Danieli and Veronica Pivetti

DEBUTS ...
Pink, me & the roses - Pim Off

19 and 20 March

Produzione Codice Ivan e Centrale Fies, vincitore del Premio Scenario 2009

AFFRETTATI! Gli spettacoli che chiudono il 20 marzo...

Un flauto magico di Peter Brook al Piccolo Teatro

...riservato a chi ha già il biglietto perché è sold out da tempo

Cruel+tender al Teatro Litta

...a volte fa bene vedere anche i brutti spettacoli

Urge di Bergonzoni al Teatro Elfo Puccini

...imperdibile giocoliere delle parole

DA VEDERE ALSO ...

Orgy of Pasolini at the Teatro Out Off

Project Horovitz Theatre Elf Puccini

The row Horovitz at the Teatro Due of Parma

Krapp's Last post by Beckett at the Teatro Due of Parma

theater at all ... Good!

Phlegm In Babies Lung

Lucid Dream or Reality 'ONIRIA? COMEDY OF THE AMAZING COUPLE Spregelburd

Even the family the focus of the investigation of the theatrical art medium. Invisible and indelible place of violence, in which the characters try to find their identity. Place that should be of shelter, protection, help in the process of affirmation of self, and instead turns out to be the first ring in which we are called to fight.

They fight and fight each other protagonists of Lucido, comedy (but better define tragicomedy ) of young (born in 1970, but we have a forty is artistically a baby) "teatrista" (author, actor, stage director) Spregelburd Rafael Argentina, which we learned about thanks to Bizarra , the "theater soap" presented at late (or maybe not) Naples Theatre Festival, and won the Premio Ubu 2010 as best foreign news, and thanks to ' Eptalogia published by Hieronymus Bosch by Ubulibri.

The plot unfolds in the folds of a family history of disturbing and surreal: a daughter girl donates a kidney to her little brother is dying, after fifteen years of being away from home back to recover the body worked. Unleashed explosive dynamic between all components of the household, including the new friend of her mother, in a rhythm by continuous slip planes of reality and the surreal, in which the protagonist (the son who was given the kidney), patient psychological treatment bizarre Apiro to achieve the "lucid dream", that dream where you keep the clarity necessary to control events.

The essence of this writing emerges directing the company's discrete Costanzo / Rustioni: fair because it does not yield to the temptation to overwrite a texture that comic would have been redundant and annoying. Spregelburd writes calculating the laughter: the audience knows when to laugh and when to hold their breath, playing with the reversal of perspective, with the surprise effect of continuous (but non-redundant) plot twists until the final coup de Theatre that displaces the viewer notice without surprise your expectations.

The two directors choose the only effective way of staging, that of naturalism, both in acting that in setting the scene (with hyper-realistic details.) The lights reflect your surroundings: the dream and the real one, but the realism of living is so exasperated by being perceived as surreal. In short, the creation of fireworks is Spregelburd and perhaps exceeds the virtuosity of the writing just enough to make the difficult emotions.

The text, though the fun of the movements of the plot leaves many topics for consideration, including the most incisors are the affirmation of the self of Luke, the protagonist, the assessment of the value of a life cut short at the apex or carried out with the difficulties of growth marked by setbacks and disappointments, the family ties so cumbersome to manage and live.

"Every home is a world" Says the mother, and what we propose is a family built on a "pact of lies and transplants .

The score is embodied in an impeccable comic by Milena Costanzo who plays the mother with a rare natural . Beside her Roberto Rustioni nell'antitetico dual role of waiter / lover. Not at their level, the two young men, Maria Vittoria Scarlattei and Antonio Gargiulo.

seen at the Theatre on 12.III.2011

SLIDE

of Rafael Spregelburd

translation Valentina Cattaneo e Roberto Rustioni

con Milena Costanzo, Roberto Rustioni, Antonio Gargiulo, Maria Vittoria Scarlattei   

How To Install Color Gel

VACIS-BINASCO NOT WIN THE CRUSADES

"Una dolorosa notizia" giunge dal Teatro Franco Parenti: la coppia di campioni teatrali Vacis-Binasco non vince la sfida con Lessing.

Binasco, dopo essere riuscito a stappare un'espressione persino a Riccardo Scamarcio, dimostrando di saper dirigere gli attori con maestria, in Crociate si fa guidare da Vacis, emblema del teatro di narrazione. Lo spettacolo è loosely based on Nathan the Wise, Lessing's dramatic poem, composed in 1779: manifesto of religious tolerance, equality between religions, the coexistence of peoples, the story takes place in Jerusalem's Muslim Saladin, has as its protagonist the jew Nathan and his adopted daughter, was born a Christian but raised as a Jew, with whom he falls in love with a young Templar.

wealth of stories narrated in Nathan it gives exposure to very didactic and simplified operation is necessary, given the amount of the five documents produced by Lessing, but subject to the risk to be superficial, since the stated intent divulgatorio needs approachable a tutti.

Dell'immenso testo di Lessing viene mantenuto, quasi letteralmente, il racconto dei tre anelli, punto focale del tessuto etico-filosofico del dramma: il Saladino chiede al saggio Nathan di dirgli quale delle tre religioni monoteiste sia la migliore, e questi risponde raccontando la parabola del padre che lascia in eredità ai figli tre anelli perfettamente identici, tanto da non riuscire a distinguere quale fosse l'originale.

La riscrittura drammaturgica di Vacis non approfondisce i significati filosofici del poema, ma segue piuttosto la linea narrativa di fatti intrecciati in maniera avvincente, in un crescendo di agnizioni fino al ricongiungimento finale.

Nella scrittura del regista trovano spazio, prima getting to the heart of Lessing's poem, the poem of the time of Qohelet, whose power is capable of creating concise suggestions in the Middle East, the Tasso's Jerusalem Delivered el ' undecipherable arabesque Elsa Morante, taken from the poem The World saved by children, whose shares Vacis form that mixes philosophical meanings and everyday reality. In the show, in fact, is familiar (or, at least, this should be done) with the character of Bottazzi, classmate of the protagonist-narrator - as a boy by the intelligence end - stutter (perhaps chosen a bit 'too consenting to stereotyping of the characters that they abstracted from the concrete in these characters are called) and leader of the bitter conclusion.

The show has a very evocative and striking opening scene, in which actors interact to create a video projection and interactive setting effective. The warm, golden light, which is designed for an elegant game of reflections that make the scene dynamic, enveloping, and the use of white cloth covered with different functions (wall, ceiling, veil, fifth) were hoping for a fantastic director . Instead the show is flattened in the style of narrative theater, and devoted to the statically nailed all'avanscena poverty of props.

Binasco not convinced with his interpretation of colloquial diction with the imprecise and "dirty", with lack of rhythm was unable to use music (capable, she did, to create images to provide the imagination of the public) to modulate the rhythm of words.

The suspicion is that you can not take advantage of the enormous wealth of a text, that of Lessing, who has a lot to be said for the current ethical and philosophical assumptions, and instead to remain stationary in a size that does not affect the contemporary. That the director, then, do not abdicate its mission and authorial not shirk the duty of the public Offir interpretation of this messiscena and not a "service"!

look forward to assist the interpretation of which will Nathan the Wise (this time quasi-integral) Carmelo Rifici in the new production of the Piccolo Teatro, which will debut Tuesday, March 15 at the Teatro Grassi Street Rovello.

seen at the Teatro Franco Parenti 2.III.2011

CRUSADES

Loosely based on Nathan the Wise Gotthold Ephraim Lessing

adaptation, mitigation and directed by Gabriele Vacis

with Valerio Binasco