How Does Bang Bros Pay

"Vollmond" Pina Bausch, on stage at Little Theatre February 10 to 13

The dance of Pina Bausch returns to Italy with the show Vollmond (Full Moon) presented by the company Tanztheater Wuppertal Pina Bausch.

The show, which debuted in 2006 in Wuppertal, after a successful tour of Paris in 2007, arrives in Italy. It 's the return of the Tanztheater Wuppertal in our country after more than twenty years Palermo, a tribute to the Sicilian capital in 1989.

Vollmond play is the triumph of the water. On the stage flooded with water that falls from above as if it were true rain, is recreated in a tank where the water collected from the river gets to swim with a plastic boat, splashing with the feet or scouring the surface. Water is the element with which the dancers broke out between the battle, accomplished with strokes of buckets, which is as much a liberating act as a childish game.

Vollmond represents the world of couples, the emotional universe of the sexes did rituals of love, small daily violence, hugs granted or refused, the Bausch manages to express the search for love of the other The need to be recognized and acknowledged the need to establish a contact person who can stay, you can keep , unlike the water that flows and runs off.

It 's a picture of our successful recent times, with this reversal of roles, the subject of much discussion: In fact, men are fragile creatures and presented as anxious, while women have the grit and aggression of Dominica.

a biography of Bausch Leonetta Bentley, wrote that through his performances "shows one of the most important portraits of humanity at the end of the century" .

His research revolves around the theme of criticism of the rhythms and values \u200b\u200bof modern society and consumerism, the contrast between man and society. The vision of the world that offers us the choreographer is very personal and intimate, based on the expression of their direct personal interpretations and feelings.

"I try to talk about life, people, us, things that move us ... I simply a way of expressing what I feel."

His famous admirer was Fellini, who in 1982 had wanted in his film And the Ship Sails , dressed as a princess blind. Her said "A nun with ice cream, with a holy roller skates, a face like a queen in exile, from the founder of a religious order, a judge of a court matafisico, that you suddenly winks" .

The show has long been sold out. I will be lucky room in four performances scheduled can say "I was there!" .

Schwinn Spin Bikes Canada

THE CONFIDENCE OF WOMEN WITH PAIN: Lucrezia Lante della Rovere says the "Malamore"

Malamore

Conchita de Gregorio

with Lucrezia Lante della Rovere

piano Vicky Schaetzinger

directed by Francesco Zecca

Lucrezia Lante della Rovere passes in the audience gently, with the elegance that distinguishes her poise, her figure, her clothing, which combines men and women: men in shorts, women in the top that leaves uncovered back. These Exercises resistance to pain " start putting the spotlight the personal choice to make space for career without sacrificing family. It 's the starting point of a journey where they meet in the feminine violence, fear, pain. Indeed, confidence pain, what really distinguishes women. In this path you come across a few symbols of modern femininity: Louise Bourgeois at the graduate who is a prostitute to keep up to Dora Maar, whose story involves us more than others, perhaps because most of the other affects us. It 's the story of a woman who vanishes for love in the human personality (Picasso, "is an instrument of death ... is not a man, is disease "), which ends up being the executioner.

The actress talks to the audience (we hope that one day the Italian public to interact with those who passively embalmed from above the stage calls for participation) and puts on the table discussion of the papers of emancipation, the vulnerability of men, fear of women to be themselves when they themselves mean autonomy, independence.

In a theater that wants to become harem (and he succeeds, maybe sin a bit 'of convenience) that are exceptionally welcome men too - which groped to understand the amazing complexity of femininity (admirable Stoicism in pursuit of the impossible) - there is also room for the smile that evokes the 'little mouse teaching. You smile, until you understand that we are all a bit '"mice", convinced us that the cat will be different and we do not eat.

The elegance of Lante della Rovere pervades the scene, simple, illuminated with a light wrap that brings out the star and pianist Vicky Shaetzinger, already seen in other shows, escort and interpreter share intense. The actress

amazed us: in this very Roman name of television we had some injury, denied by an interpretation appassionata. Meglio, comunque, la recitazione delle storie che non nella cornice di commento/riflessione: la Lante della Rovere dà corpo e sfumature con la propria vocalità ora soffiata, ora dirompente, ora delicata alle donne che interpreta. Manca un po' di verità, invece, quando si rivolge direttamente alla platea.

La delusione (anche questa inaspettata) arriva nel testo di Concita de Gregorio: manca la coesione tra le varie storie, o meglio il fil rouge è l'amore che distrugge le donne, ma nel sostenere questo argomento l'autrice sembra a tratti ripiegarsi su un autoreferenziale discorso postfemminista di affermazione della parità dei sessi e della diversità da difendere delle donne. 

Bello, however, find a night to stop our messy lives and remember what being a woman today, here.

Tieffe seen at the Theatre Menotti 29.I.2011

What Moisturizer Can I Use With Tazorac

MARA CAGOL: GENESIS OF AN IMPERFECT Brigades

She had a pretty red balloon

Angela Demattè

directed by Carmelo Rifici

with Angela and Andrea Castelli Demattè

It 's a intimate scene, one that offers us on the stage: intimate as only a family history can be. In the living style in the sixties, reproduced con esattezza pittorica e illuminato con gradazioni calde, domestiche, un padre e una figlia si scontrano nel più naturale dei conflitti: quello generazionale, che mette a confronto la voglia di cambiare il mondo dei figli contro il tradizionalismo dei padri. Qui, però, il conflitto si colora con i toni della rivolta studentesca che ha portato al Sessantotto, di un nuovo modello di donna consapevole del proprio corpo e delle proprie potenzialità, che non si accontenta più di avere un marito e dei figli come massima (perché unica) aspirazione nella vita; il testo si immerge nelle problematiche sociali e culturali che negli anni Settanta hanno coinvolto i giovani comunisti che volevano ampliare i diritti degli operai e liberare la mente dei cittadini to make them aware that they wanted to oppose an oppressive state and sfruttarore. The show is the story of the Red Brigades were formed, and its founder: Mara Cagol. Indeed, Margaret: smart girl, model student, loving daughter.

The drama is all built on the relationship with his father and on intimacy that binds them: the heated exchanges of views on the relationship of adolescence born in those years with Renato Curcio, the studies in the Faculty of Sociology in Trento, the transfer Milan, the foundation of the Red Brigades, underground, in 1975 killing during a shootout with the police.

In this development of the narrative words fade gradually thinning until almost the end: it is a symptom of a lack of communication that translates the existential irreconcilable clashes with his father. Even the language changes: the impersonal intimacy of the Friulian dialect Italian language after the transfer of Mara in Milan.

The matter was not easy to handle: Angela Demattè it unravels with skill among the thorny paths of human actions, refusing the easy trial without the knowledge and the deepening of a conviction for the Brigades.

The author considers the Cagol, but before you dig into the reasons of a choice, try to understand, following the evolution of its reasons. At the end of the sentence, implied, to get there: but in the meantime abbiamoconosciuto side of human RB. This text

(deserved winner of the Prize Riccione 2009) has found the ideal interpreter Angela Demattè to deeply analyze the intentions and thoughts of Cagol, Andrea Castelli in a realistic and concerned father, a director in Caramel Rifici able to enter Thanks to key naturalism, in the folds of the text. If we find fault say that the ending seemed a bit 'brisk and the text loses some' effectiveness. But these are details that do not question the need to stage cathartically texts that address the immediate past of our country.

seen at the Teatro Litta 25.I.2011

Nikon D60 T-mount 1.25 Adapter

Ciàpel kè ’l gh’è

El gà fiocàt t ö ta ise and not the ghe zo 'n meter nef de
.

Obama Inheritance Tax Plan

A FAIRY TALE: THE "DREAM" by Carlo Cecchi

DREAM OF A SUMMER NIGHT

by William Shakespeare directed by Charles

Cecchi

with: Luca Romani, Valentina Ruggeri, Portuguese Gabriel, David Jordan, Sofia Pulvirenti, Barbara Ronchi, Enoch Marrella, Cecilia Zingaro, Silvia D'Amico, Luca Marinelli, Simone Lijoi, Fabrizio Falco.

The play perhaps cooler than Shakespeare reflects the freshness of the soul generation (the young lovers) e la freschezza della giovanissima generazione di attori che la interpreta. Lo spettacolo è nato come approfondimento del saggio di fine corso della classe di attori diplomatisi all'Accademia Silvio D'Amico nel 2009. Già allora la regia fu affidata a Carlo Cecchi, che decise poi di proseguire il lavoro con questo gruppo e costruire uno spettacolo che è stato presentato al Festival dei Due Mondi di Spoleto. Al Teatro Franco Parenti arriva sconvolgendo il foyer, che per l'occasione si chiude trasformandosi in una sala: anche il luogo, così informale, conferisce un piacevole carattere di freschezza nell'utilizzo disinvolto degli ingressi, coerenti ma variati e dinamici.

Tutta questa freschezza non si riflette, purtroppo, as a director. In addition to not submit any ideas enlightened about many ideas that the book proposes, does not add to the intent of the demonstration formula in the rate of closure, and even the recitazone boys. Too much so, the acting sucked too, and a few talents to make this show a nice féerie , nothing more.

Cecchi From a master of innovation as one would expect some more risk, legitimate from material still immature actor with whom he worked.

certainly among the most valuable we note the music played live by the boys (as well as musicians), with a score guessed (in fact it is the music consultant Nicola Piovani) alternating in the roles and lively.

A lively we was not found in too many static scenes, when the rhythm of the text requires a change of pace. Domina, now and forever unchallenged, the greatness of Shakespeare's text, capable of making us dream and have fun regardless of the staging and nonstante the significant mismatch between the level of the actors. So it happens that the most successful scenes are those in the company of actors, driven and led by the excellent Luca Marinelli / Botto: comic grimace without falling into easy, with expert timing and charisma as an actor, talent shows Marinelli has already emerged in Loneliness of primes. Along with him, albeit with a talent yet to be refined, Valentina Ruggeri / Hippolyta / Titania and Barbara Ronchi / Elena, the only life to put into words, making them credible, and investing the meaning that Shakespeare had read in them.

Surely the profession will grow these actors. But in front of a setting like this we ask: what is the witness who has a master bequeathed to potential teachers of tomorrow? The actors, working from the living, will know very well, but what value does this teaching, if it is not able to translate it into an expression that knows how to communicate itself to the public?

seen at Teatro Franco Parenti il 24.I.2011

Can I Watch Purgatory Online

AS. REMAIN. BACK. The story of a Sicilian "high seas"

CUORE DI CACTUS

di Antonio Calabrò

adattamento, regia e interpretazione di Fausto Russo Alesi

L'inferno dei viventi non è qualcosa che sarà. Se ce n'è uno, è quello che è già qui, l'inferno che abitiamo tutti i giorni, che formiamo stando insieme. Due modi ci sono per non soffrirne. Il primo riesce facile a molti: accettare l'inferno e diventarne parte fino al punto di non vederlo più. Il secondo è rischioso ed esige attenzione e apprendimento continues: seek and learn to recognize who and what, in the middle of hell, is not hell, then make them endure, give them space.

(Italo Calvino, "Invisible Cities")

leave, stay, come back. Go, stay, come back.

Sicily, Palermo, and the sea. And the need to make the journey back in its origins to verify, refute, prove to themselves and their own land that has not betrayed, has not escaped, that such ' hell you have not accepted and is went to research the possibility of creating a future.

precisely the future that does not even exist as a verb, in the Sicilian dialect: "The challenge of a possible future, different, better, is a challenge with their own language of origin" .

Fausto Russo Alesi you modern Odysseus who undertakes a journey in their own country: a nostalgic evocation of Call For Price not have to be found in the memory of past conditions of the reasons for this.

It 's a journey that starts from the feeling of the earth Sicily, even from Sicily. The wind that blows on the words that describe the nature of places and people is full of love, desire (which stems from a lack thereof) in relation to their land. And restlessness that lives in the high seas Sicily, in those who feel the need to go to sea to find themselves under the curse of those who remain. In

" night of memories and budgets" retrace along with the words of the protagonist's history: the family, the places, the relationship with the sea, and the first concern, herald the need for leave. As background, the voice of the piano that interacts with the text.

mature before the departure time of the relationship with Palermo and Sicily lives intertwined with the history of social, political, cultural, of those years. The beginnings as a reporter in Time, the newspaper where many Young people have poured their enthusiasm for renewal, and the teachings of the master Vittorio Nisticò, the jazz piano give voice to the decades of the seventies, with a cultural life devoted to artistic experimentation, only to be heavy in describing the decline that has erased the glories of their ancestors. And then the "slaughter" : blood, violence, atrocities that the mafia has put before the eyes of Palermo. The failure of this attempt to change the world, the murder of anti-mafia Commissary Ninni Cassara, and the determination to leave. Not the betrayal of their homeland, but the fatigue of having to cry on the blood of too many friends killed. The inner movements of

Calabrò are ideal interpreter in Fausto Russo Alesi, not only for the similarity between their personal histories, but also for the sad coincidence of their departures: Calabrò aftermath of the killing of Cassara, Russo Alesi that of Falcone. And 'under ideal interpreter of the matter is referred to actor made his stand on stage: a few players know how to invest every word, every gesture, every object of sense, content, with evocations of the truth of Russo Alesi. The text becomes a score in which the actor is the rhythm, the trends, changes in the metric. This is a show that is essentially in the changes of pace and clear distinction between the areas of the scene representing the different places: if the proscenium, separated by a gate, is the place of ' today, when the gate opens the rest of the scene becomes a place of remembrance, "the soul".

The director, signed by the same Russo Alesi, reflects the same sensitivity of the interpreter: the lights draw the atmosphere, permeates the scene of suggestions, the simple props (a chair, a typewriter, copies of Time spread on the floor, the piano) in the hands of Russo Alesi become a symbol, and the actor plays with them, invent symbols to the suggestion of the final image (the beacon light and song of the gulls).

"Palermo and it was hell. But for this of this hell you have to try to be right. Without cry on. Wings of an eagle. And expect to fly. "

Listen to the interview with Ira Rubin Fausto Russo Alesi to Babel (Radio Popular)
Babel and Heart of cactus in the theater


From press
... Fausto Russo Alesi, one of the most talented actor of his generation prepared and curious ... is the voice, intelligence, emotion body but also the story of Antonio Calabrò ... finding itself , in his experience, his tenderness to dodge the father figure in his choices, not a match ... There is considerable satisfaction nel'linterpretazione dry and actor, but very much in tune with the author "

(Maria Grazia Gregori," delteatro.it)

Will Burt's Bees Chapstick Hurt Cats

SHOWS NOT TO BE MISSED - 1 / 2011 January / February

selection of shows that are worth seeing in the next five weeks. Take it as a solicitation, advice, a suggestion ... but above all as a wish, because the theater is the best gift you can give to your vost soul and conscience!

"'NO CASE CADAVER DE LONG"

where: Teatro Franco Parenti

see why: for Gifuni, terrific actor, why listen to Pasolini's good.

"Hamlet"

where: Teatro CRT

when: until January 23

because it: to see the Teatro del Carretto one of the most successful innovation companies.

"GIOTTO"

where: Teatro della Cooperativa

when: until January 23

because it: because Scupi Sutta Company (which is part Provinzano Joseph, author and interpreter of the text) is a group of innovation of the last generation to see a different way to tell the record (the G8 summit in Genoa).

"HEART OF CACTUS"

where: Teatro Franco Parenti

when: until February 6

because it: because the skill of Fausto Russo Alesi is a must, and to reflect on the meaning of their choices.

"Malamore"

where: Tieffe Theatre Menotti

when: until January 30

because it: for text Concita De Gregorio on the suffering that women often self-inflicted and to reflect the identity of women in our society.

"The Miser"

where: Elf Teatro Puccini

when: until January 30

because it: to learn (or review) The pair's work Montanari-Martinelli, founders of the Teatro delle Albe, because it is an example of how you can work on the classics in an intelligent and contemporary.

"Dreams of a Summer Night"

where: Teatro Franco Parenti

when: up al 30 gennaio 

perché vederlo: per il lavoro che Cecchi ha fatto con i neodiplomati attori alla Silvio D'Amico.

"AVEVO UN BEL PALLONE ROSSO"

dove: Teatro Litta

quando: fino al 30 gennaio

perché vederlo: perché racconta la storia di Mara Cagol, fondatrice delle BR.  

"L'ADALGISA"

where: Teatro Out Off

when: until February 13

because it: for text Gadda, directed by Lori and interpretation of Elena Callegari .

"THE COMPANY OF MEN"

where: Piccolo Teatro Grassi

when: until February 26

because it: directed Ronconi's, the author Edward Bond, uncomfortable and not represented, for the cast of excellence (Gianrico Tedeschi, Marco Foschi, Riccardo Bini, Giovanni Crippa, Paolo Pierobon, Carlo Valli).

"MACCHINE DELLA MEMORIA"

dove: Piccolo Teatro Studio

quando: dal 25 gennaio al 6 febbraio

perché vederlo: per vedere due degli spettacoli più importanti di Kantor ("La classe morta" del 1975 e "Macchina dell'amore e della morte" del 1987).

"THE END"

dove: Teatro CRT

when: from January 25 to February 13

because it: because Babylon is one of the youth groups of innovation that is emerging more staging cliches and contradictions of nosta society.

"EL DUENDE"

where: Soazio Tertullian

when: from 27 January to 6 February

because it : for the interpretation di Maria Pilar.

"ASPETTANDO GODOT"

dove: Piccolo Teatro Strehler

quando: dal 31 gennaio al 6 febbraio

perché vederlo: per il testo capolavoro di Beckett, per il cast artistico (Eros Pagni, Ugo Pagliai, regia di Marco Sciaccaluga).

"TI VOGLIO BENE PIU' DI DIO"
dove: Teatro Elfo Puccini
quando: dal 2 al 20 febbraio
because it: for the text of Mimmo Sorrentino (on child sexual abuse committed within the family).

"slaughterhouse"
where: Teatro della Cooperativa
when: 1 to 6 February
because it: very timely topic for the market rent in the uterus.

"Krisis"

where: Theatre Off Pim

when: February 3 to 7

because it: to know the company Animanera innovation.

"MADRIGALE JUST narratable"

where: Teatro Franco Parenti

when: February 4 to 6

because it: for Societas Raffaello Sanzio, though not one of their shows more representative.

"ART"

where: Teatro Franco Parenti

When: 8 to 20 February

because it: for the cast (Alessio Boni, Alessandro Haber, Gigio Alberti) to the interesting topic (the meaning of art and the complexities of friendship).

"Vollmond"

where: Piccolo Teatro Strehler

when: February 10 to 13

because it: Pina Bausch! Sold out who finds a ticket is a treasure!

"THOM PAIN"

where: Teatro Puccini Elf

when: February 15 to 20

because it: for Elio Germano.

"THE STORM"

where: Teatro Puccini Elf

when: from February 15 to March 6

because it: because Shakespeare fa sempre bene!

"LA TRILOGIA DEGLI OCCHIALI"  

dove: Teatro CRT

quando: dal 15 al 27 febbraio

perché vederlo: per la regia di Emma Dante.

"AUMMA"

dove: Teatro Leonardo

quando: dal 15 al 27 febbraio

perché vederlo: per il testo di Gianfelice Facchetti.

"THE GIRL WITH THE FUR"

where: Area Tertullian

when: February 17 to 20

because it: for the two young directors and performers, and Eleanor Bognetti Federica D'Urso, for the topic of anorexia.

"Six Degrees"

where: Theatre Off Pim

when: 19 and 20 February

because it: to know the work of another company of innovation that is emerging, the Santasangre.

triptych

where: Teatro Out Off

when: February 22 to 27

because it: for text Anthony Tarantino (also seen here) and directed by Cristina Pezzoli.

"A MAGIC FLUTE"

where: Piccolo Teatro Strehler

when: from February 22 to March 19

because it: directed by Peter Brook.

"Cruel + Tender"

where: Teatro Litta

when: from February 25 to March 20

because it: for directed by Antonio Sixty.

These reports are certainly integrated in the coming weeks, so do not lose sight of updates to this post, and if you want to propose the shows that were not mentioned!

Good theater at all!

Hepatitis C And Nosebleeds

DIGNITY 'denied (and ignore) THEATRE

Milan, 18-22 January 2011. What will end tomorrow has been one of the weeks of this nervous and troubled season with the highest density of debuts. The theaters in Milan have seen an incredible concentration of first, we counted eleven, and we are sure that someone has slipped. From "Heart of a cactus" excellent Fausto Russo Alesi to Parenti (18) to "The Miser" the Teatro delle Albe ELF Puccini (21); by "Malamore" to Tieffe Menotti Theatre (19) to "I had a beautiful red balloon" at the Teatro Litta (18); from "A Midsummer Night's Dream" Cecchi to the Relatives "Bashful" ELF Puccini. And again: "Giotto" at the Theatre Cooperative, "The Vespers of the Blessed Virgin" Antonio Tarantino Litta, "Paladins of France" at the Teatro Verdi , "Flags" with Beppe Rosso Theater Railing, "White Nights" by young graduate Paolo Grassi Alberto Oliva Oscar Theatre. Not to mention all events with two performances on weekends.

Well, knowing the time and above all the spaces reserved for the criticism I've been looking forward to this day on Saturday, in which the major national newspapers (Corriere della Sera "and" Republic ") spend more than a few lines in the theater, Safe read some reviews. My expectation has led to angry disappointment at the empty pages of culture and entertainment. The two newspapers mentioned have not reserved space none of the shows that debuted this week. Better to say: no one show in Milan. Maybe that Milan is no longer the alleged (and, at this point, presumptuous?) primato nazionale di "città del teatro" (come già insunuato dai Premi Ubu 2010, assegnati a nessuno spettacolo passato da Milano)? Problema di altro genere. Qui ci preme dire come su pagine nazionali, locali, inserti le uniche tracce sbiadite di teatro sono state: Emma Dante e la presentazione di "Trilogia degli occhiali" - che almeno noi milanesi potremo vedere a metà febbraio al CRT ("Repubblica", pagina nazionale), il giochino delle domandine (basta chiamare in causa Proust!) a Franca Valeri (inserto di "Repubblica"), intervista a Scamarcio, prossimo al debutto nel panni di Romeo (sorrisino sornione in merito a quanto gli andranno larghi quei panni...) e intervista ad Anna Marchesini. Bè, c'è sempre il edited by Franco Quadri full pages on the "Republic" to save us - we said. No, this week not only paintings he did not write, but in this case appeared in a show staged for more than thirty theaters in Milan.

mean total anemia which might suggest to the unwary reader that the theater production is in agony. The best way to deny the dignity of recognition of the existence and essence of an entity is to ignore it, pretend it's not there. Unless full pages devoted to the problems of workers of La Scala, which are exploited to talk about other problems involving national citizenship. Because in the end this is sad image that looms like a shadow on this area: that the difficulties of the performing arts unique to the employees of the theater (while, and rightly so, the problems of factory workers, cover the whole of Italy). Well it seems that the public look to the theater as you watch the bum deformed beggar: you know it's there, but his pain does not concern you and you turn the other way.

forgot: a review came out, the only one. Lucrezia Lante della Rovere on one (unless you forgot to write that this was also the first Giorgio Armani, who designed the costumes). Randomness?

We can only hope Cultural insert tomorrow's "Sole 24 Ore".

How Long For Leg Legiment To Heal

PASOLINI OR: A PRECURSOR OF THE TIMES

'NO CASE CADAVER DE LONG

idea Fabrizio Gifuni

by Pier Paolo Pasolini Giorgio Somalvico

with Fabrizio Gifuni

directed by Giuseppe Bertolucci

The pair-Gifuni Bertolucci confirmation of conscience shaker. After Engineer Gadda goes to war, Gifuni choose another intellectual modern, sleek contemporary knowledge of, the precursor of the times: Pier Paolo Pasolini. Drawing on material from several of his writings ( Writings pirates , Letters Lutheran , The new form of better youth , San Paolo - notes for a production manager ) Gifuni builds a drama that reaches the audience directly, as a heartfelt conversation between friends. Maybe in a bar, as it evokes the dramatic choice to fix the scene of the tables to which the audience is seated, and including actor moves exposing the thought of this intellectual who managed to shoot their way in this so deep and from penetrating glance into the future, a true pioneer. A look that is still true today, if we recognize our own cutting edge in contemporary criticism della degradazione culturale della società di massa, nella strumentalizzazione dei fatti di cronaca (sentire pronunciare la parola delitto non può che farci pensare ad Avetrana e alla totale abdicazione del giornalismo ad essere veicolo di informazione, che - ogni tanto bisogna dirlo ad alta voce per non dimenticarselo - rimane un diritto di ogni libero cittadino). E quali prospettive ci apre sul presente che siamo costretti a vivere e giudicare: l'analisi del nuovo potere che si configura come totalitario nel momento in cui si mostra in grado di cambiare la coscienza delle persone, omologandone l'orizzonte culturale ormai appiattito dal consumismo. Più che un discorso strettamente politico, Pasolini ne fa un discorso più ampiamente sociale: da un lato i principi del "possedere e distruggere" dei conservatori, dall'altro i dettami "produrre e consumare" imposti dalla società dei consumi - che è, appunto, dittatoriale.

Manipolazione dell'informazione, della televisione utilizzata come strumento di potere, non più come veicolo di messaggi, bensì come elaboratore di messaggi: tristemente pressanti, questi argomenti colpiscono come uno schiaffo gli spettatori, che si sentono chiamati in causa a non rimanere immobili, passivi, vittime. Gifuni ormai si identifica con la proposta di un tipo di teatro intelligente, colto ma non elitario, di cui il nostro teatro e la nosta società they need (and instead are a rarity).

A change in tone occurs when the intellectual Pasolini (and as such relegated to a state of isolation) decides to put off the old power to embrace modernity, progress, and assume the role of the father , whose children pay faults.

activism to counter the degeneration of begetting children, being reduced to stereotypes and criminals, is the only alternative to the death of the intellect. A goal to which they are condemned both the generation of fathers as Pasolini himself.

This first part ends in the poem in roman Somalvico of George, played with histrionic intensity transformation and the deserved winner of the Premio Ubu 2010. Perhaps if we are allowed to find a discrepancy in a show so full of meaning, the latter part ends in order to escape the viewer, who does not follow the (too) quick movement of the characters' voices.

"The power - Pasolini wrote - decided that we are all equal." Fortunately, we can counter it with Gifuni.

seen at the Teatro Franco Parenti 19.I.2011

Round Beds For Sale California

A "HEART OF CACTUS" IN SEARCH OF ITSELF: from the novel to the show theater.

"Heart of cactus in trial

leave Sicily soaked with the blood of dead mafia in 1985, the Commissioner Ninni Cassara, Falcone and Borsellino in 1992. Calabrò Antonio and Fausto Russo Alesi: two stories similar fate to cross.

will happen to the theater from 18 January to 6 February at the Teatro Franco Parenti, Fausto Russo Alesi bit rterà stage Heart of cactus , based on the book by Calabrò, published in March 2010. The actor will also be responsible in directing and dramaturgy had the cooperation of the same author, who "has cut and 'concentrated' a confession out loud - Calabro said. Before then, Russo Alesi knew him only by name. I'd seen at the Piccolo Teatro of Milan, a wonderful Shylock in The Merchant of Venice Shakespeare, directed by Ronconi ".

Antonio Calabrò, journalist, writer and now director of Foreign institutional and cultural Pirelli and Pirelli Foundation, called the Heart of cactus a diary in public: the private history of man is reflected in the public affairs of a country of which you follow the political, economic and cultural from the sixties to today. E 'stock of their lives, lived between Palermo and Milan, and choices; an attempt to confront his own time and with the nostalgia of memories, with their professional commitment and culture, with its role as "one who goes away. "

Calabro, born in Patti (Me), chose to depart from his native Sicily in 1985, after fifteen years of professional growth in the drafting of Time, Journal of civil battle against the Mafia. On the same day of the killing of his Ninni Cassara, the Commissioner engaged in the fight against the Mafia, Calabrò decides to leave for Milan, emblem of a dizzying route north industrial and social unrest.

In the show, Fausto Russo Alesi amalgam and superimposes his own experience to the story of Calabria, giving voice and body to the wound opened by the internal rift between the island's strong sense of their roots and the desire, the need to go elsewhere ; between the search for themselves in the places of their origins or find themselves elsewhere, with the temptation to give up the idea of \u200b\u200bhaving betrayed their country and the knowledge that he had not.

"In Sicily you have more courage to stay, that from - he explains . But stay there, the whole feel, that feeling described by Calabro, being forced from the sea ".

The staging, which provides the piano accompaniment on stage, is based on these two elements: the distance and that of the "open wound", the interpreter tries to soothe the pain through the story. A story that is an act of love towards Sicily, a love that remains (despite the difficult relationship with their land of origin), as water stored in the heart of the cactus in the desert.

The legitimate conclusion their choices and give them the confirmation of the facts: "You really have to go to sea, to find themselves" .

Teatro Franco Parenti

from 18 January to 6 February 2011

Hall A as A

time performances from Tuesday to Friday 20.30 - 19.45 Saturday - Sunday 16 hours - Monday closed

How Much Does Two Horse Trailer Weigh

THE SIEGE TO AUDITORS '"November 20"

November 20

Lars Norén

directed by Fausto Russo Alesi

with Fausto Russo Alesi

Production Piccolo Teatro di Milano

Go into the room, the Studio Theatre which always gives a feeling of welcome and embrace with its semicircular balconies, and find a row of chairs to enclose three sides of the barren stage. On the fourth side (the bottom) comes an intense beam of light straight as a gun pointed at him. After the first moments known that some viewers are still, you look better and you realize that mannequins are incredibly similar to real people. First sensation of discomfort.

Enter the protagonist ends the wall that serves as backdrop / Wailing Wall / board, for a moment she lowered the lights in the room, then switch back to enlighten the public. The protagonist, with precise movements, in backbeat, calculated and measured is a weapon: knives, ammunition, the rifle. Start the siege.

to keep the gun pointed on the spectators is represented by Lars Norén Sebastian Bosse, an artist who through his writings puts us in front of the anxieties, the questions, the horrors of nosta society. The German boy who one morning in 2006 was presented to school armed to the teeth and opened fire on teachers and classmates and then kill himself, is the first that the tragedy happen: the morning before going to school.

Lars Norén is not seeking justification, not judgmental, but puts the viewer in a problematic given the constraints of our society, and the strong impact that his texts involve us in person. The goal is not the "complaint" is not the "picture" of society, but the "magnifying glass" (as written by Luca Ronconi) through the voice of the weakest part of society, those who suffer, who succumb ( "If people do not support the life you can even kill" ). Sebastian Bosse is a teenager who had no reference points and did not have the tools to grow within the company where he lived, where he looked for interlocutors not find them. The evening before his gesture has posted on YouTube (now faulty vehicle of fragmented communications, misunderstandings, illusions of a whole which are not) a video that has given the explanation of the reasons which led it to compote as it did. Sebastian wanted to scream their discomfort, but he felt persecuted and used another way to communicate, one of the weapons (which for him represented a value). It is clear from the text underscores the leading role of Sebastian in his own subjectivity: "The my now" , "I'm who decides" . Voleva essere protagonista di una vita che ha sempre vissuto in disparte, alimentando il sentimento di essere sfigato , fallito , fottuto .

Da queste suggestioni è nata l'idea registica di Russo Alesi di mescolare tra pubblico vero il pubblico dei manichini: rappresentano gli interlocutori reali di Sebastian, quelli che non hanno saputo comprendere il suo disagio. Lars Norén chiama in causa il pubblico vero a intervenire quando la tragedia non è ancora avvenuta per cambiare il corso degli eventi, per trovare delle risposte agli interrogativi che Sebastian pone guardando violentemente negli occhi lo spettatore. Nel luogo della cultura e dell'incontro (il teatro) Norén innalza la storia di Sebastian a portavoce del disagio non solo giovanile, ma sociale e culturale che coinvolge tutto il mondo occidentale. Interrogativi sulla ricerca della felicità, sul consumismo, sull'omologazione, sul senso della vita, sulle prospettive future (il protagonista scrive sulla lavagna Se questo è il futuro non mi interessa ), sulla sete di avere sempre di più , cercano una possibile risposta e impongono una riflessione non passiva sul ruolo delle istituzioni come scuola e famiglia.

A scandire i tempi della storia il cronometro, come una bomba a orologeria. Alla fine a esplodere di fronte agli occhi degli spettatori è il video, questa volta vero, di Sebastian. Un ragazzo come tanti altri, alone and with a desperate need to communicate and be communicated.

Fausto Russo Alesi has set a clear direction and effective ideas, and the interpreter has followed a rigorous and consistent - as usual. He dug in the breaks identified in the text to find deeper meaning to the words which at times have made almost monologue. He shared with the protagonist of the tortuous inner journey towards an extreme action, emotional intensity with which it has transmitted all the violence of the text.

In both the two replicas that we have seen the public did not give direct answers to questions that he had addressed to him by the protagonist. An attitude due to several factors: first, the rigidity the Italian public, accustomed to interacting with the actor on the scene only in presence of the comic (not referring exclusively to the cabaret or surroundings, but also shows strong array of comic prose, such as the 'Harlequin Soleri ), the Italian public rather uncomfortable in situations of dramatic prose (and even embarrass the lights in the room because they suggest a feeling of involvement that Wagner was then slowly doze off to the current intellectual). Secondly, the Studio Theatre has not the strength of the claustrophobic Magic Box (which was set up the show last season) and are more dispersed space, was also weakened l'urto emotivo che poteva spingere il pubblico a rispondere a voce alta a quegli interrogativi. Infine l'impostazione recitativa di Russo Alesi ha creato una linea di distacco con il pubblico: un'interpretazione non naturalistica, eppure così vera, prestata a una materia umana non condivisibile, semmai catartica, con un chiaro intento di mettere sotto pressione gli interlocutori/spettatori accusandoli ( Voi non siete innocenti! ). Emozioni troppo forti per poter dare voce a una reazione.

Per vedere il video promo dello spettacolo  clicca qui

visto al Piccolo Teatro Studio il 12 e il 21.XII.2010

Trichloroacetic Acid Hpv

MARATHON NEW YORK BECOMES SYMBOL OF EXISTENCE

MARATHON NEW YORK

Edoardo Erba

directed by and starring George Cristian Giammarini and Lupano

Production Teatro Stabile delle Marche

An aerial view of New York with music that accentuates the charm of the charm of this city, until it was lost in a vision of the starry sky. So begins this staged by and starring Cristian Giammarini (actor ronconiana school and "elf" for a long time) and George Lupano (alternating between theater, television and cinema), which give rise to the appearance of history and the dream ' atmosphere rarefied atmosphere of the setting.

New York Marathon is a brief note that Edward Grass wrote at the beginning of his career by attracting national and international spotlight: Candoni Prize winner in 1992, the text has been translated into English, Catalan, English, Israeli and Friuli , and was represented in London, Edimurgo, Barcelona, \u200b\u200bBuenos Aires, Tel Aviv and Paris. A successfully extended, in, trying to investigate the reasons, we find the reasons in the dialogues that tell a light generation (that of the thirty or so), the progressive depth in which they push the issues mentioned and the questions that the two protagonists do, nuances of the characters, contours less delineated. But most of the race as a metaphor for the beautiful life of toil as a struggle, of training in preparation for the redemption of the past and the future victory.

The normality of the situation gradually takes on shades of pinteriane: In the normal situation (two friends, Steve and Mario, who meet to work out at night in the race towards the goal indicated by the title of the piece ) emerge gradually the uncertainty of reference of place (in a landscape that Mario does not recognize more) especially of the same real identity of the two protagonists remains shrouded in fog, the hypothesis that the two are brothers who are dead, they are the same person in the representation of an "I" doubled in constant dialogue with himself.

The exhibition highlights these elements in an effective manner: the scene, surrounded by the soft edges, and uncertain of blacks, is supported in video projections with which contaminates the language of the word: the texture is both visual environment (the image of the path at night) and - especially - the symbolic (the initial skyline of New York to identify the objective of their race, a starry sky on which are drawn constellations - the symbol of the dreams that animate the two characters, images and short in some visionary moments that break down the projection of the sky).

The rhythm is punctuated by excellent ride and Giammarini Lupano (tireless on stage): suspended in a rhythm that breaks are spent developing the memories of childhood games of jealousy and youth issues and questions set by light (like the camaraderie story of how they met or reflections on women) that deepen in the second part (the existence of God, family relationships).

The show is divided into three blocks marked by many moments of suspension: the first part is the most realistic, with two friends who meet and begin talking of issues to run light, while the second will gradually reveal the metaphorical suggestions of the Marathon as a destination to life, running how to live, of pain as a barrier to be removed with the insistence and persistence in the stand and finally gives way to the third metaphysical suggestions dream, in a space without boundaries and identity cross and undefined.

The two actors on stage suited exactly to their physical characters expressing the character: Mario (Giammarimi) is more timid, resigned, caught between fears and childish, Steve (Lupano) is confident it has certainties and enthusiasms leads to a more aggressive attitude towards life. Initially Steve is better to hold the race (read: life), but in the last match will be Mario to be able to rise from reality and reach the goal, the dream. Franco Quadri (introduction to the texts of Edoardo Erba) saw this exchange of positions in the defeat of Steve that remains tied to its permanence in the real, while the audience follows Mario in his trance competitive in a race that seems to be among those stars that form the background.

The public has made the proper recognition to the two performers with sincere applause and repeated calls. We'd love to hear the same heat in many Milanese audiences a bit 'chilled.

To see the video promo of the show click here

seen at Milan's Teatro Giuditta Pasta 13.I.2011

Lotion Cm Before Period

Sunday, January 9, 2011

FIAT labor costs?

It says Marchionne is to produce where it costs less. So if the Italian trade unions do not agree to its terms, he "relocation" to Serbia or Poland, or perhaps in China.

But then someone points out that the same Marchionne admitted not long ago that the work is a component that does not exceed 10% of the total cost of the finished product, the automobile.

So, even if Marchionne was able to cut labor costs by 10% (which is already a huge amount) reduce the cost of FIAT cars a meager 1%. For example, a car to fall to € 20,000 € 19,800.

Even a child understands that the accounts do not add up: no rush to buy a Fiat because costs € 200 less than before!

So what's the real problem? And what really Marchionne calls to employees of the Italian FIAT and their unions?

The real problem is that miserable 10% of the cost of the car, work-related concerns "human beings" and not "inanimate objects". Unlike the latter (plant, machinery, computers, robots, tools and so on, which constitute 90% of the cost of the finished product) that, just as "inanimate objects" have no capacity for autonomous and can therefore be used as, when, where and why at the discretion of the "master" and according to his needs "business" ... the humans, behold! have a brain, and autonomy of thought, but also needs "existential" and then you are in centuries of struggle, won the "rights"-type material (such as regulations on working hours, breaks, pay, etc..) and intangible (such as the right to bargain and strike!)

Well, that little 10% of the total product cost is tied to a "productive factor" that has the potential, at any time, to "say no" to requests from the "master" (the "union", of course) might affect the strategies of "business" and thus rendering it unproductive even the formidable technological device which is linked to 90% of the cost of the finished product!

Here, the problem is that man (in our "civilized" societies) is not always and only the appendage of a machine, can be used at the sole discretion of the "master."

which "master", in today's globalized world, has an interest in moving its production facilities not già dove il lavoro "costa meno" in termini asettici di retribuzione, ma dove il lavoro è svolto da "esseri umani" gestibili né più né meno che come macchine!

 

Il problema quindi non è direttamente economico, ma squisitamente "politico": Marchionne privilegia Serbia, Polonia, o Cina, non tanto perché laggiù il lavoro costi meno (sono i ridicoli 200€ a vettura!) ma perché laggiù il prestatore d'opera è totalmente asservito, esattamente come un robot, alle "superiori esigenze" del "business".

 

In poche words, Marchionne is interested in bringing the production of FIAT in countries where there is "less culture" than in Italy. Or is willing to maintain production at Fiat Mirafiori Pomigliano and only if one accepts that there is a "retreat in the levels of civilization and progress achieved in centuries of struggle.

Now, you think that such an alternative should be decided in a referendum a few thousand people, randomly FIAT employees? Or should not be a matter for debate and be the highest political level - and more - a civilized country?

.