Hole In Throat With White In

TARANTINO FOR THE DIRECTION OF THE THEATRE: THE DEBUT IN playwright's "Triptych "

Oreste Valente in the role of clown-Dresser

The clown that hosts the property, the public in the foyer is the same one that shows a certain way the American author of this triptych and splendid interpreter novice at seventy years: Mister Antonio Tarantino.

The lovely person who has the stage to explain the reasons for this debut and what he has learned from this experience (to be more careful in what he writes because the actors must then learn it by heart) wins since the expression of bright eyes, expressive accent and always with an ironic, spoken by the spontaneous and genuine. His intelligence and his clarity in the photograph accompanying the contemporary his being on stage. He has fun, we laugh.

laugh, even if it portrays the misery, poverty and economic relations dramatic: Rome-Bacau starring an elderly ex-worker and a young Rumanian forced to beg. Among the various attempts of exploitation of man against the girl the two find themselves sharing the same destiny of isolation to find out to depend on each other as if they were husband and wife.

The irony that Tarantino manages to even express in the representation of despair without a horizon of hope is our gift to these dark times, an infectious joyousness that emanates from the intelligence of dramatist.

Il secondo atto breve, Medea , vede in scena una donna assassina dei propri figli e vittima del tradimento del marito. Figura femminile che si riferisce chiaramente alla Medea del mito, ritrova il suo Giasone ormai vecchio e consumato, e decide di perdonare il passato di dolore: se "Dio non c'è per nessuno" , i rapporti umani invece restano, sopravvivono alle macerie di una vita frantumata per continuare a essere una consolazione e una speranza. Intensa l'interpretazione di Gilda Postiglione, figura femminile lacerata ma che mantiene la forza coriacea dei sopravvissuti.

Il Trittico termina con Telesogni e l'intervista condotta da un improbabile quanto realistico presentatore tv (a Oreste Valente in part, after being dubbed the clown) who reveals the mechanisms of media manipulation and then give concrete evidence by interviewing an elderly person who lives in Turin in a squalid attic of a building being invaded by immigrants. The man is the mouthpiece of the most stupid prejudices against foreigners, showing his ignorance improper use of the term "racist". The finish is all positive: a new life is born and before the future that makes the meat even harder the heart is moved.

Get in the game at seventy years is a labor of love for the theater that was the author of memorable lyrics (from Stabat Mater With which she opened in Ramallah House) and is a serious and fair play towards the public: the vitality, humor, positivity of the playwright make it clear that its not a habit senile, but a real need to communicate. His generosity as an artist who still has a lot to give to the theater. It affects his ability to photograph the contemporary gloss, and his deep knowledge of the text bring out in its interpretation, subtle aspects that would otherwise remain in the shadows.

With Gilda Postiglione and Oreste Valente form a close-knit trio that serves as the shoulder to the lively and creative director Cristina Pezzoli, in a scene dominated by three large frames that define the setting, suggest states of mind, serve as a backdrop. Give added value to the party directing the lights (suggestive cuts) and the rousing music of Roy Paci.

We hope to see you again in many other places: this show is valuable and is a gift to the theater that everyone deserves to see.

seen at the Teatro Out Off 27.II.2011

tritici

Antonio Tarantino

with Antonio Tarantino, Gilda Postiglione and Oreste Valente

directed by Cristina Pezzoli

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CRIME AMONG unconsciousness and the perversions of INSTRUMENTALISATION

How is a crime, namely: how to build a show. So, crime spectacularized.

The duo performer Fagarazzi & Zuffellato choose between these ten spectators waiting for the show early, sitting around tables in the white space, contemporary Area Pergolesi. They are blindfolded, then masked with animal heads, and finally made act in the space adjacent to where the audience: each other, unsuspecting actors in crime, the public is aware voyeur, in an area that does not allow clear visibility and therefore omit details and multiply ambiguous interpretations. The actions of the "actors", piloted by two performers of ex machina, are filmed by an operator, we are in the direction of the crime, which is decomposed and then be reassembled with text overlay and music, and then projected to with the public. The images take on a meaning that is constructed, piloted: the manipulation of the image, creating the crime of acts that are foreign.

Molto contemporaneo e attuale. Pedofilia, omicidio, incidenti stradali: si moltiplicano i crimini che vediamo (o crediamo di vedere) intorno a noi, nel vicino di casa o nei servizi che mostrano i telegiornali e la televisione. Una volta ci poteva essere il riferimento d'autore alla Finestra sul cortile . Ora, nella banalizzazione contemporanea, non ci rimane che il pubblico televisivo, il cui occhio critico è pilotato da registi invisibili ma che si conoscono benissimo. La forza dell'immagine è nota e da sempre sfruttata: in questo momento di medioevo culturale italiano siamo vittime e autori della sua strumentalizzazione: la subiamo passivamente (come solo la televisione può essere subdola), ne potremmo essere oggetto unconscious, but we are also authors, when we decide to believe the message that is constructed through the manipulation. Without losing the awareness that one day could contact to us to be actors unaware of the crime to which we have participated. In this performance all contribute to what is happening: the point of view depends on what role you assume, in a continuous exchange referred to by its title, text mirror of the word crime.

original variation on the theme, addressed by groups of innovation and entertainment closer to the tradition of media power of the image, this pair of artists added to the active involvement of spectators and the reversal of roles and create a personal niche in the multiplication of languages \u200b\u200bthat the current scene has to offer.

Area saw the Pergolesi 26.II.2011

ENIMIRC

idea, creation and direction of Andrea and I-Chen Fagarazzi Zuffellato

Tally Problem Of Memory Access Violation

FAMILY CIRCUS OF EXISTENCE IN THE DANTE

The contemporary family is no escape: the first and basic social nucleus, and dell'individio development environment, is explored in its internal mechanisms to discover who has no chance of a positive evolution.

Gaddo Bagnoli, founder and director Artistic Nude company Scimmmie (born 2003), has created a on Man Trilogy, which consists of three shows that self-develop themes relating to three different aspects of life: Pauraedesiderio , machines and this 'Finally, Perversions. Understood not so much, not only as a sexual perversion: the first and most immediate horizon of meaning is rejected by the thematic richness of the drama (author of the Bagnoli). It refers rather to the etymological sense to reverse the order, the good turn for worse: it is in the family - which should be a place of security, absolute love (ie 'untied' from any purpose other than the good of others), education, development - that are cultivated physical and psychological violence, destructive ideologies, monstrous behavior.
The show is played on the fabric of hypocrisy of the characters, theatrically explicit in the setting reminiscent of the circus and that's the refers to Pirandello SOVR affixing life-stage, choral and dramatic scenes in which all the characters show off in front of the public smiles and harmonies that are just the facade that hides the troubled relations between the characters. Brother and sister, parents and children, husband and wife, uncle and nephew relationships are the fertile soil in which each grow their own perversions. That, as claimed by Bagnoli, should be "one of the essential creative means that man uses to investigate about its 'being' and his 'do'" . And instead become an instrument of oppression, but also of self-punishment: both victims and perpetrators, predators but also prey. All in search of their identity from the other state to have a role in this society: the relations are nothing if not a game of roles (father-master, slimy uncle, the woman-mother in sexual frustration, his brother to be stronger than the sister). "Lack of identity, lack of existence" , is repeated in the show.
The company, the debut of the trilogy in 2008, has pursued a style based on the lack of naturalness of expression, the abandonment of psychologism on which much of Western theater. Effective choice: the separation, rather than emotional involvement, can activate the critical consciousness in the viewer, and is the only purpose for which it must seek the theater that addresses these issues. With an eye to cruelty of Artaud and one at Brecht's epic theater. We can not but mention the recent Canicani Stefano De Luca: ways and styles, both directors have gone in the direction of the non-naturalness of communication. Evidently there is a strong need to shake the critical sense of the spectator in the face of contemporary everyday life, family, where children are still victims of frustrated parents, too busy to assert themselves or too busy trying to establish itself with the authority of dictators. In recent years it has changed the meaning of crime in the family: we are no longer facing the quiet people singing Subsonica ten years ago in reference to the massacres carried out in the family. The drama is not only the blood of the massacre, but it's a daily violence that is consumed in the home without being on the outside and therefore even more treacherous and hopeless.
The show has its own identity style, certainly mature and improve, but based on the representation of the elements that make immediate communicative to the public: objects (and costumes) become symbols in the game of the theater (the table becomes the podium for his father-dictator, mirror, table , bed, slide, and the scarf as a blindfold, and is used as rope chains), the music accompanies scenes complete the meaning, the stage movements refer to the meanings clear.
The Naked Apes are maintained by foreign provocations too easy, obvious and banal. No mention of current events expected in the representation of morbid attention of his uncle against the nephew, not free in the representation perversions. Fortunately, we are faced with a group that has a real urgency to search within man, and leading this research with rigor and without discount, by staging a lot of material which requires a further study (never like this If the completeness of the result would be sterile) to strip in a decisive manner by residues of psychologism that weaken the drama, and to enter an even more decisive in the flesh of the issues investigated. To be even more cruel .

seen at the Theatre of the Contradiction 24.II.2011

staged at the Theatre of Contradiction until Sunday, March 6.

PERVERSIONS

Gaddo a show with Claudia Bagnoli

Franceschetti, Igor Loddo, Andrea Magnelli, Marco Olivieri, Laura Rinaldi

music of Bon and Sebastian Francesco Canavese

collaboration with Ian Magilton and the Roy Hart Theatre

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" I do not understand Luisa "acrylic and marker on canvas 50x50

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EMMA CRT: a" trilogy "by the explosion of TV UNFINISHED

seems to be the year of trilogies and triptychs. In addition to the more popular - The trilogy with the critically acclaimed holiday Toni Servillo - have followed the trilogy on the family signed by Aquilino directed by Stefano De Luca (who at the Teatro di Monza Track 7 presented Mamma mammazza , Verginella and finally, in the first national Canicani ), the trilogy about the Man of investigation conducted by the company Monkeys Nude ( which begins on February 24 to Theatre Contradiction the concluding chapter, Perversions , which we discuss in the next few days) we will witness the Triptych Tarantino, which debuted last night Teatro Out Off the and will remain on stage until Sunday, and we have seen awaited Trilogy glasses Emma Dante, at the Teatro CRT until March 6.

great anticipation for a show presented with many honors (the ones that are always missed the director, often questioned, but recently, say since he directed the debut of the season at La Scala last year, we are very sparse) . The trilogy consists of three short acts independent ( Acquasanta , Zisa Castle , Ballarini ), but trails by a common thread that unites them is the theme of marginality to be investigated through three different stories , three characters from three different conditions. Poverty, sickness, old age. The hub cloves from the mainland on which it was abandoned dreams of the sea (love and a sense of his life), the catatonic boy Nicholas, attended by two little nun who squeak in a frenzy of gestures and bickering, an old pair of dancers that traces its life back in the skies brighten, before a return to this sad lonely vedovale.

all wear glasses, which should be the accomunante element is that it is absolutely marginal - as acknowledged by the same Emma Dante, which are irrelevant because they put them in the title. Only in the first chapter also has a dramatic value, to characterize the different characters interpretati dall'eclettico e travolgente Carmine Maringola, la cui interpretazione è così coinvolgente da far dimenticare le perplessità sullo spettacolo. Poche parole, tanta musica (popolare, trascinante), una gestualità esasperata che sembra sopperire alla povertà drammaturgica. Nel secondo capitolo le parole sono più rare (esplodono dalla bocca di Nicola, che con trasporto infantile e commovente si immagina di avere davanti il castello della Zisa), per scomparire del tutto nell'ultimo. L'impressione generale è che si tratti di un lavoro incompiuto, di una fase di transizione verso una forma scenica ancora da trovare. Non immaginiamo dove possa condurre questa ricerca: a un arricchimento della parola attraverso elementi più instinctive and emotional gestures like the music? Or in total silence, relying exclusively on the dramatic visual and audio elements? Meanwhile, Emma Dante look, we remain perplexed.

Visually, the third chapter is lyrical and intense light of the cuts, the two trunks, but mirror opposites, the lights hanging in the sky to create an even more poetic representation of the two old, between memories of youth and sexual itches never dormant. Do not quote the classic round (Beckett, in this case), as is now very critical, in the absence of other benchmarks of the Classic puts in half a century (that much is never wrong). Classics the same filmmaker who says he has taken as a model. Another is the starting point of his theater, always looking for intimate conduct an investigation on the Man by elements that return constants (such as the presence of dialect, which makes it more authentic expression - but that sometimes seems a bit please 'too much' taste, as in the case of the Neapolitan narrow segments).

A work which still lacks an identity. Do not call it study, however: the study is a kind of representation that can not be used to define an event each time the work has failed completely. However the director is continuing to work with stakeholders to refine this Trilogy.

For a scene so visceral, so physical, so primordial as its surprising how you can enjoy it more intellectually than emotionally.

seen in the CRT 16.II.2011

TRILOGY OF GLASSES

Emma Dante

directed by Emma Dante

with Carmine Maringola (segments), Onofrio Zummo (Nicole), Stéphanie Taillandier Claudia Benassi (nuns), and Elena Sabino Civilleri Burgundy (old)

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EMERGE THOSE INVOLVED IN THE TRANSMISSION" COSI 'E' (SE VI PARE ) "

A cathode ray tube and an exploding TV game show that begins before the audience as if we were in a TV studio. Signora Agazzi, mother of Dino, wife of Councilor Agazzi, friendly SIRELLI who are friends of Mrs. Cini: they are participants in the game called So it is (if you like) . The purpose of the protagonists: to discover what relationships bind and such mysteries hiding three strange characters all dressed in black recently come to live in the country in which all observed, all whispering, all judge (morbid voyeurism and gossip that has now been translated into nell'intrusione each private event, limited in time to show). The trend of events is marked by the visits, which in turn are Mrs. Frola and Mr. Ponza, his son: the game is guessing which of them is crazy. And when he finally enters the elusive Mrs. Ponza, believed to clarify all doubts by bringing the incontrovertible truth, the facts are not explained at all. Pirandello has deliberately left the ending unresolved, implying a doubt in the viewer that is not resolved. In nearly a century of performances (the show debuted in 1917) have been given many interpretations of the role of three characters: Alessandro Averone, young director of this production of the Teatro Due of Parma, and already popular actor (include Demons Peter Stein, where he played the petty Piotr), closes revealing that it is a hoax (Castriana idea of \u200b\u200bmemory) that the three put in place against the bourgeoisie, represented in all their mediocrity through a recitation intentionally loaded (but without going to extremes of caricature).

"If a work of art survives only because we can still remove it from the fixity of its form" (Pirandello). It happens rarely attend intelligent operations on the classics: thick material for filmmakers who can not speak with their voice and use that the authors of the most brilliant of them well, the classics are cut, rewritten, betrayed, altered. Averone amazed us philological rigor of keeping the text and showing how it can rendere moderne parole scritte un secolo fa attraverso l'interpretazione e l'intenzione degli attori. Due ore senza intervallo che scorrono in maniera divertente (comicamente riuscite le musiche ispirate ai jingle televisivi), appassionante, intrigante. Grazie al ritmo senza nessun calo il testo viene esaltato nella perfezione dei suoi meccanismi drammatici.

Molto più spostato sul poliziesco che sul noir, forse manca un po' l'atmosfera misteriosa che percorre, sotterranea, tutto il testo.
Ci ha delusi, invece, la resa del personaggio della signora Ponza: si perde, scivola, non si staglia imponente e ieratica come vorrebbero il suo ruolo ambiguo e sibillino.

Nonostante some discontinuity in the deepening of the text (the monologue in the mirror Laudisi remains superficial, and the words of Mr. Ponza lacks the strength of its brutal and bestial character described by Pirandello) directing the show has found effective: we have already spoken of the scene; the characters are characterized with precision and consistency. In particular, the yield Laudisi is the paradox of the only blind person to understand the reality (to him, the raisonneur are entrusted with philosophical reflections on the definition of "truth"). Comedians (simply the posture and gestures) the character of Dino (the only "betrayal" over the original Dina) e quello della signora Cini; emerge la comicità grottesca anche in molti scambi di battute tra i personaggi (soprattutto tra i Signori Sirelli).

visto al Teatro Due di Parma il 20.II.2011

Guarda la video intervista con i personaggi

COSI' E' (SE VI PARE)
di Luigi Pirandello
regia di Alessandro Averone


Lamberto Laudisi - Paolo Serra
La Signora Frola - Tania Rocchetta
Il Signor Ponza - Rosario Lismar
Mrs. Ponza - Paola De Crescenzo
Councillor Agazzi - Paul Williams
Ms. Agazzi - Lauren Cleri
Dino - Luca Nucera
Mrs. Sirelli - Francesca Porrini
Mr. Sirelli - Massimiliano Sbarsi
Preferro - Nanni Tormen / Sergio Filippa
Ms. Cini - Cristina Cattelani

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the killings CONTEMPORARY FAMILY VIOLENCE BETWEEN DREAMS AND SUCCESS OF THE MANY FACES OF THE MOON

A violent father and never gets dull that the chair and has a vocabulary limited to insults and expletives. A mother with a frenzy of self-promotion and ambition success. Both victims subdued and imagination in the reality television that swallows a big void. An uncle coming from the seventies to the look, the contemporary chronicle for incest (with her sister): slimy and dominated the god money. A restaurant butcher-smooth and horrible, that the little family supplies of organs and meat as a delicacy to be served to customers. Then there are them, canicani , children victims of domestic violence, violence in society. Bred for meat, ready to be replaced by new children. A shop, the other prostitutes, the third raise their bodies because it is the only to have them healthy, but dies is going to be replaced fetus from a child of incest, the result of the violence of his father on his daughter. In the final suspended between surrender and resignation will be the voice of the girl child in the womb to defeat the violence of adults and leave open the hope of a future of integration and normality.

Issues shocking, those written by playwright Aquilino and staged by director Stefano De Luca, who with his company Lupusagnus has created a trilogy of family around the issues of domestic violence: Mamma mammazza tells of a mother who kills her son, Verginella of abuse, is the last Canicani chapter. Topics

so strong as to require a Brechtian detachment from the material and cathartic. Why the director has made a surprising stylistic choice: to represent the text in the form of musical . Operation as highly successful: the separation is functional, the surreal atmosphere and grotesque characters help to realize that violence is portrayed in the scene un'attinenza to contemporary realities and much closer to what could be perceived through the emotional .

Praise to the actors, all excellent, some overwhelming: Anna Ross (which gives a perfect voice and a charismatic stage presence to the mother) and Tommaso Banfi (uncle, original pulp and vaguely). The education can be seen, and makes a difference.

The contrast between matter and form of tragic comedy loses its effectiveness in the finale: the lyricism of the figures of canicani not fits well with the grotesque figures of adults. In addition, the intervention of the voice of the fetus appeared to personally step in the direction of too surreal.

some redundancy in the text and made the character of the father does not take away value to the work of De Luca, courageous investigator of the horror home. Survey conducted with professionalism, without complacency or rhetoric, but especially with so much sincerity and commitment in taking the role that each should have as a theatrical ideal communicate to the public, shaking consciences and proposing interpretations of this, giving the tools to help better understand the world in which we live. Do not want to provoke, but depth of content.

The passion in the words used by De Luca during a meeting at the end of the show we have the passion for a craft, the affirmation of the dignity of the role of the theater (as a means of redemption from the horrors of the company), respect for the public, and for once we heard the word that most missing in the theatrical world: dialogue , in this case between artists and audiences.

The audience responded with participation in this request comparison during the debate (preceded by the distribution of a questionnaire, which also had the open-ended questions) no one left the hall, but everyone who filled out a questionnaire and have followed the debate. That, however, was not at all trivial, but rather on and constructive.

We must say that this evening the public of the province gave a lecture to the Milanese and ready to participate and be cause to question, while the Milanese public is getting bored in an attitude of sufficiency, of foreignness, of closure. It is difficult to surprise the viewer metropolitan, more and more like a doctor performing an autopsy: it used to everything, consider the matter in front of him as an object of clinical analysis.

At the end of the show we held an hour talking with friends and experts: this is also a rarity and always a sign that there is substance to work with!

saw at Monza Track 7 of the 19.II.2011

Company LupusAgnus

CANICANI

Aquilino

director Stefano De Luca

with Marta Comerio, Tommaso Banfi , Anna Rossano

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-WOMEN'S SPECTACULAR VIEWS FROM PINA BAUSCH

Tanztheater Wuppertal Pina Bausch

Vollmond

Parlo di un incontro (avvenuto troppo tardi): il mio con Pina Bausch. E intendo dire proprio con lei , non con "il suo teatro, la sua arte, il suo linguaggio". In scena lei continua a essere presente: la sua energia si riflette nell'arte dei suoi danzatori per dare vita a una comunicazione sincera, autentica - e per questo così intensa e partecipata dal pubblico. Essere presenti (e non diciamo assistere perché questo termine porta in sé un certo senso di passività che è concetto improprio in questo caso) a uno spettacolo di Pina Bausch è un' esperienza nel senso più letterale del termine: è un mezzo per acquisire la conoscenza di un "noi" inteso come individui e un "noi" inteso come genere umano. 

Pina Bausch parla di entrambi quei noi . In Vollmond sono messi sotto la lente di ingrandimento l'amore e i comportamenti che gli esseri umani mettono in atto nelle relazioni sentimentali: ne esce un meraviglioso (anche qui in senso letterale: ammirazione e stupore provocati da qualcosa di grandisioso, insolito, perfetto) ritratto dei nostri sentimenti, delle (non) regole dei rapporti uomo-donna. 

Come sempre nei suoi spettacoli, anche in questo l'elemento naturale domina la scena, ispira e rappresenta le tematiche, ma soprattutto rispecchia la life itself: water, vital for excellence, and the moon, symbol of the feminine, intimate, the fickle, the delicate. Of women.

the female is a universe that Bausch has always explored, investigated with an eye guided by the explosion of authentic feelings and not by the rational representation of alleged (and presumptuous) sociological assumptions. Vollmond is a tribute to the woman, and is a beautiful coincidence that the only Italian replicas have coincided with the excitement around the event to protest the degradation of the figure and the role of women that is taking place in Italy. It 'was a pleasant surprise in the presence of room Nichi Vendola: even if the purpose could be part of the quest for consensus in a city on the eve of the elections, we must say that at least Vendola chosen class, culture and artistic excellence sensitivity. Shammah sighted near him (in addition to the pair of talented & beautiful-Gifuni Bergamasco) in the right place at the right time, it is not coincidence, and any attempt at criticism would look like envy.

were saying that Vollmond is a tribute to the woman, but not without criticism and drama, and is in the complexity and completeness of vision that becomes true, sincere. The excited woman in her femininity, in his grace, in its connection with nature. But the woman who suffers, who submits, which accepts violence.

drama, poetry, humor (a lot, like life itself requires) is a constant dialogue with the public that holds the fabric of communication. Simply put, all you need, and then managed, with attention to every nuance. Even the clothes and hair of floating splendidly beautiful dancers convey emotion.

Revolution and the immortality of Pina Bausch lies in the emotion of the dancer who finds a way to bring it out and give it to the viewer.

In Bausch's work, nature is always present, because - as said Dominique Mercy during the press conference presenting the show - "Nature is life." In Vollmond water is not simply a scenic element: the sound of rain makes sense, now flying, now mild, it exploits the presence with the spray, of games, is used as a river, swimming pool, lake. Is enhanced visual quality of the reflections of light, a few drops of silver (illuminated by the moonlight), the dynamics of wet hair.

The greatness of this artist is also in failing our expectations: it seemed that he lacked a final crescendo, and indeed the show live different moments of great intensity, but not a grand finale corale. Forse le relazioni amorose hanno troppe sfaccettature, sono troppo volubili per assumere una forma definitiva. Forse l'accordo e la complicità tra i sessi è solo una faccia di quella luna che cambia sempre. 

Facciamoci provocare dalla Bausch: "meglio l'amore tutto in una volta o un tantino di amore ogni giono?" .

Questa grande artista ha saputo interpretare e trasmettere la fragilità degli individui, il bisogno violento e graffiante di amore, di contatto, di unione. 

Tra le tante affermazioni trascurabili fatte durante la conferenza stampa, un concetto espresso da Escobar ci ha colpito: ci sono personaggi per i quali esiste un "prima" e un "dopo". Surely after having met Pina Bausch you can not have the same concept of theater that you had before.

seen at the Piccolo Teatro Strehler February 13, 2011

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SISTERS MAI - from March 16 to cinema

THE FILM

sisters Mai originates from Marco Bellocchio the direction of the courses to make films Bobbio, a city in the province of Piacenza where the director was born and where in 1965 he turned the work of his dazzling debut, Fists in the Pocket .

Divided into six episodes, the film tells the story of the family Mai, focusing on the relationship between Sarah, a young actress in search of success, his daughter Elena, the first child and then a teenager, his brother George and two aunts. In the background, the family home of Bobbio, an evocative space in cui finiscono per intrecciarsi i destini di tutti.

Accolto con entusiasmo all’ultima Mostra di Venezia, l’ultimo film di Marco Bellocchio è unico nel suo genere: girato nell’arco di dieci anni in completa libertà creativa, fortemente autobiografico, Sorelle Mai è il ritratto appassionante e ironico di una famiglia, delle sue gioie semplici e dei suoi drammi nascosti, supportato da un cast di rara sensibilità.

SINOSSI

Sara Mai (Donatella Finocchiaro) is an actress and lives in Milan, trying to assert itself, while his daughter, little Elena (Elena Bellocchio), spends most of time at the family home at Bobbio, where he is cared for by two elderly aunts (sisters Letizia and Maria Luisa Bellocchio). A Bobbio back often also the brother of Sarah, George (Pier Giorgio Bellocchio), more and more uneasy and uncertain about their future.

George and the two aunts are now Elena's family, until one day, after having obtained a major portion, Sara decides to take his daughter with him to Milan, and trasferrirsi in a bigger house. To do this, go back to Bobbio to formalize the sale of part of the house, finding an ally in George, despite the difficult relations between the two occurred in the past. The years go by, Elena grows and she back to live with her aunts, who are also home to a young high school teacher (Alba Rohrwacher) that, overwhelmed by his anguish of love, during the final scrutiny, for "absence" risks to reject a student. Even George returns to Bobbio, fleeing from debt and chased by two shady characters: this time will be his sister to help him.

The whole family will finally meet on the shore of Trebbia to attend a performance designed by his friend John (Gianni Schicchi Gabrieli), who, dressed in tails, he plunges into waters of the ancient river in the country where all people are born and where they spent their early youth ...

filmmaking

sisters Mai was carried out with the students of six editions of Film Making Workshop, draft training film that is held every summer at Bobbio for fifteen days under the direction of Marco Bellocchio. Since its inception in 1997, the laboratory was also supported by a film show opened to the public, starting in 2005, preso il nome di Bobbio Film Festival, durante il quale viene assegnato “Il Gobbo d’Oro”, con riferimento al medievale Ponte Gobbo, simbolo della città.

DICHIARAZIONI DI MARCO BELLOCCHIO

Ho accettato l’idea di tenere il laboratorio di regia Fare Cinema, a Bobbio, mettendo dentro all’esperienza qualcosa di personale che mi consentisse un atteggiamento non teorico ma di partecipazione and personal enjoyment. You see it in the movie a little girl, my daughter grow from four to fourteen. And the other son, twenty years older, still in disguise, as if chased by several ghosts ... In my story there was the youth rebellion and the courage of the posting, which has left me in regret or guilt, if not the inevitable confrontation between my fate and that of my sisters who instead remained in country.

Mai (Mai Sisters ") is a fancy name, but also alludes to the trap for the two sisters was the family. Without had the opportunity to live independently (in the sense that they have always been discouraged from it), always remained in the house as some young ladies of the nineteenth century, in a world Gozzano or grazing, or Chekhov. I'm younger than that I do not have responsibility for their objective of this "prison", but also feel a certain sadness in their lives comfortable disclaimers. And much love. Mai Sisters is dedicated to them.

The film is about a girl's growth and transformation of the environment around her. Having traveled over ten years and without any idea of \u200b\u200bcollecting gli episodi in un film, abbiamo lavorato in maniera libera, spontanea. Gli episodi nascevano uno dall’altro, da un anno all’altro. È il tempo il vero protagonista del film, ciò che ne regge l’intero senso, al di là di ogni valutazione estetica che gli si può dare. Che si conclude definitivamente nel tempo presente.

Ho inserito dei piccoli frammenti de I pugni in tasca non per una citazione intellettualistica, ma perché essendo gli stessi luoghi, gli stessi ambienti, mi piaceva inabissare improvvisamente e rapidamente la storia di Sorelle Mai in un’altra storia lontanissima nel tempo. Vissuta and represented the first fifty years. The house of my first film since then has not changed much. But, at least for me, no longer haunted.

Hurtswhen I Press On Stomach Six Months Pregnant

NOT TO BE MISSED - February 1a/2011

selection of shows that are worth seeing in the coming 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 soul and conscience vost!

"The 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).

"THE END"

where: Theatre 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 nosta clichés and contradictions of society.

"I love you more 'of God"
where: Teatro Puccini Elf
when: February 2 to 20
because it: for the text of Mimmo Sorrentino (on child sexual abuse committed within the family).

"ART"

where: Teatro Franco Parenti

When: 8 to 20 February

because it: for 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 for ! 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 is always good!

"THE TRILOGY OF GLASSES"

where: Theatre CRT

when: February 15 to 27

because it: directed by Emma Dante.

"Aumm"

where: Teatro Leonardo

when: February 15 to 27

because it: for text Gianfelice Facchetti.

"THE GIRL WITH THE FUR"

where: Area Tertullian

when: February 17 to 20

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

"Six Degrees"

where: Theatre Off Pim

when: 19 and 20 February

because it: to know work of the company's innovation Santasangre.

triptych

where: Teatro Out Off

when: February 22 to 27

because it: Anthony Tarantino for the text (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

perché vederlo: per la regia di Antonio Sixty.

                       

Queste segnalazioni will certainly be 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!

Dog Bed With Cedar Chips

LETTERS TO A "recipient unknown": the fragile boundaries of a friendship that ends

Association Otto & Marvuglia

unknown recipient

novel by Katherine Kressmann Taylor

with Massimiliano Lotti and Marco Pagani

director Gabriele Calindri

What remains of a friendship when challenged by changes in its assumptions, the misunderstandings, by the events of personal and historical events. The end of a friendship that tells the exchange of letters constitutes the novel by Kathrine Kressmann Taylor staged by Otto & Company Marvuglia. The fragility of human relationships is represented by the story of Max and Martin, an American and a German, close friends (including the sharing of the art dealers and the affection of a woman - a sister and a lover of Max Martin) among which rises a wall some time after Martin's return to Germany.

Friendship: the noblest feelings, the more sincere, the hearth to retreat in order to feel protected, is here rejected, disappointed, betrayed.

This is the fate of so many relationships around us, about us, that we are victims or responsible. But on stage you tell much more than a history of misunderstandings: it tells of an American jew, Max, and a German, Martin. We are in 1932, Martin returned home and met fatally theories of a new political leader of a new guide able to pull the country out of an economic crisis and values. Between the two friends coming down like a guillotine Hitler.

scene, made from very simple elements (a table, some paintings on easels, and especially the framed letters on the back wall), but invested with meaning by the careful direction of Gabriel Calindri (interesting lights and musical interventions not abused), becomes the place where the two protagonists speak without meeting: the structure epistolary correspondence is in the semantics of sharing a physical space where no space is reflected in the intimate feelings for each other.

outset that the two friends the stories you write a story, short stories inspired by happiness that always has in referring to shared situations, are shaded dall'insinuazione of the doubt, uncertainty becomes a premonition of disaster.

If the focus of the show is on the friendship even more than on historical fact, the true catastrophe lies in the betrayal of affection, which - without anticipating the course of history, to have an amazing and unexpected turn - lead to tragically fatal events .

Like all great novels, whose events are moving in turbulent historical contexts, this is elegantly engraved on political developments leading to the Holocaust. It is not intended to denounce the horror of the text. E 'investigate the human spirit in the face of crisis, change, the questions that the political situation requires. And 'show the weaknesses and fragility of feelings and ties when they take exceptional events, which reveal the contradictions and self-interest also deny that the past more established.

Martin denies friendship with Max jew, liberal theories deny, deny even the doubts that he felt towards' s Hitler, a dictator who plays the hopes, needs, the need of the German people to find a guide a head.

How to read a warning not worrying about this possibility to which our crisis situation can degenerate? They are the great lessons of history, so-called courses and resorts from which it seems that man can never learn to improve.

seen at the Teatro Verdi in Milan 5.II.2011

For information about the company: Otto & Marvuglia