EGG CRITICAL
be called
'CRITICAL NOVO!
Friday, October 24, 2008
Tuesday, July 15, 2008
Butane Advantages And Disadvantages
July 17 21:00
REMOVE FROM GHOST FESTORIA '09
Come Thursday, July 17 at 21 at the hall
Nevera the municipal library of Saronno.
Come to catch your shadow will create another
yourself that will be with you, and help ensure that the FESTORIA 2009 "there is a shadow of someone."
ps: remember to bring your shadow to Festoria!
Free offer for every shadow captured (at least 5 €) 
REMOVE FROM GHOST FESTORIA '09
Come Thursday, July 17 at 21 at the hall
Nevera the municipal library of Saronno.
Come to catch your shadow will create another
yourself that will be with you, and help ensure that the FESTORIA 2009 "there is a shadow of someone."
ps: remember to bring your shadow to Festoria!
Free offer for every shadow captured (at least 5 €)
Tuesday, June 17, 2008
90's Hairstyles For Women
the ninth evening
video
April 16 2008_nono appointment EGG CRITICAL
Muta Imago il suo DEPOSITO è stata osservatrice dell'esperienza 2008.
a cura di PODOFF
April 16 2008_nono appointment EGG CRITICAL
Muta Imago il suo DEPOSITO è stata osservatrice dell'esperienza 2008.
a cura di PODOFF
Friday, May 30, 2008
What Chocolate Do You Use For Scrolls?
Association
RECOVERY CENTER ARTS AND CRAFTS
Presents
Sara Telloni
UNLIMITED
essay by Francis Calati
Opening Sunday, June 15 18:00
What is a limit? It is a boundary between two different reality, which introduces a threshold to another, a softened contours, while a gradient that league. The limit is a tangle between two inseparable things, divides them, but at the same time differentiate them in the league. This is the key idea of \u200b\u200bthe artist, that common thread that unites these installations that cover the last three years of research. It is a common thread di lana grezza che ci accompagna in questo percorso di reinterrogazione dei nostri limiti: un viaggio di andata e ritorno tra due città, fra luce e ombra, fra ricordo e presente, fra il visibile e il celato. Molteplici opposti che si interfacciano mediante un solo elemento di confine, un’unica soglia fra universi paralleli: l’esperienza dell’artista.
La poetica di Telloni, mira a trarre il qualcosa, il c’è da dove, solo apparentemente, si vede solo il nulla. Limitare è la pratica di ognuno di noi, tracciare confini, comparare e separare, mettendo muri e barriere anche dove non vi è necessità. Sfumature fra realtà e differenze che accomunano: il limitando è questa particolare ricerca artistica and spiritual. See the hidden connections between things, focus on the idea, innermost essence of them.
Two poles, two stimuli, two radically different but closely united city from the bush-limiting who is the artist. A book of colors, feelings and memories indelibly fixed on handmade paper by the imagination: the nuances that combine the image of the real and imaginary extension with his sensational. Snapshots of the time that has passed that presentificano in the act of observation and provide for. Places of transit and hidden stories of colors and feelings.
limits and boundaries, places and times: Unlimited instant that flow constantly becoming mano a mano altro da sé. Frammenti che divengono passati, senza più limite: conserve dei nostri ricordi. L’essere delle cose è il divenire e il nostro pensiero deve essere una dinamica del divenire, poiché ogni cosa diviene altro da Sé, interrelandosi coi contesti, con i particolari significati che ognuno gli dà. Attimi sospesi, sovrapposizioni, questo è il sapore dell’opera dell’artista.
Se pensiamo il divenire non possiamo più credere in esseri e cose distinte, limitate e contrapposte, dobbiamo credere in un essere del divenire stesso: questa è la funzione dell’Il limitando, la serialità e continuità del limitando, come funzione umana, negata dall’Il che apre i confini di quella dimensione pre-oggettiva, in cui tutto è continuo, indiviso e illimitato…
Sara Telloni (Saronno, 1981). Vive e lavora a Milano.
Associazione
CENTRO RECUPERO ARTI E MESTIERI
Via Ramazzotti, 43
(Ang.Via V. Monti)
21047, Saronno (VARESE)
La mostra resterà aperta dal 15 al 29 giugno
Orari: tutti i giorni ore 15 – 19.30
Ingresso Libero
Informazioni presso la mostra
Tel. +393881824192;
e_mail: superetta@libero.it
Sunday, May 25, 2008
Friday, May 23, 2008
Watch Sean Cody Online
EGG criticism is not finished! EGG
All'interno della manifestazione Teatri di Vetro, la scena indipendente sono previsti sei momenti di discussione e di approfondimento intorno a percorsi e progetti che hanno dato un contributo significativo alla scena del presente. 
All'interno della manifestazione Teatri di Vetro, la scena indipendente sono previsti sei momenti di discussione e di approfondimento intorno a percorsi e progetti che hanno dato un contributo significativo alla scena del presente. Gli incontri sono ospitati dalla Casa del Municipio Urban Center Roma XI - Via Nicolò Odero, 13 ( www.teatridivetro.it ).
EGG CRITICAL - new appointments between criticism and performance scene saw made eight new appointments between criticism and performance scene between February 29 and April 16, 2008 at the space Kataklisma theater - Via G. De Agostini, 79 - Rome. The project started from the consideration that the new theater of research needs that the subject "critical" is inserted in the report show / viewers by providing timely and accurate maps of the proposal stage. The criticism has been placed in the center of the project as privileged, role in the development of a critical thinking about culture and a bridge between the artist and the audience, another actor directly involved in the process.
In Theatres Glass 2008 EGG CRITICAL creates a meeting with the critics and the companies involved. presents the work done, taken from video evenings, and the reflections and the nodes have emerged in meetings and in subsequent debates. are invited to participate critics, artists and audiences to explore and groped to define the "critical" point of this first edition of the project. All materials collected, including interviews and reflections of the artists and critics who have implemented the meeting and the footage of the evenings, you can see on the blog http://uovocritico.blogspot.com , as well as on the site of Podoff media partner.
Critics:
Donatella Bertozzi, Mariateresa Surianello, Marcantonio Lucidi, Gianfranco Capitta, Attilio Scarpellini, Nico Garrone, Lorenzo Donati, Antonio Audino In Theatres Glass 2008 EGG CRITICAL creates a meeting with the critics and the companies involved. presents the work done, taken from video evenings, and the reflections and the nodes have emerged in meetings and in subsequent debates. are invited to participate critics, artists and audiences to explore and groped to define the "critical" point of this first edition of the project. All materials collected, including interviews and reflections of the artists and critics who have implemented the meeting and the footage of the evenings, you can see on the blog http://uovocritico.blogspot.com , as well as on the site of Podoff media partner.
Critics:
Company: Maddai, Alessandra Cristiani, Teatro Sotterraneo, Reggimento Carri-Roberto Corradino, Psicopompoteatro, Kataklisma, Gramigna_ct, Muta Imago
"Uovo Critico è stato uno dei rari casi in cui i fatti, anzi il fare, ha superato la noia delle annose questioni, semplicemente attuando una pratica. Non era semplice far funzionare una cosa così, e siamo soddisfatti di averne fatto parte"
(Teatro Sotterraneo)
Thursday, May 22, 2008
Microwave Riddle For A Treasure Hunt
Critics' Theatres of Glass "
videos
videos
Mandigo 3gp Free Movies
the eighth night
videos 
March 28 2008_quarto appointment EGG CRITICAL
Tank Regiment - Roberto Corradino
Tank Regiment - Roberto Corradino
Wednesday, May 21, 2008
Monica Roccaforteclips
the seventh evening
Deposit May 1
Deposit May 1
I run into other "supporting documents" to my thesis on the need to overcome the deconstruction: they date back to the essay by Pasolini The end garde. The consequence - Pasolini argues - is that the language-garde (and has targeted the Group '63), destroying the power of the word significant and metaphorical, occurs "[...] without shadows, without ambiguity and without drama, as the forms of academic papers or impersonal." The problem that the edge has not been able to address is how to deal with reality without devitalized and anesthetized, as stated '[...], the author wishes to express a "sense" rather than of meaning. So to make something happen in his work. Thus always to evoke directly the reality, which is the seat of a transcendent sense meanings. "
Compared to a reality so profoundly changed, the writer noted, both methods are inadequate commitment that those old Marxist-garde, one must expect an art that is able to face the present, evoking the sense of suspending, creating works ambiguous, without giving up the commitment, that is the reality.
Liberation
The end-garde (Notes for a sentence of Goldmann for two lines of a text-edge, and an interview by Barthes)
, in Id, 
Empiricism heretical
, cit., p. 130.
Rome, May 1, 2008 Valentina Valentini
, cit., p. 130.
Rome, May 1, 2008 Valentina Valentini
Monday, May 19, 2008
Worsester Boilers Resey Button Flashing
the fifth night on the fourth evening
The Board theatrical
The Board theatrical
28/04/2008
Guests of this episode of Noises Off ULDERICO FISH
, who speaks of his two new shows -
their bread-Stories from a Republic founded on lavoro
, direttrice artistica e organizzativa di
UOVO CRITICO - un'iniziativa realizzata nell'ambito di
per immagazzinare questioni, ossessioni, riflessioni, rilevare costanti, tracciare scie, lasciar cadere briciole o sassolini come Pollicino (in modo da non perdere la strada del ritorno a casa)
, nel tentativo di individuare ed aggiornare una mappa dell'attuale scena performativa. Il Triangolo degli schiaviand discovers the beauty of their ethnic origins, the adventurous journey made to arrive in southern Italy, the relationship with the smugglers, the hospitality in the Temporary Reception Centres, expulsion, illegal immigration, slavery and exploitation in which they are subjected to corporal and owners who make them work for fifteen hours a day in exchange for twenty euro. Ambrose is doing the same struggle that had done 50 years before her grandmother Crowned against the landowners and in favor of land distribution to peasants. But the farm workers who occupied the land in the '50s had a name and a surname and a homeland. Now there is only the bitterness of a "no fight" for the acquisition of rights.è la storia di
Ambrogio Morra, nato vicino a Cerignola, in provincia di Foggia ed emigrato a Roma in cerca di un lavoro. Abita allo Scalo San Lorenzo, in una camera-veranda che si affaccia sulla tangenziale, dove, in cambio di un piccolo risparmio sull'affitto deve convivere e accudire circa 400 canarini che gli rendono la vita assai difficile. Ambrogio si sente come un profugo, isolato tra i canarini. Il lavoro non gli cambia, come aveva sperato la vita, that you drag from the compulsion to "live with the canaries and the heavy hours spent downloading the fruit markets in general. GrandmaCrowned, which alongside Giuseppe Di Vittorio took part in the struggles of "conquering the land," urges him to get in Apulia where they "returned the slaves" Crowned and where, now as then, you are replacing Italian fugitive to a State always supports and assists the illegal workers and exploited for the collection of tomatoes. Crowned grandmother urges his nephew Ambrose to do as you and tell and report what happens, "the many Polish and African exploited and killed in the Italian countryside." Ambrose became a friend of some immigrants
The meetings of Egg Critical can replay Blog
podoff
, an original podcast of Italian theater, where you can find news, event reports, reviews, presentations of the work of companies with video and slideshow, but also calls for applications and job opportunities and training. (Podoff.splinder.com) MAddAI Kataklisma because we have accepted that the mystery, the unspoken, the unspeakable is richer than the visible, clear and distinct certificate. is afraid to tell a story and convince you that you do not want to tell a story; contemporary culture is antinarrativa, antiaristotelica, antiinizio and end, the goal should always be indefinite but the stories are well impressed, as well as characters are printed (in programs) but you are afraid of the naturalistic theater to escape the mimetic and you fall in to escape the consequential dissociated you choose the iterative lack of training to become a performative for not being able to dominate your voice, breath, entries are sent off for fear of being trivial (concrete) is drawn to abstract concepts for fear of emotional escapes the feeling of fear unit is used to fragments to be in tune with the catastrophe without quality is not Yet the tragic attempt pain exists, we are not atrophied, the imagery is powered
: theater feeds him? How? With fassbinderiane mythologies, with science fiction? podoff
, an original podcast of Italian theater, where you can find news, event reports, reviews, presentations of the work of companies with video and slideshow, but also calls for applications and job opportunities and training. (Podoff.splinder.com) MAddAI Kataklisma because we have accepted that the mystery, the unspoken, the unspeakable is richer than the visible, clear and distinct certificate. is afraid to tell a story and convince you that you do not want to tell a story; contemporary culture is antinarrativa, antiaristotelica, antiinizio and end, the goal should always be indefinite but the stories are well impressed, as well as characters are printed (in programs) but you are afraid of the naturalistic theater to escape the mimetic and you fall in to escape the consequential dissociated you choose the iterative lack of training to become a performative for not being able to dominate your voice, breath, entries are sent off for fear of being trivial (concrete) is drawn to abstract concepts for fear of emotional escapes the feeling of fear unit is used to fragments to be in tune with the catastrophe without quality is not Yet the tragic attempt pain exists, we are not atrophied, the imagery is powered
NOTE 1
garde aesthetics, if deleting the first and second stories, amplify the bodies, athletes, acrobats, biomechanics, dancer, transparent, icon If dethrone the word, semantics, meaning, exploring sound, hairdryer, inventing a new language
utter the word as a battle with the body (and do not examples) broke continuity if garde aesthetics, if deleting the first and second stories, amplify the bodies, athletes, acrobats, biomechanics, dancer, transparent, icon If dethrone the word, semantics, meaning, exploring sound, hairdryer, inventing a new language
enter the rhythm, the musicality, the bulging, mounting large plots, polyphony
description landscapes, geometric horizontal, vertical, sinking: organic space is not self-sufficient mechanism NOTE 2
To get rid of an Aristotelian theatrical culture in which the connections were well knotted it took almost a century, from the avant-garde movements until the twentieth century, with the various regressions of the crisis of socialist realism from which one will pop up in the sixties with the economic boom, it shows the Robbe Grillet, il gruppo 63 in Italia, gli happening e Cage,
il decostruzionismo negli anni settanta radicalizza gli assunti e li porta in tutti i campi, non solo artistici (filosofici, antropologici)
demolisce le impalcature Il postmodernismo porta a compimento la demolizione dell'edificio semantico, compositivo. 
Ma l'obiettivo a partire dall'astrazione, non era quello di desensorializzare, quanto di vivificare la realtà, togliere le scorie per mettere a nudo il cuore pulsante.
Ma l'obiettivo a partire dall'astrazione, non era quello di desensorializzare, quanto di vivificare la realtà, togliere le scorie per mettere a nudo il cuore pulsante. Dov'è la crepa attraverso la quale chi rilegge Fassibinder, Pasolini, Medea, puts himself and rips the frame that you created?  Yet the knowledge is there, there is ignorance: how to make them interact in their own? How to take courage? Thank you for giving me this opportunity for reflection | |
by PODOFF
| |
|
by PODOFF
| closes the 2008 edition with a two-day meeting to which you add the "extra" Kataklisma four boys and spend time watching people. Sometimes a word. Sometimes a dialogue. A contact. Then one day a stranger arrives.
www.myspace.com / gramignact
ROME
gramigna_ct
- theater collective, a variable geometry structure. At its core is fixed by factors other than adhering to individual projects. Produce shows and performances. The performers come from the theater, contemporary dance, Butoh and by continuing a career parallel more closely associated with these languages. The collective work merges the individual paths in search of an actor's consistent presence, full, syntactically theater, but can include the abstraction of your choreographic language. We are looking for ways emotionally communicative stage, we like the metaphors of the contemporary fair.
Lorenzo Donati
- scholar and theater critic. He is one of the founders of the project in
More Speed, writing intermittently about the performing arts. It is part of the "Guide" of non-school the Teatro delle Albe in Ravenna, where he leads a laboratory observation of writing for the theater. Collaborates with the magazine Hystrio 'and Cape Town Radio Metropolitana di Bologna. He is a member of the Board of preset "GDA", young danz'autori Emilia-Romagna, and the jury "They Rhine, independent theater in Emilia Romagna.
ROME
gramigna_ct
- theater collective, a variable geometry structure. At its core is fixed by factors other than adhering to individual projects. Produce shows and performances. The performers come from the theater, contemporary dance, Butoh and by continuing a career parallel more closely associated with these languages. The collective work merges the individual paths in search of an actor's consistent presence, full, syntactically theater, but can include the abstraction of your choreographic language. We are looking for ways emotionally communicative stage, we like the metaphors of the contemporary fair.
Lorenzo Donati
- scholar and theater critic. He is one of the founders of the project in
More Speed, writing intermittently about the performing arts. It is part of the "Guide" of non-school the Teatro delle Albe in Ravenna, where he leads a laboratory observation of writing for the theater. Collaborates with the magazine Hystrio 'and Cape Town Radio Metropolitana di Bologna. He is a member of the Board of preset "GDA", young danz'autori Emilia-Romagna, and the jury "They Rhine, independent theater in Emilia Romagna.
Monday, April 21, 2008
Morrowind Chunk Size Too Big
DEPOSIT last
is online interview between Elvira Frosini, artistic director and critic Kataklisma de La Repubblica Nico Garrone, players in the sixth round of EGG CRITICAL 2008.
by
PODOFF
is online interview between Elvira Frosini, artistic director and critic Kataklisma de La Repubblica Nico Garrone, players in the sixth round of EGG CRITICAL 2008.
by
PODOFF
Tuesday, April 15, 2008
Linsey Mckenzie Computer
Muta Imago podcast Theatre Underground
Friday, April 11, 2008, 21 h 
Kataklisma
the first study of : Elvira Frosini with: Isabella Di Cola, Vincenzo Manna
kataklisma@kataklisma.it
KATAKLISMA - work around the presence / absence of the body on stage, the transition, the gap, the gap that opens and the imminence of that takes place, focusing attention on the problem of representation. It crosses genres and breaks up, signs and groped for ways to re-code language and meaning at the moment, escaping to a programmatic classification.
The other theater in which he describes the experience of the "Roman cellars."
the first study of : Elvira Frosini with: Isabella Di Cola, Vincenzo Manna
kataklisma@kataklisma.it
KATAKLISMA - work around the presence / absence of the body on stage, the transition, the gap, the gap that opens and the imminence of that takes place, focusing attention on the problem of representation. It crosses genres and breaks up, signs and groped for ways to re-code language and meaning at the moment, escaping to a programmatic classification.
The other theater in which he describes the experience of the "Roman cellars." How To Make Gurkha Knife
reflections Marcantonio Lucidi
to get an idea of \u200b\u200bhow it went
to imagine what can be expected in other meetings
to get an idea of \u200b\u200bhow it went
to imagine what can be expected in other meetings
Tank Regiment - Robert Conrad PsicopompoTeatro and artistic director of the "critical-hand" Attilio Scarpellini, players in the fifth round of EGG CRITICAL 2008.
by PODOFF
Monday, April 14, 2008
554 554 Delivery Error
the third evening
Friday, April 4, 2008, 21 h 
PsicopompoTeatro
PRENOTAZIONE OBBLIGATORIA
PRENOTAZIONE OBBLIGATORIA
Nell'unica tappa extra cittadina di
UOVO CRITICO — inserito nel progetto quadro della Provincia di Roma 
Scenari Indipendenti — si incontreranno la poetica policentrica di PsicopompoTeatro, che porta già nella radice del proprio nome il concetto di frontiera, e il "critico d'occasione" Attilio Scarpellini.
Scenari Indipendenti — si incontreranno la poetica policentrica di PsicopompoTeatro, che porta già nella radice del proprio nome il concetto di frontiera, e il "critico d'occasione" Attilio Scarpellini. La stravaganza
Performer: Simon Senzacqua 
This work is one of seven that make up the 'Eptalogia of Hieronymus Bosch "the Argentine playwright Rafael Spregelburd. The corpus is inspired by the board of the seven deadly sins of the Flemish painter, but is personal, and tries to show evidence of the fall the modern order, an order that our thought. Where is the deviation when it is not a center? Can the offense when there is no fundamental law? The seven deadly sins (Pride, Avarice, Wrath, Lust, Envy, Sloth, and Throat) have migrated to other orders in this Eptalogia moral, to a delusional "mapping" of morality, where the research center is the engine of the investigation on the become desperate.
info@psicopompoteatro.it ROME
PSICOPOMPOTEATRO - was established in 2001 jointly by Manuela Cherubini, Luisa Merloni and Patrick Romeo. Psicopompo means "ferryman of souls," the attribute that characterizes liminality of Hermes, the threshold, the border. Works in an invisible thread, a sensitive area that includes the audience, urged a revival of the audience, get familiar with the through the staging.
ATTILIO Scarpellino - journalist, essayist and "opportunity critic." For five years he has written about theater in the weekly "Diary." Collaborates with the magazines "New Topics" and "Paper", is editor of the weekly on-line criticism Differenza.org
, deputy director of the monthly "Present Tense" and president of the independent journalists Letter 22.
Things To Put In A Card
DEPOSIT
Subterranean Theatre in Egg critic found himself in his element. So thank you. Kataklisma, Transparencies, Podoff. The public. Studies, open rehearsals, demonstrations work, are all things that pertain to the practice of this group. Make a piece of work away from the debut is also extremely useful for us: clarifies, (re) direction, denying or confirming the resolution of certain problems. A Critical Egg we could see a lot. The meeting after the test has also touched some raw nerves of our shared alphabet, some theoretical aspects on which there is often no time to find a summary: we leave Kataklisma more aware of where we are on the production and stressed on the level of ' self-analysis. This is due to Marcantonio Lucidi, which broke between us and our objects has left his mark as a few. But we owe it to the strong participation the public, both in response to the work during the meeting, where some interventions have been able to move in a very interesting and we took what we focus our research in an almost bewildering. So we opened to the public is served once again: Critical Egg was one of the rare cases where the facts, or rather do, has exceeded the boredom of the long-standing issues, simply by implementing a practice. It was not easy to run something like this, and we are pleased to have been a part.
Subterranean Theatre
Subterranean Theatre in Egg critic found himself in his element. So thank you. Kataklisma, Transparencies, Podoff. The public. Studies, open rehearsals, demonstrations work, are all things that pertain to the practice of this group. Make a piece of work away from the debut is also extremely useful for us: clarifies, (re) direction, denying or confirming the resolution of certain problems. A Critical Egg we could see a lot. The meeting after the test has also touched some raw nerves of our shared alphabet, some theoretical aspects on which there is often no time to find a summary: we leave Kataklisma more aware of where we are on the production and stressed on the level of ' self-analysis. This is due to Marcantonio Lucidi, which broke between us and our objects has left his mark as a few. But we owe it to the strong participation the public, both in response to the work during the meeting, where some interventions have been able to move in a very interesting and we took what we focus our research in an almost bewildering. So we opened to the public is served once again: Critical Egg was one of the rare cases where the facts, or rather do, has exceeded the boredom of the long-standing issues, simply by implementing a practice. It was not easy to run something like this, and we are pleased to have been a part.
Subterranean Theatre
Thursday, April 10, 2008
Sphere By Master Lock
Against the mice thought It's called" Egg critical "and is a comprehensive project from the subtitle:" new appointments between criticism and performance scene. " The leaders of the initiative, Laura Elvira Frosini and Blacks, have identified eight companies each, and combined with a young Italian critic who follows in his representations of the Roman period through meetings, conversations, interviews. The other day in all'Arvalia poster, were the Florentine Theater Underground have proposed two collective creations, Eko 
and One-off . The second is a retrospective study of a previous production,
Post-it , dalla quale sono stati tratti i materiali. Quindi già il fatto di realizzare una ricerca post facto dà idea del metodo di costruzione e decostruzione continua delle immagini e delle azioni sceniche che il gruppo pratica. Infatti gli artisti del Teatro Sotterraneo, quattro performer e un dramaturg, si autodefiniscono così: «Un collettivo di ricerca in cui cinque elementi coabitano una pratica orizzontale che va dalla progettazione del prodotto scenico alla sua circuitazione». Non c'è un regista, si fa tanto laboratorio, e un dramaturg, figura di derivazione tedesca, offre la partitura verbale, una serie di «ponti di parole» che permettono, quando necessario, di saldare i vari momenti di uno stile di rappresentazione eminentemente view all physical action based on gesture, posture, the sign. Until it reaches the clowning. Interesting: forcing the viewer to decrease wakefulness, even alarm, rationale for relying on intuitive consciousness. All this recalls the seventies, especially in the proposal stage of differentiation between writing and dramatic writing, and hence there is also the impression that the group owes something to the graphics for the Internet, where pages are places where different things happen at the same time and often disconnected from the usual logical cause and effect relationship in favor of a similar report. In this sense, the tendency of analogy, one could define what is seen in a theater scene of the feminine nature, ossia meno statuario, affermativo, argomentativo, di quello tradizionale, drammaturgicamente strutturato, che diremmo maschile. Epperò altrettanto organizzato se non addirittura più rigoroso perché quanto mai delicata e fuggevole è la rappresentazione dei processi intuitivi e delle concatenazioni concettuali analogiche fondate su principi di somiglianza, riconoscimento, identità. Poi c'è la questione, esterna allo spettacolo, del rapporto fra artista e critico. Negli anni Settanta, la prossimità eccessiva fra chi opera e chi recensisce a lungo andare ha generato mostri. Una relazione che poteva essere feconda si è degradata, come molte cose in Italia, in un sistema di promozione del potere intellettuale e al vantaggio economico di vari critici e di qualche artista. Poi, la temperie storica mutata, la critica cosiddetta militante è finita ma ne è rimasta una parodia, fascistoide nel suo essere decadente e autoritaria, atta a giustificare il perdurante clientelismo. Un fenomeno che, va detto, è avvenuto soprattutto a sinistra (anche perché a destra, critici teatrali con un minimo di levatura se ne sono contati assai pochi). "Uovo critico" quindi è una lodevole iniziativa volta a mutue conoscenze e riconoscimenti. Merita di crescere e diventare una nuova rete di relazioni nel campo del teatro. Vigilando che su questa rete non si mettano a correre, come già successo in passato, i topi del pensiero.
and One-off . The second is a retrospective study of a previous production, Post-it , dalla quale sono stati tratti i materiali. Quindi già il fatto di realizzare una ricerca post facto dà idea del metodo di costruzione e decostruzione continua delle immagini e delle azioni sceniche che il gruppo pratica. Infatti gli artisti del Teatro Sotterraneo, quattro performer e un dramaturg, si autodefiniscono così: «Un collettivo di ricerca in cui cinque elementi coabitano una pratica orizzontale che va dalla progettazione del prodotto scenico alla sua circuitazione». Non c'è un regista, si fa tanto laboratorio, e un dramaturg, figura di derivazione tedesca, offre la partitura verbale, una serie di «ponti di parole» che permettono, quando necessario, di saldare i vari momenti di uno stile di rappresentazione eminentemente view all physical action based on gesture, posture, the sign. Until it reaches the clowning. Interesting: forcing the viewer to decrease wakefulness, even alarm, rationale for relying on intuitive consciousness. All this recalls the seventies, especially in the proposal stage of differentiation between writing and dramatic writing, and hence there is also the impression that the group owes something to the graphics for the Internet, where pages are places where different things happen at the same time and often disconnected from the usual logical cause and effect relationship in favor of a similar report. In this sense, the tendency of analogy, one could define what is seen in a theater scene of the feminine nature, ossia meno statuario, affermativo, argomentativo, di quello tradizionale, drammaturgicamente strutturato, che diremmo maschile. Epperò altrettanto organizzato se non addirittura più rigoroso perché quanto mai delicata e fuggevole è la rappresentazione dei processi intuitivi e delle concatenazioni concettuali analogiche fondate su principi di somiglianza, riconoscimento, identità. Poi c'è la questione, esterna allo spettacolo, del rapporto fra artista e critico. Negli anni Settanta, la prossimità eccessiva fra chi opera e chi recensisce a lungo andare ha generato mostri. Una relazione che poteva essere feconda si è degradata, come molte cose in Italia, in un sistema di promozione del potere intellettuale e al vantaggio economico di vari critici e di qualche artista. Poi, la temperie storica mutata, la critica cosiddetta militante è finita ma ne è rimasta una parodia, fascistoide nel suo essere decadente e autoritaria, atta a giustificare il perdurante clientelismo. Un fenomeno che, va detto, è avvenuto soprattutto a sinistra (anche perché a destra, critici teatrali con un minimo di levatura se ne sono contati assai pochi). "Uovo critico" quindi è una lodevole iniziativa volta a mutue conoscenze e riconoscimenti. Merita di crescere e diventare una nuova rete di relazioni nel campo del teatro. Vigilando che su questa rete non si mettano a correre, come già successo in passato, i topi del pensiero.
Marcantonio Lucidi
Left_21 March 2008
Tuesday, April 8, 2008
Linsey Mckenzie Full Set Blog
March 18 2008_terzo appointment EGG CRITICAL 
Underground Theatre resistono in Italia e oltre e vivono la dimensione produttiva come dimensione esistenziale e condivisione artistica? Essere gruppo e essere singolo, confrontarsi con gli altri e ascoltare ferocemente se stessi; praticare la solitudine per meglio rafforzare la propria voce, è stata ed è una dimensione connaturata alla formazione artistica (attore-regista, autore).
L'incontro con Roberto Corradino ha messo in evidenza – e l'ha sottolineato Nico Garrone – che l'eclettismo e la molteplicità variata delle pratiche sono invece diventate naturali nella costruzione dell'esperienza professionale di un attore-autore del nuovo millennio (nel suo caso: Sandro Lombardi e Pippo Delbono, Marco Martinelli e Ermanna Montanari, Danio Manfredini and Valdoca). We ask ourselves, do so many different experiences, is to not choose, do not know what I like and what waste, who I am and what my teachers? My "elective affinities" have something that unites them is frustrated or the criterion of "distinguished" and "doing difference", understand what it does and what contrast is similar?
We ask ourselves, do so many different experiences, is to not choose, do not know what I like and what waste, who I am and what my teachers? My "elective affinities" have something that unites them is frustrated or the criterion of "distinguished" and "doing difference", understand what it does and what contrast is similar? Valentina Valentini
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