the fifth night on the fourth evening
The Board theatrical
Monday, May 19, 2008
Worsester Boilers Resey Button Flashing
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 | |
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