Herpes Bada I Bubbelppol

Prima nazionale di 'Per abbreviare la mia sofferenza'

It is staged at the Teatro della Cooperativa in Milan until 24 February 2008 the show that debuted on Valentine's Day, Thursday 14. It 's the fourth anniversary of the death of Marco Pantani and spettacolo che ci viene presentato è frutto di una collaborazione tra Domenico Ferrari , Alessandro Pozzetti , Marina Morellato e l'aiuto di Renato Sarti . La produzione è di Garabombo delle Risse, il regista è Domenico Ferrari e il protagonista è Alessandro Pozzetti, che ha gentilmente risposto ad alcune domande.

Come vi è venuta l'idea di uno spettacolo su Marco Pantani?

L'idea è venuta un anno e mezzo fa e ci siamo confrontati con Renato Storti che aveva già presentato qualcosa alla Cooperativa. Lui ci ha offerto parte dei suoi materiali e un occhio più esperto sulla regia. A noi la voglia è venuta dalla lettura Pantani, and of articles on one of these we find the phrase that shows the title of the show. Why 'To shorten my suffering' was the answer given by Mura Pantani journalist who asked him why he went so hard uphill.

good joke! Inspired you?

We fell in love with this spiritual testament. I'm not fond of cycling, but I learned to love him, but Dominic is cyclist and has more love for the great world of cycling, love for nature, for the mountains. And for Pantani, who is not a hero in the round, is edgy, still goes through hard connotations, but it's really a tragic hero.

Where are the information used to build the text?

We relied on literary sources. Were published several books on Pantani and we have all read, then there were the interviews with his old friends made by Renato Sarti during his research and all are recorded. We were able to recover authentic materials and we have reconstructed an important part of his private life.

role on stage that you have, you're Pantani or one that speaks of him?

I am a bit 'both. I'm talking about Pantani and sometimes goes out the first-person voice. The show is detached from the narrative theater and I come from this genre, I have four monologues. At one time in the Tour of Italy sent the big names of the journalist and we chose the highest story to try to create a hero of the epic, fragile and tragic. He suffered tragedy at the time of natural and personal fall over because he was extremely sensitive and tormented love stories, which have deeply undermined. He was so undermined in private as strong in sports. Vulnerable. People to escape that reality is this. It says 'Pantani doped' but the truth is much more complex.

You who are so informed, believe that the news was inflated?

Marco Pantani began to let go five years before his death, as he began to lose and did not have the strength to endure the accusations of doping, for which, however, was acquitted on all processes and in all courts. The president of the Medical Doctor. Besnate said he was taking a product like all other colleagues and it was never proven that he did misuse. He was suspended for 15 days and could resume running if he calmly awaited the official results. But it was exploited by the media as the great hero, and perhaps corrupt the press she had not understood the fragility of the character and strobazzava media suspect that he had always won due to doping. This target has shattered and despite this he never recovered. Could not stand to be insulted and have staked throughout his career.

Yet the show is not sad, is not it? There is something joyful?

It 'a show that is also proposed with a certain lightness of touch: you forget that he was a character too, a spirit of Romagna, a little' bully, sborone. He liked to sing, get out, go to women and we will do the verse, this character ridanciano. His life was not only a tragedy but it was a young man full of life, with many important victories, which has marked a love lost but the traveling raconte tones absolutely happy. Especially the first part, which tells his life to be in Cesena and what it means to be Romagna. It seems to me that this region will serve to bring people in Italy preposterous, drinkers, types Fellini ... is a land of apparitions. Many have the ball first to arrive, to reach the top in the world. If we make four accounts, is a region that is in the lead for good. We get the best of motoring from this piece of land, more poetry, song, sport and more.

Can I Play With A Stress Fracture?

Kuniaki Ida porta Ruzante all'Arsenale

Commedia dell'Arte and Noh theater to the entrance thanks to a project of the Italian Spring Festival in Japan, starring Kuniaki Ida . Japanese artist as a young man came to Europe to study the art of mime, as a teacher was one of the greatest artists of the genre, Jacques Lecoq. E 'then come Italy in the side of a smart girl and with the same passion, Marina Spreafico . In Milan have collaborated with the Theatre of Grock and then found a home of their own. They created a theater-school that she, above all, protected with tooth and nail not to have it destroyed: it was defended by Milan's cultural world, including a roaring Giogio Strehler. I am talking about Teatro Arsenale Via Cesare Correnti, now well established, where, as a guest, Kuniaki Ida returns after years of royal who did travel the world and especially in his native country. E 'teacher at the Academy Paolo Grassi in Milan with courses in theater and dance and drama, among his many activities.

Commissioned dal Ministero della Cultura Italiana e dalla Japan Foundation, i due spettacoli di Ruzante Parlamento e Bilora sono stati rappresentati grazie all'idea di mettere a confronto un genere di antica farsa giapponese del 1300 con la Commedia dell'Arte. Da vedere all'Arsenale solo dal 5 al 10 febbraio, Parlamento mostra con delicata poesia come la guerra serva a mandare al macello i poveri per soddisfare i bisogni dei potenti. In Bilora emerge la tragedia di chi lascia la propria casa, la famiglia e la terra dove vive per inseguire illusorie fotocopie di esistenza all'occidentale, da primo mondo. Kuniaki Ida cura la regia, le scenografie e l'impianto luci, Ambra Rinaldo i costumi e in palcoscenico vedremo Benjamin Caldiero, Angelo Crotti, Salvatore Di Natale, Cecilia Di Donato, Laura and Angela Pozone Battistllo lavish both performances. Here's what he said Kuniaki.

You have participated in the 'Italian Spring' in Japan with a project focused on a comparison of gender and the commedia dell'arte Kogen. How did it go?

am proud to have brought this show in the Noh Theater in Tokyo and Nagoya and other national theaters in Osaka and Kyoto. Not many foreigners come to play in these spaces. I worked with Ruzante using masks Donato Sartori, Amleto Sartori son of that which made all the masks for the Harlequin of Strehler and with whom he collaborated for many years. I a great success in Japan and now the port in Italy, starting from the Teatro Arsenale di Milano.

In Japan Ruzante know works?

It 'interesting that none or very few know him. Goldoni, yes, because it brought the Teatro Piccolo in the past, but I Ruzante is more interesting because it represents better the Italians. Even Jacques Locoq and Dario For, my great teachers, I said so.

Why?

Why is not the usual cliches of the commedia dell'arte. Beneath the comedy is a tragedy, the stories are full of wars, those who return and find the wife who has since fled. It is not the usual comedy of horns. The topics Ruzante are still alive, think of the Africans arriving, immigrants from the war who want to live here and their wives leave them, go with others. Below is a great hunger, desire to live, all this is in Ruzante. His comedy comes out, cracks and shows a tragic dimension.

Those who have worked with you in this endeavor?

job with Italian actors, and half of my company did the tour in Japan. They are between 6 and 27 to 55 years, my players hard. One was my student from Lecoq, an academy here Paolo Grassi, an Arsenal and so on. We know and work together for a long time. How did you put

in scena queste due opere?

In modo molto particolare perché nella commedia c'è un'immensa disperazione eppure io voglio far ridere. Questo è come l'inferno e il paradiso e ho scoperto che Ruzante è uno scrittore grande come Shakespeare. Non uso il linguaggio padovano di Ruzante ma nemmeno l'italiano, bensì napoletano, bergamasco e siciliano, come anche fa Ruzante. Lui era contrario che tutti parlassero solo la lingua di Firenze e preferiva il padovano, che è più colorata. Inoltre, i miei attori provengono da diverse regioni e parlano bene tantii dialetti.

Hai altri progetti in mente?

Tra aprile e maggio farò due opere per l'Arena di Verona, con 100 children's choir in white. Next October I Milva concerts in Japan. Work with her for 10-15 years as a director and she came to see my Ruzante. He had played many years ago, directed by Gianfranco De Bosio and then curious.

So you are planning an international tour?

Yes, I have already tried to go to Portugal, Spain, America and I would also return to Japan, where he has really enjoyed this show. Ruzante, I would say it is not Shakespeare but it's like Padua, everyone wants it and understand it. The French, for example, the most familiar with the study of the Italians. Now the Chinese are very interested and this will open the door of the theaters in China. How in the world, I have also asked the Festival of Colorado, USA.

Well, hold high our flag Italian!

I'm happy and honored to bring the Italian culture in the world and have much depth. I am a freelancer, I do school, I work, I have the company and this is my life.

Do It Yourself Muay Thai Bag

Il Processo secondo Anna Battaglia al Caboto

Al Teatro Caboto di Milano fino al 17 febbraio prossimo, la Compagnia Stabile Teatro Caboto , con la consulenza storico-letteraria di Andrea Bisicchia , presenta Il processo , tratto dal romanzo di Franz Kafka . Gli interpreti sono Gianluca Frigerio, Giuseppe Marotta, ciro Coipriano, Raffaele Pato Digioia e Fabrizio Spica. "Qualcuno doveva aver diffamato Josef K. perché, senza che avesse fatto nulla di male, una mattina venne arrestato". Sono le prime parole del celebre romanzo che Franz Kafka scrisseintorno al 1915, anno in cui l'autore vinse il suo primo premio letterario. Nato a Praga nel 1883 da famiglia benestante, Kafka divenne famoso soltanto dopo il 1930 e, negli anni '50 giunse il suo trionfo: pensare in modo 'kafkiano' divenne una moda che influenzò gli intellettuali di tutta Europa e degli Stati Uniti. In Germania, a causa del nazismo (Kafka era ebreo), rimase a lungo sconosciuto. Peccato che l'artista, a lungo malato di tubercolosi, morì il 3 giugno 1924 senza mai sapere quanto il suo nome divenne importante per la letteratura classica del Novecento.

L'adattamento per il teatro di questo piccolo capolavoro letterario è opera di Anna Battaglia , che ne cura anche la regia. Anna Battaglia ha vinto il Premio Fersen nel 2007 per un'opera of drama, is also an actress, writer and painter. He does not want you to know the artist but is also a graduate in law and admitted to the Bar. For this grotesque aspects of justice, described by Kafka to entertain friends in the pubs of Prague, have fascinated. Anna wanted to soften the story with a staging that smacks of circus, with judges raving, corruptible officials and corrupt, negligent and Chancellors more. Everything could be just a dream or rather a nightmare, the accompanying music, very pleasant, are of a Russian artist, Vladimir Vysotsky, come from the CD 'The Flight Aborted' and they chose Anna Battle, with whom we spoke.

Why did you choose to direct The Trial by Kafka?

My vision of the process is also profound professional experience. He has always said how this text was metaphorical, allegorical, rather Kafka describes with great clarity and a court does so precisely. Like when he says that lawyers pride themselves on personal knowledge, that shot of the files or the arrogance of judges who feel the holders of life and death and those who thought they already had the ruling in hand ... They are all real things.

You mean not only the result of imagination?

E 'much less metaphorical and more realistic than they would like to believe. Acquaintances of Kafka practical things that only a lawyer, among other things, a criminal, can know. I would imagine that there was some sort of tells the story that Paolo Villaggio Fantozzi, with a representation totally different but still dream, bringing the characters he encounters in history, very, very grotesque. In my opinion, through the character of Mr. K., Kafka was the victim and the tormentor of himself and his way of telling a reality is full of extraordinary lucidity.

So do not follow exactly the history of the novel?

No, but I tried to structure the way in which there is also a court than it does today. Kafka says everything is going well Today, nothing has changed! We can not know reality as if it were legal in Czechoslovakia at the time of Kafka, but I recognize certain behaviors: that ruby \u200b\u200bfiles that were corrupted, you spy on ... and the attitude of the judges, opinionated and arrogant, as the god of the absolute power.

How does it feel?

emphasize one important thing: what happens in the life of one who, now charged with nothing done? It changes your life because the suspect is more powerful than any truth in a moment the life of a good person is swept away. I see a nightmare, that's why the choice of directing dreams. Kafka did not invent anything, to me, describes these cose in modo speciale. La messa in scena è un po' circense e il grottesco di questi personaggi che il signor K. incontra è in risalto. Nessuno pensi di vedere la trasposizione del romanzo classico, anche se vengono mantenute la letteratura, le suggestioni e gli ambienti, Perché la scrittura per me è molto forte e molto belle. K parla in terza persona.

Come hai trovato gli attori giusti?

Non è stato facile e ho fatto molti provini ma, per esempio ho scelto un vero prestigitatore per il ruolo dell'illusionista-avvocato. Poi c'è una guardia che esce dall'armadio e dai cassetti, a rappresentare l'invasione di chi compie gli arresti, della polizia giudiziaria. Ti mettono sottosopra tutto, put his hand in the cards, in underwear, and the lawyer is a clown, another is a prestidigiatore, a defendant becomes a rabbit. Everything is ironic, grotesque, and another thing I hope is accepted, even if those who want the classical performances could not feel satisfied. But to do new things must be able to take risks.

But who are you?

I was born in Reggio Calabria in May '75, then I did the university in Bologna, then in Milan, I was in Berlin and now I live here for six years. I am currently working on a multimedia project and at the same time I'm turning my room into an Art Room. I have already made two stools and a table and a large table with over television, all with recycled materials and materials weird. Honestly I did not miss the South, unlike many that I talk to. I like to stay here, is a city of opportunities and grasp them enough. Feel good or bad depends entirely on us, not from the city.

2005 Waverunner Vx Deluxe

Le lucciole di Marco Baliani

Waiting to inaugurate the 'Citadel Theatre', in Franco Parenti, Milan are put on stage shows for lovers of culture, literature, music and art. Until February 10 Marco Baliani interprets Night of the Fireflies, based on da testi di Leonardo Sciasci a e brani di Pier Paolo Pasolini , il cui fascino perverso consiste nell'incredibile attualità di quanto pensato, detto e scritto oltre trent'anni fa. L'atto unico è adattato da Roberto Andò , che usa le parole dei due grandi scrittore del Novecento come testimonianza di realtà piccole ma universali e di un tempo che vorremmo scomparso ma che ancora riaffiora nell'oggi. Oltre a Marco Baliani nella veste di affabulatore c'è un patetico, malinconico e straordinario Coco Leonardi con cinque bambini che danno vita al testo. Ci dice di più Marco Baliani.

Sai che chi ha visto il debutto di questo spettacolo lo giudica emozionante and very intense?

I really enjoyed. We were full of fears, should this proposal, almost a monologue, it would be received well. The literature has difficulty being understood and there is not a play but his books. But you feel the thought is there, behind the words.

As has been thought of? Roberto went

knew Sciascia, who was his teacher and Pasolini was the first to write a preface to the first book published Sciascia, when he was a stranger. Both were from suburban areas, although one was in the south and the other in the north, but something unites them as they both start provinces unknown Italy.

And both become famous! But it is true that they were friends, but not quite?

routes real them together. They met but not understood, as with the issue of homosexuality, that Sciascia was difficult to accept. Dramatically Italy that no longer exists, now seems mired in the dark. Yet certain things happened thirty years ago in an Italy which is not improved. We wanted to stage the school teacher who says that the school disgusted him, that there is no sense to teach kids who are hungry, as in his book. Or when he has difficulty in understanding death.

This mixed texts and Sciascia Pasolini?

were intellectuals who could speak out about politics, Moro and things that today are not longer refers to maintaining a civil tone! Today, the private becomes gravure, then it was cause for reflection. The intellectuals had few friends in thickness, as Gadda, Calvino, Pasolini, Sciascia. Who is today?

Well, there is little to be happy then?

I'm not happy at all. It seems to live in a country where the coordinates have lost the sense of the state, typical of the pessimism of Sciascia and coincides with the present. I believe that theater is only able to compete with thoughts of this kind.

Well, however, are only few people benefit from them. The theater is limited to an elite?

This has always been the extent and the magnitude of the theater. Pasolini also said that the theater should be speaking, can not be done for all, otherwise it becomes rhetorical. But perhaps Pasolini reminded that theater is done for the enlightened bourgeoisie that goes to the theater, though not quite so clear. Certainly not to a television audience.

So only a few?

But an actor who calls people out, that we must assume an ethical responsibility and I feel I have to give a signal. The theater can also make you laugh or make fun, God forbid, failed, however, seems to be a sense of ethics that works for the polis. We lost a little 'this, which reflects society, after all. But, as Sciascia, one must not lose the will. You must bring the stone up the hill even though you know that will not make it. If no one does more, you lose hope.

Children who work with you to understand what happens on stage?

Children are different, varying in age from 8 to 12 years and we have told them who they were and Pasolini, Sciascia and the meaning of many words, as 'compliance'. They understood perfectly what it means to the school once, even if it seems that the past 100 years, not 30 and 40. There are questions about Moro, for esenpio. What does 'heresy', as Pasolini died. It 's a beautiful form of pedagogy, even if they can not understand everything.

will follow on tour?

In every theater in each city will have 5 children and every other time we will see. For now we will be only in Milan and Rome, their favorite cities. Sciascia thought that was the moral capital Milan and Rome had many friends when he was deputy of the Radical Party. Next season we will be on tour in Catania, Turin and elsewhere, and every time we're going to redo the entire show with new children. There are independent variables and it's nice that. In Rome will be the biggest kids and suburbs, more like the boys to Pasolini. They create different looks, even the spaces will be different. We will do so at the Teatro India from March 26 to April 27.

How come there are no female characters?

Paoslini Sciascia was gay and has always been tied to a Sicilian virility and strong moral rules, but both knew that we had to write the code as a civil right. So, they were different from each other but united them writing and women were not indispensable. Sciascia loved Stendhal, in which the female figures are marginal. Finally, the faults of what is happening in the world are men, and he was interested in the blame.

How did you choose the songs for use on stage?

The credit is mainly went to Roberto, I have just joined and I have worked in part. We have chosen fragments from the Writings Corsair and also texts and Roberto Sciascia has assembled everything.

Prepare else?

from March 2, from 21 in April, and then test debut in Prato with a new show feature by Curzio Malaparte , skin, where there is talk of old things that are tragically today. Describes what appears today in Naples, today announced the Europe and dangers. Malaparte has seen in advance with clarity, captivity, acidity of the disaster that opened after the Second World War. He had understood, unlike Edward secondo il quale 'Ha da passà 'na nuttata', che la nottata non passa più.

Can You Get Braces With Missing Molarsw

Farenheit 451 secondo Ronconi

made his debut at Milan's Teatro Strehler Sunday, January 13, 2008 Farenheint 451, from the novel by Ray Bradbury , in the stage version translated by Monica Caputo and Daniel D'Angelo designed by Luca Ronconi and Elisabetta Pozzi . The co-produce the Teatro Stabile of Turin, the Teatro Piccolo in Milan, the Teatro di Roma and Teatro Biondo in Palermo. To directed by Luca Ronconi while on stage Elisabetta Pozzi confronts Alessandro Benvenuti, Fausto Russo Alesi , Melanie Giglio and Maria Grazia Mandruzzato . The theme is very famous and is a future society which is completely alienated from a dictatorial government, in which books are regarded as instruments of subversion and terror, freedom of thought is forbidden to read and get ideas is a crime is considered a fool utopia in a world controlled by giant television screens where only quizzes and sports.

The human race lives in peace, but rimbecillita completely convinced to be happy and those who think, worse ancora chi legge, viene arrestato. I pompieri hanno l'unico dovere di bruciare gli ultimi libri ancora esistenti, nascosti da pochi coraggiosi che infine imparano i classici a memoria pur di non perdere la propria cultura in modo definitivo. Farenheit 451 fu scritto nel 1953 dal notissimo autore di libri di fantascienza statunitense Ray Bradbury , che oggi ha 87 anni. Il romanzo nacque come estensione di un racconto breve del 1951, The Fireman , pubblicato anche in Italia su Urania nel 1953 col titolo Gli anni del rogo . Il titolo del piccolo capolavoro si riferisce alla temperatura con cui la carta brucia spontaneamente: 451 Farebheit corrisponde a 232,78° Celsius Ancora oggi ci si asked how the author to consider a future so not corresponding to reality in every detail (the libraries still exist!), but certainly in the direction of the company.

Luca Ronconi considers the text a solicitation, a warning to the "need of memory." Recall that in 1966 it was made into a film, directed by François Truffault , which caused quite a stir. The show, on stage until 10 February, sees the young Fausto Russo Alesi in the role of Montag, head of the firefighter who finds love of reading with Clarisse, Elisabetta Pozzi here, that's the first to discover a new way of living and then shows him the place where men live book. The young will eventually rebel against the orders of his commander, Beatty, played by Alessandro Benvenuti. The combination of excellent performers, an exciting direction, the set design by Tiziano Santi, Gianluca Sbicca costumes and Simone Valsecchi, Sergio Rossi lights and a soundtrack created by Daniel D'Angelo make it very interesting to watch this show on the big stage of Strehler.

Grocery Prices Edmonton

Massimo Dapporto, un clone d'attore

Meeting him is nice because Massimo Dapporto has a pleasant smile, a beautiful voice and a dark look absolutely clear and helpful. Wherever he goes, goes below that cumbersome name, inherited from a very famous man, but definitely delicious. Charles has Dapporto left their mark in an Italy now forgotten, with the television drama series bian black and full of human values \u200b\u200bsuch as honesty, sincerity and trust. A few betrayals. Having started making space in Rome in the theaters where the fate groped, Massimo has followed throughout the ranks of his fellows without cumbersome surname. Only after years of hard work has been recognized as a great actor and talented artist in theater, film and television. Today it is considered a benchmark for the Italian theater because of its skillful ability to step into the most diverse characters and Teatro Manzoni, from 8 January to 3 February 2008, Dapporto plays the dual role of twins The Venetian , opera Carlo Goldoni's eighteenth-century , a true masterpiece of comedy and the writing stage. Recalling that this show follows a tour that goes to many places and ends April 20, that's what tells Massimo Dapporto.

Interpret the roles of twin brothers, Tonino and Zanetti, who do you feel?

Finally I can afford to choose what to do and this is one of the things I wanted to do. Tonino is a man who does not improvise anything, looks like a printed book when he speaks, everything is controlled. I recognize that in the recitation of the works of prose, while his brother lives Zanetto as in variety, with comic timing of that leave room for improvisation. In this I had my roots, which allows me to remember my father. But now they are 37 years work, since I debuted in 1971 and I can only say that to make personal choices in work is a great pleasure. I had already allowed to do Confessions of Zeno and then ll hypochondriac. Now I want to enjoy this moment with the Twins Goldoni, where I feel I put it to 360 degrees.

You debuted nationally in Trieste in November. There is a difference between acting in a city rather than another?

Well, here in Milan must be careful not to end up late because otherwise people will fly out in dribs and drabs for the last metro. But I learned to finish on time and even people stop clapping.

One of the twins, Zanetti, is very funny but he died at the scene. How do you feel?

Death comic makes me laugh a lot, but I am very sorry that the character makes this end and I do not do comedy, the death, but tragicomic. Zanetto makes a predestined end and it hits you in the stomach but also makes people smile and laugh. I've never seen merely as entertainment, the death of Zanetto. When you reappear at the end of play for the applause, Toni collects a lot of success but the appearance of Zanetto drag the enthusiasm of the audience, which was attached during the staging and it shows.

If now you do what you want, as were the beginning?

I debuted in the theater in 1971 to do dubbing for a couple of years, before coming to television in 1973, when the programs were still in black and white. Then I made the film and in the 90s are back on television with the fiction and it is obvious that after returning to the theater will attract more audience. So I started to do the full house, television is a lot of pressure, not only because it goes to see the actors 'live', if possible, but also because TV is bastardized Italian. Many people who come to the theater hopes to re-learn their own language.

beginning you have not been helped by last name important?

no one has ever given me anything. The routine work that I had to do the dubbing, 9 hours per day in the recording studio to pay for my studies at the Academy Drama, was a depressing start. But I could meet people and earn something of the environment that fascinated me so much. The meeting really lucky I got it in 1988, when Lucio Ardenzi offered me the role plays a leading role. Yet every time I seem to have started over: I did cinema (with Mignon started Francesca Archibugi, won the 1989 David di Donatello as best supporting actor, along with Stefania Sandrelli ed), television, but the joy and excitement of this job is the same as when I left the Academy.

We boast a bit 'in your results?

I was able to make quality television, as the drama on the Falcon, then I quit and not start again until I find valid roles to play. If it seems strange that comments are insensitive, yes, I spit on your plate to eat, if the pot is empty. Today on TV an actor can only do fiction, you might as well do it well. The film does not even consider me. Nobody gave me anything, either before or ever. My father was a man of another era, and for his character, unable to recommend. Between him and me the change came from the entertainment world. He would not even go to the people and it took me some time to convince him to return the set to work with Ettore Scola will family, playing the old father next to Vittorio Gassman and other big names.

Well, I've recommended you!

Yes, I am the only child of art that has made the work famous father! I resemble him so much convinced myself to be the son of a clone.

Apart Dapporto Carlo, which actors have left their mark?

Surely Alberto Lionello, which I chose because he interpreted many roles before me. I consider a teacher, I liked it so much. Yet he did The two Venetian twins as Confessions of Zeno and The Prisoner of 2nd street . And as he did not give myself airs, I live a simple life, I do not have a private driver and if I want to hug people. I risk to be me because, to pretend, in the evening I would be tired.

You love a certain kind of traditional course?

Warning: more that tradition, which takes you back and never forces you to the same type of journey, are the values \u200b\u200bthat must be maintained, perhaps on a new basis. This applies to the theater as a family or society. It worries me just note that the values \u200b\u200bdisappear. You see, the values \u200b\u200bare within us, and each has its own, even if it is different. We have a traditional theater that seems to be dying but continued. It 's a bit a swamp, are always the great Shakespeare, Goldoni, Pirandello, but it is worth remembering! I am a friend of Luca Barbareschi, inconvenient as an actor tells the truth, what I think and I'm lucky to attend it at least twenty days a year, summer in Filicudi. About twenty years ago we did together Merchants of lies of Mamet and he has really strong values. I'd like to go on stage together and maybe play our meeting will be repeated.

And The Bride Wore Game, Free And Printable

Il Rotweiss Kabarett dei 'Musicamorfosi'

Until December 2 at Teatro Litta . of Milan is a very nice company whose name is 'Musicamorfosi' and has . Rotweiss Kabarett, a farce for Seveso (1976/2006) . The author of the text is Andrea Taddei who assisted in directing and staging a curtain of allegorical characters represented so trivial but really funny. The show pulls a lot of laughter until they begin to rattle off details about the tragedy caused by Icmesa, a Swiss company with factories in Italy, where a reactor exploded in the summer of 1976 and came out a cloud filled with toxic dioxin.

Since then, the Italians have learned what it was dioxin but 30 years is a long and frankly has dropped much more than a blanket of silence on the incident. We say that the four talented actors, Gaetano Callegaro, Dario Opan, Deborah Mancini and Ancilla Oggioni with musicians Giampietro Roberto Marazzi and mosquitoes that carry the exhilarating score by Stefano Nozzoli, re-open a chink of light on an issue never fully digested. Sponsored by Legambiente, the municipality of Seveso and the Province of Milan, Monza and Brianza Directorate, the show is cleverly light and cheerful, acting, color, danced, played and sung, but forced to racking their brains to remember a terrible event.

died thousands of cattle, animals, birds and hundreds of children and other vulnerable people were affected by chloracne, a skin disorder that spoils the look. Really worth it to spend an evening. As John Cage said: 'The past must be invented. The future revisited. Do both makes this what it is. The invention never stops'. The quotation appears on the homepage of the Society, which calls itself a musical association is able to keep thinking heads together and generous hands, ideas on the brink, actresses, musicians, jazz, pop, singer-songwriters, marginalized and submerged. All living in the territory of Monza and Brianza.

Streaming Movies Symbian

Fausto Russo Alesi si mette a nudo, fuori dal fosso

noir from a perfect mechanism proceeds as a scientific investigation: Still Life in a ditch is at the Piccolo Teatro Studio in Milan 20 to 25 November 2007, Fausto Paravidino text, directed by Serena Sinigaglia, with Fausto Russo Alesi. Lights and sets are by Nicolas Bovey, the assistant director Eleonora Moro, production ATIR Still Life in a ditch begins with a guy who speaks in bursts of shock. There is, but you can not see, a girl, beautiful, dead, naked in a ditch. Someone has called it a beautiful yellow breathtaking but perhaps especially the last example of the excellent qualities of a young playwright Genoa, Fausto Paravidino, an extraordinary observer of reality, our society and of youth. Perhaps it is also a curious detective scam, complete with commentary and investigation difficult. There is also a hint of irony but also a great depth of feeling. Paravidino says his story using the technique of monologue, monologues rather than six and the great skill of Fausto Russo Alesi is in being able to interpret all, favored by the overwhelming pace of the direction of Serena Sinigaglia, friends and colleagues ever since and still unforgettable dell'irruente 'Romeo and Juliet' of their debut.

Before interview, I documented that the premiums earned in just over 10 years. A brilliant career to an irrepressible talent, as soon countered by his father who wanted him to be right, but in 1996 he graduated "Actor" at the Civic School of Drama Paolo Grassi in Milan since 1996 and is a founding member of the 'ATIR " (Independent Association of Theatre Research) riconosciuta e finanziata dal Ministero dello Spettacolo.

Nel 2000 frequenta il Corso Internazionale Itinerante di Perfezionamento Teatrale, direttore artistico Franco Quadri, maestro Eimuntas Nekrosius. Nell'aprile del 2002 vince il premio dell'Associazione Nazionale dei Critici di Teatro; sempre nel 2002 vince il "Premio Ubu" come migliore attor giovane. Gennaio 2003 vincitore del 21st International Fadjr Theatre Festival a Theran (Iran) per la migliore interpretazione, premio attribuito dall'I.T.I - International Theatre Institute - Unesco. Nomination ai "Premi Olimpici" del teatro 2003.

Premio "Annibale Ruccello" 2004, Premio "Olimpico" premio ETI 2004, premio "Vittorio Gassman come miglior giovane talento" 2005 for the interpretation of 'The Grey', a prize "Golden Mask" 2005 awarded by the public and critics. In 2006 for the play "The Grey" wins the "Golden Persephone" Special Prize of the critics. He speaks French and English. Winner "Golden Orange" Best Comedy Actor at the Festival of Groton, '97 edition, for having acted in "shit", directed by Claudio Saponara and presented at the Bellaria Film Festival.

He worked among others, with directors like Gigi Dall'Aglio, Ferdinando Bruni, and Gabriel Armando Punzo Vacis. For cinema, working with Silvio Soldini in "Bread and Tulips" and "Agata and the Storm." She also works in "Miracle in Palermo" Beppe Cino, in "And the laughing killed" by Florestano Vancini and "I Can See it in your eyes" by Valia Santella. For Radio Rai (The Third Ring) has read the novel "Fathers and Sons" by Ivan Turgenev. Here's what he says.

Return to the Little Theatre with 'Still Life in a ditch' which had already proposed long ago at the Teatro Verdi. We had seen and appreciated very much. Over time the text is changed?

No, the version that harbor scene is now complete, as the show has grown over the years, in the sense that I went deeper with the characters, who live a few tragedies. In a sense, every time I go on stage we add a detail, a feeling. Do you find yourself

participant or assigned, compared to what happens on stage?

failing interpreted, whenever I hear of tragedies like I think I feel really so tragic, because there is no separation. But doing this kind of work in the theater, I like to think that even those who look at me and try to listen more to what steps, if not see the television. It seems those filters that can cancel the TV creates when the events take place here as in first person, with the true shame that the TV disappears.

You mean that there are feelings that does not disclose the television screen?

Yes and it's always very difficult seguire casi simili, sempre esasperati dai media che trasformano tutto in fatti quotidiani.

Cambiamo argomento. Hai avuto grandissimo successo con questo testo e al Piccolo hai presentato ‘Il Grigio’ di Giorgio Gaber, primo attore in assoluto a interpretare un testo del Signor G. Ti consideri prevalentemente un monologhista?

No. Ho fatto ‘Farenheit 451’, tratto dal romanzo di Bradbury, con Luca Ronconi la scorsa primavera e la compagnia era numerosa e ne ‘Il silenzio dei comunisti’ ero con Luigi Lo Cascio e altri. In effetti mi piace assolutamente passare da una cosa all’altra. Il monologo è una full immersion col regista, ma poi mi piace condividere e relazionarmi with other actors.

you can choose what to do?

Well, if we could always do, in truth, I'd be able to choose the text. In company happens to be the engine of choice, but also you be chosen to do something. I am happy to have participated in good projects, this is what cconta.

How did you feel to have as a director Luca Ronconi, after founding the group with ATIR Serena Sinigaglia who always direct your projects?

The spirit is always the same and that's what counts. Serena and I work for many years and we were lucky enough to have been called together to make 'The Grey'. I can say that Piccolo also the environment is what matters to work and I can, I'm fine with them.

OK, but the difference between Serena and Luca Ronconi?

Ah, go live ... With Serena, we have the same age, we have done with the Academy, consisting ATIR together and there is a relationship of some kind. With Ronconi, great teacher, there to learn, to take a lot and in any case there is the dialogue that made me go with him very well. Specifically, each giving you different things and as a teacher Ronconi teaches you a lot, but do not you deny yourself. To say and do things on stage we need a dialogue with the director and this happens.

We're still in the group ATIR?

Yes, I am still in the group as a partner and support the company as still doing 'Still Life in a ditch'. Although most do not carry around the company, as before, are always in company with them.

Finally, you've done theater, cinema and even a bit 'of radio. Can you have your private life?

I have it! Without having started a family but I have it, a private life, even if it is not super busy. All in all, a work of this type, you can enjoy more leisure time special. My mate follows me, with great effort and I I do the same, when I can. And there is fine.

How To Make Dawn's Hat

MOBIL, gli spagnoli ci sanno fare

Entertainment dynamic that fills the eye for the theatrical director Lluis Pasqual, Mobil is headed by an ex-English talents of the '80s, now a man of consummate skill and strong ideas. The staging, built by a giant LED screen the size of the entire fifth, is told in a digital landscapes. There is the road as seen by those driving a car, talking on the phone who are driving, like in the movies, there is the airport, there are closeups of those who use the videophone: the screen may seem like a character in more, so its presence is noted. Of four players, two mothers and their son and daughter, who have never seen in life, meet in an airport after the explosion of a bomb. The bombing went on all TVs and daughter and a son of the other woman trying to communicate with the phone, then meet. At that point, unimaginable things happen, even though they have already happened many unpredictable things that we have now made known to all involved. But it is 'Mobile', which gives the title to the play, the mobile phone, cell phone which no longer knows how to do without, the true protagonist. Written by Sergi Belbel, forty Catalan considered one of the most respected talents dramaturgical Spain today, the play is fun, fast and extremely fresh, clearly seen with a young look even disillusioned, still a good dose of cynicism and romanticism. To know the modern European theater, this is a title to see with great pleasure.

What And How Much Does Wic

Rassegna Vapore 2007 e Opera Notte

Opera Night Without Heart- debuted on Valentine's Day and remain in the Steam Factory scene until Saturday, February 24. The last evening there will be a big party for night owls Dionysian doc, with DJ, videos, food, drinks and the chance to dance. Girls Theatre Company Dionisi are smart, have gained strong links with Milan and its territory. Almost all graduated from Paolo Grassi, after years of experience of the theater has hosted the Filodrammatici the Steam Factory, changed requirements for construction of their choice. They are all between 25 and 35 years and I have talked to Valeria Talenti, the director and Renata Ciaravino, author of the text. Alessandra Maculan, organizational direction, he offered other details and I met with four musicians: Maximum Betti on guitar, keyboards and sax Donato Alfa Romeo, Elvio Longato Sagone Julius on drums and bass.

What is 'Opera Night'?

(Valeria) Come see music and theater, as in Brecht's Threepenny Opera. Ours is not background music but it is essential. Brecht said that "the music gets the party" when it becomes critical.

What would you like to express this 'underground journey into the night in search of new emotions', as the subtitle?

(Renata) 's like the desire for a flight to find out what night, but without a precise look like looking down. To see what happens in Milan. Since I started writing, the story is passed from the folk of the night in a gray area, then the merger between the two.

What does this mean?

(Renata) I want to say that darkness falls at night and my shame is hidden. I feel protected to say than I dare to say that day. Thus were born the characters that tell the public directly, their confessions. Using music, which is as effective as the night, it gives me a sensory support to say what I feel.

What is the plot?

(Renata) There are six real characters in my story: a couple of friends who live in the suburbs, in a neighborhood like Baggio, where we did the tests and we have really absorbed the ways of saying and doing a lot of guys who live there. Then there's maybe a couple living together for 30 years but the two have yet to talk seriously. And there's a girl who wants to be able to participate in a quiz televisivo.

E il sesto personaggio?
(Renata) E’ il Corifeo, il capo coro. E’ l’ultimo personaggio, la voce dell’anima di tutti, dei protagonisti come dei musicisti e della notte. Il Corifeo è un tentativo di esprimere un contraltare poetico alla crudezza dei concetti espressi.

I musicisti hanno lavorato sui testi o i testi si sono ispirati alle musiche?

(Renata) Nessuno ha mai avuto un copione scritto perché di giorno in giorno cambiavamo il montaggio o altro. Ognuno ha collaborato senza metodo di relazione. Mentre scrivevo il testo, io ho ascoltato tantissima musica per i fatti miei e i musicisti sono stati abbastanza liberi da offrire ideas, which have sometimes caused changes in the text and vice versa.

(Massimo Betti, guitarist) We worked with the script or talking to us, tell us about the atmosphere to be created. We made up three blocks relating to particular characters, Corifeo, at night and themes written by us, designed as a cover: there's 'La Notte' of Adam, there are two pieces of Radiohead, is Neil Sedaka. But there is a real score, we are changing again. Some songs come from memory, songs that maybe our parents listened to when we were young: music is unsettled.

How did you create the staging?

(Valeria) There is a part of the stage that moves toward the audience, the stories do not follow a plot but chase each other, as were over in the shaker of a bartender. I think it's a show a bit 'circus and a bit' Greek tragedy.

Is not it curious that you speak of tragedy with 'The night is young' of the twins Kessler?

(Renata) As we move into the area tragic, I wanted to lighten and make fun of with songs like this, to avoid falling into the tragic and freeze the enjoyment of the show from the audience. Who we are, I think so overwhelmed by the real tragedies that it seems difficult to touch points of no return with the news. You see, to speak of Oedipus kills his father and if the mother does leave us indifferent, and current things but not bring us to escape from tragedy, but bestow the tragicomedy. Giving space, including music, to feel a pinch of irony. But the context remains dramatic.

Finally, what is Opera Night?

(Renata) the use of visual color, use of bodies that may be dreaming, circus, grotesque ... But the catering save us! Rather than anything, we have to eat and drink, and we cook pretty well. There will be no tables but in the Steam Factory there are no chairs and everyone gets by. The complaint existential for me is when we say that can not do it anymore. Talk about being human is to know in 2007 that a man suffers to live in this context. I used a raw language, not because I like the dirty words, but today the guys talk like that and wanted to get to the truth in a dry, empty words and useless.

(Valeria) The two boys in the suburbs, and Pirate Currency, representing the couple and talk together but they are just friends. The real pair, consisting of a man and a woman, you touch each other but there is no dialogue, only speak to the public. We tried to tell the authenticity, without prudery. Remember that in cities there are feelings and should be taught in schools what is the affection, love, not only the civic sense. If no one teaches you to have a heart, must be able to tell time in sorrow, before you start the offense.

Does Andy Sixx Have His Phone Number On His Neck

I Giocatori di e con Paolo Rossi, attori e musicisti

'Players' arrives at the Piccolo Teatro Studio, and remained there until May 27 with a national debut that celebrates only in this construction. Paolo Rossi is not just performer and director but also develop the drama, with three disabled friends, a novel written by Fyodor Dostoevsky in the nineteenth century, 'Players'. How did this happen? It is perhaps dug up a comic to the dramatic text Russian author? O Paolino Rossi throwing away his comic verve? None of this: just our little eroe ha voluto ispirarsi liberamente all’autore russo per raccontare i problemi di tanti individui alle prese con il vizio del gioco, come anche dei lavoratori precari e di quella società che sfrutta i deboli attraverso il ricatto del vil danaro. Lo spettacolo, applauditissimo, è stato apprezzato da un pubblico divertito e compiaciuto per aver assistito a un esercizio di intelligenza teatrale. Alla fine, Paolo accetta con grande cortesia di rispondermi. Lo trovo smagrito e molto più in forma di qualche tempo fa. I suoi celebri occhioni azzurri spiccano sul volto tondo e furbetto, ora ingentilito dai capelli folti e grigi.


Quanto avete lavorato su questo spettacolo, considerando che siete in tantissimi, credo circa a fortnight in addition to the technical scene?

We did a workshop last June and worked a month, but suddenly everything. We were preparing a study to take the Mittelfest Trieste (which was held in Cividale del Friuli in the summer, ed) . Then we did other improvisations in January, a meeting of six days. Finally, the canonical three weeks we worked on this issue.

Why did you choose to use a text by Dostoyevsky?

But it was the least, ask for something to do with the context of Central Europe. Then I always liked this book, but it was necessary to have so many people on stage and we wanted to a minimum of possibilities. Here we have been incurred (by the production Agis MittelFest 2006, in collaboration with Bonawentura Miela Theatre, the Piccolo Teatro di Milano-Teatro d'Europa and the Casino of Venice, ed) and you have to contextualize the events in a set of situations.

you referring to the practical possibility of producing a show so complex?

course, and that otherwise I could never do. Indeed, already so I think that eventually will lose ...

not consider a tour company to bring this elsewhere?

No, no! You see, the state does not recognize me, no subsidies because says he does not do theater, but cabaret. So ... That's fine.

certainly, without seeing the show Happy Family by Alessandro Genovesi, who has a totally different subject, many of your characters as its interrupt the show to make requests to the director, then returned in part, as you do the same, at will. Think this is a moment of mental wires that connect?

Well, for that matter, even Pirandello had written stuff like that! But it's true, there are stories that are in the air, the good ones in particular. It is no coincidence that arise shows that deal with topics or ways of expression that are found in others. I've already seen and done in the past.

Recalling the days when you worked with the circus tent, you nostalgic for those days? The same way?

Those times are gone. We are all grown, I, them. It 'was a bygone era.

means that now I dedicate this page to the theater, after Moliere or Shakespeare in comic version? Here

change, there is a change from my past. Why is there a story, unlike all my other shows: the first was a walk as in Kowalski or paintings, as it 'evil empire' or a cloth, as in Moliere. Here is a story with its beginning, the development and, after 10 or 15 minutes, people try to understand what is the code. Recognizes the characters and become attached to the story, which has enormous relevance to other social problems. It has a lot to do with the chance of the trade. Every time I do a show on the craft.

're already thinking about something for the future?

No. I'll do something in the summer, alone. Will be of happenings. Those things are done in summer and then allow you to do these things here, later.

You have projects with the TV?

Ma .. Now I end up 'Che tempo che fa' with Fazio. No, but because with the TV you do not know who to ask. I'd like to do theater on television, I think we made some good variations, in a non-traditional but popular. But I do not know who to ask. Go TV is like going to speak in a Russian submarine dropped.

How you live your life?

So problematic. An actor has two houses, anyway: in a theater and one in the family. And this is not easy, since the actors were mixed with humans. Why, for survival, the extended family there in the theater by Moliere down, I think. Since we've been mixed up is hard to find a balanced personal life.

That you try?

Eh, I've made three attempts of the family.

I mean, to give up the theater?

No, no! Whoever gets closest to me know that the theater should not be touched.

Blond Highlight On Brown Hair Image

Giobbe canta i vizi

Job Covatta showed his undoubted talents of veteran skipper giving sailing lessons to a couple of passengers on inexperienced Sailing Channel for 15 episodes, some time ago. Son of a submariner, Job was born in Taranto and worked just as skipper, before launching into the show. Born in '56, only in the early 80s dared to present themselves to the Milan derby to see if he could do the comedy profession. It 'like, he was fine and so continued. Never attended acting classes. He told me years ago: "I believe that the best school, like most professions, it is. If you go on stage and people laugh, it works. If you do not laugh, it does not work. " From May 4 to 13 we will see him at the Teatro Ciak in SEVEN , a show which tells the seven deadly sins. Pride, avarice, lust, anger, gluttony, envy and sloth are the behaviors known as 'deadly sins', but considered ironic gaze of the great comic take on other aspects. He is accompanied by a small live orchestra composed of friends, excellent musicians, with a song for each defect. What


will you do with SEVEN?

Al Ciak happen that you humans can not even imagine ...! I come with my band, U3. Do not ask me why I call them so, I'm only three and could call C3, which stands for sewer, but it's an international band: one is American, but it seems that Japanese are always taking photos. The other is there is a Neapolitan and Apulian.

songs too?

Canto, but I do not write because I feel ashamed a bit '. An occasional minute or two. These so 'real' na shit, 'na sewer, two are live and one is from the dead. But the rest

how?

Apart from these three musicians and seven vices, as we all know, everyone knows what it is, I use terms such as allegory. I want to describe what's in the DNA of the same defect, or a genesis and its development, a form applied elsewhere.

I did not understand ...

And come see the show!

When you go to Malawi, in Africa, would not want them to be with you, even your fellow musicians?

That have already so many troubles and I harbor 'those three ... Here the only American musician who plays with us, just did not want it, there in America. And the port in Africa?

you can always just laugh?

Maybe if I had an ulcer ... I was pissed in my life dose of randomness is essential.

the family? Your children want to imitate?

I have 3 children, one is big and has a tiny and seem interested in me, but maybe it's just a transportation and real emotional too.

You write and then suddenly without script or recite?

First think, then tell jokes with a lot of fear. If I see that someone mentions a smile to repeat them the next day. Before arriving on the card takes a long time. Suddenly on the subject from time to time until, after a large number of live performances, I find a definition at my jokes. And I will continue to say that way there. At this writing, after experimenting in front of people for a long time and the mechanisms that make people laugh.

If you do not find more funny lines, what would you do?

Explorer, logical.

To find out what?

I wonder too. 'S why I want to make the explorer (and laughs merrily).

Would you go by land, air or sea?

Look, the sea is a great way to reach the earth. A quiet and reflective way to get somewhere part.

Browse memories he left you?

Yes and not only good memories. He left me all that I am now.