Monday, March 14, 2011
New Mexico Vertical License Alcohol
The place of international politics in the era of multilateralism
Wednesday, March 2, 2011
View Shtml Liveapplet
MATERIALS AND REFLECTIONS - Sixth meeting
REFLECTIONS OF DARIO AGGIOLI / THEATRE madman
Be clear, give a clear answer, having to clarify their thoughts ...
For each question there is an answer? And 'one?
The contradiction is a problem or a value? A strength or a weakness?
for me to answer to me is violence and who gives him the question.
During the meeting, I gave clear answers? I found a way
to explain my work?
Maybe my work is not clear.
I seek a clear demand. The
domanda è un motore, una forza propulsiva, è un approccio erotico.
La risposta è un muro, la morte, è pornografia.
Il nostro teatro è erotico, non pornografico. Non cerchiamo il nuovo,
la risposta a tutto, non cerchiamo lo spettacolo perfetto.
Mio nonno, il più grande artista che io abbia mai conosciuto, quando
mi iniziò al disegno mi disse: "chi cerca la perfezione non è un
artista, è un morto de sonno! Lo capirai, disegna che lo capirai...".
Chi dalle domande cerca una risposta ha un approccio pornografico.
Vuole toccare la verità, tastarla, penetrarla.
Io invece voglio sedurla, ingannarla, ingannarmi, innamorarmi, desiderarla.
Quale è il metodo di Teatro Forsennato?
Un metodo, una metologia, un applicazione identica per ogni spettacolo
o per ogni spiegazione è pornografia!
Qual è il punto fermo di ogni nostro lavoro? Lo spettatore, lo spazio,
il momento: questi punti sono sfuggenti? Ogni volta sono diversi? Non
ci danno certezze?
Noi cerchiamo ogni volta come innamorarci di una storia, come sedurre
uno spettatore, come godere insieme.
Vogliamo accompagnare lo spettatore, camminare accanto a lui, non
manipolarlo o guidarlo. Ask him where he wants to go ...
not ask me to be clear, I can not ', I can not be,
not want to be.
who seeks road? Who knows where or who you lost?
I hope that it was not clear
Dario Aggioli - Theatre madman
November 8, 2010
Monday, February 28, 2011
Where Cani Watch Korean Movies Online
there is something rotten in the Republic of Italy. What harm is there
Guilty, 9 years.
This is the request of PG the notorious prosecutor in Milan.
for defending himself, this is the unforgivable crime . For defending their lives and their property. Why
defense is a crime in Italy . Rape, steal, destroy a city, kill are not, or at least are crimes of Serie B. Defending
is serious, very serious indeed. Unforgivable.
Because there is already the police and the judiciary to defend the citizens? The police is not omnipotent nor omnipresent, and the judiciary has a curious conception of the principle of law enforcement and property . The medieval tyrants
forbade his subjects to bear arms and defend themselves for fear that these subjects could also defend against them. Today
Vavassori impose new, with supreme contempt of ridiculous prohibitions that now have the taste of ignorance, pure and simple, now the appalling stench of the abuse (remember the four cats that pass by here, that the potential for abuse can not and should not be grounds for denial of a right ).
And as the times were, these princes have their legions of servants, fools, their Sir Biss , so to speak.
are the ones who when you say "self defense" will overwhelm the distinctions of dubious morality and origin, spreading rain licenses "fascist." Of course, the ideological proximity (and functional) is self-evident. The principle of the rule of God, loved by the socialists of all hues, is horrified by the mere idea of \u200b\u200bcitizenship (in although different from "subject"), let alone a citizen who wants to defend ...
And please, do not get me furi the usual tale of the "Far West", worthy of those who know American history from spaghetti westerns, because the far-west of criminals on the loose and lynching as a social event (or vice versa ) you have created you.
This is the request of PG the notorious prosecutor in Milan.
for defending himself, this is the unforgivable crime . For defending their lives and their property. Why
defense is a crime in Italy . Rape, steal, destroy a city, kill are not, or at least are crimes of Serie B. Defending
is serious, very serious indeed. Unforgivable.
Because there is already the police and the judiciary to defend the citizens? The police is not omnipotent nor omnipresent, and the judiciary has a curious conception of the principle of law enforcement and property . The medieval tyrants
forbade his subjects to bear arms and defend themselves for fear that these subjects could also defend against them. Today
Vavassori impose new, with supreme contempt of ridiculous prohibitions that now have the taste of ignorance, pure and simple, now the appalling stench of the abuse (remember the four cats that pass by here, that the potential for abuse can not and should not be grounds for denial of a right ).
And as the times were, these princes have their legions of servants, fools, their Sir Biss , so to speak.
are the ones who when you say "self defense" will overwhelm the distinctions of dubious morality and origin, spreading rain licenses "fascist." Of course, the ideological proximity (and functional) is self-evident. The principle of the rule of God, loved by the socialists of all hues, is horrified by the mere idea of \u200b\u200bcitizenship (in although different from "subject"), let alone a citizen who wants to defend ...
And please, do not get me furi the usual tale of the "Far West", worthy of those who know American history from spaghetti westerns, because the far-west of criminals on the loose and lynching as a social event (or vice versa ) you have created you.
Wednesday, February 23, 2011
Playmobil Small Castle Directions
Thursday, February 17, 2011
How To Clean A Pressing Comb
The right man for the Palazzo Chigi
Unfortunately is not a joke. I expect the
Binetti education and will to health, both to understand under what conditions is the opposition.
Keep well to hurt you, comrades, both those who seize on the place we are still us. Even without
bunga-bunga. 
Unfortunately is not a joke. I expect the
Binetti education and will to health, both to understand under what conditions is the opposition.
Keep well to hurt you, comrades, both those who seize on the place we are still us. Even without
bunga-bunga.
Monday, February 14, 2011
Time It Takes The Spleen To Heal
"If not now ..."
So a million women, it is said, would be taken to the streets to difendedere their dignity. Well!
for the dignity of the new slaves forced onto the sidewalk to the sound of beatings and rapes? A demonstration of solidarity with the oppressed women fundamentalist regimes?
against the vile aggression against the rights of women in particular and all citizens in general, by fundamentalist Catholics?
against the horror of female? Against the abolition of child brides or babies?
No.
against Silvio Berlusconi ...
Go to hell now. 
for the dignity of the new slaves forced onto the sidewalk to the sound of beatings and rapes? A demonstration of solidarity with the oppressed women fundamentalist regimes?
against the vile aggression against the rights of women in particular and all citizens in general, by fundamentalist Catholics?
against the horror of female? Against the abolition of child brides or babies?
No.
against Silvio Berlusconi ...
Go to hell now.
Monday, February 7, 2011
Saturday, February 5, 2011
Can I Wax If I Have Pityriasis Rosea?
CRITICAL UNIVERSITY OBSERVATORY - Tenth meeting
Tenth meeting - 26, 27, 28 November 2010
333.7993661
Elena D'Angelo
Observatory critical Roma1 
Tenth meeting - 26, 27, 28 November 2010
Novo Critical 2010. "Three days for One Day"
academy artifacts meets Andrea Porcheddu
333.7993661
Lo studio proposto dall’Accademia degli Artefatti al Kollatino Underground è ciò che rimane di un progetto da presentare al Roma Europa Festival nel 2008. Progetto fallito per abbandoni produttivi. Di questo abbandono lo studio presenta tutti i sintomi: anaffettività verso gli oggetti di scena, barbe incolte e volti solcati da profonde occhiaie. Si tratta di uno studio presentato a luci accese con copioni alla mano e attori che vanno e vengono dalla platea alla scena. La forma è subito convincente perché si presta in maniera efficace al contesto in cui viene proposta: l’Accademia degli Artefatti ci offre materiale nudo, ready to be dissected, studied and analyzed.
The study comes in the form of episodes. The first episode or woman-fish is crossed by the original reflections on the disruptive power of side vision and clear references to certain views of the film disturbing ani '70-'80: Haneke's Funny Games and Lynch's Lost Highway. In a sense, the oneiric, irreverent and disturbing the fragments mentioned in the first episode, is well suited to the mood of the study presented by the Academy of artifacts: the dialogue always degenerate into sit-com paradoxical, dotted with nonsense, losses of temporary memory, a reversal of roles. The game is attractive, in some ways funny, but somewhat constrained by the presence of long-winded and made scripts on stage: the actors reading expands the time of representation by creating empty spaces that the performers fill overloading the repertoire of gestural and expressive ornamentation, embellishments, modulations, up to create a perfect caricatures of themselves.
The second part of the study opens with the arrival of a disruptive actor naked from the waist down, an interesting pretext for investigating the dynamics of attention, which unfortunately slips into a more obvious game of double meanings on the small size of the State. Too bad.
The third episode or interrogation is very interesting due to the obvious capacità dei due attori che si muovono in sincronia perfetta lungo le traiettorie del testo: movimenti, toni, espressioni, tengono viva l’attenzione che altrimenti si perderebbe seguendo le linee confuse di un dialogo che procede a stento sul terreno scivoloso dell’assurdo.
L’ultimo episodio o dei pacchi, pur rievocando atmosfere beckettiane –i due protagonisti dell’episodio sembrano due moderni Vladimiro ed Estragone nell’attesa attuale di un significato che sfugge- non riesce a staccarsi dall’impianto teorico-demagogico sul concetto di libertà e democrazia, lasciando inattuate le possibilità di una nuova clownerie di acrobazie del quotidiano.
The study comes in the form of episodes. The first episode or woman-fish is crossed by the original reflections on the disruptive power of side vision and clear references to certain views of the film disturbing ani '70-'80: Haneke's Funny Games and Lynch's Lost Highway. In a sense, the oneiric, irreverent and disturbing the fragments mentioned in the first episode, is well suited to the mood of the study presented by the Academy of artifacts: the dialogue always degenerate into sit-com paradoxical, dotted with nonsense, losses of temporary memory, a reversal of roles. The game is attractive, in some ways funny, but somewhat constrained by the presence of long-winded and made scripts on stage: the actors reading expands the time of representation by creating empty spaces that the performers fill overloading the repertoire of gestural and expressive ornamentation, embellishments, modulations, up to create a perfect caricatures of themselves.
The second part of the study opens with the arrival of a disruptive actor naked from the waist down, an interesting pretext for investigating the dynamics of attention, which unfortunately slips into a more obvious game of double meanings on the small size of the State. Too bad.
The third episode or interrogation is very interesting due to the obvious capacità dei due attori che si muovono in sincronia perfetta lungo le traiettorie del testo: movimenti, toni, espressioni, tengono viva l’attenzione che altrimenti si perderebbe seguendo le linee confuse di un dialogo che procede a stento sul terreno scivoloso dell’assurdo.
L’ultimo episodio o dei pacchi, pur rievocando atmosfere beckettiane –i due protagonisti dell’episodio sembrano due moderni Vladimiro ed Estragone nell’attesa attuale di un significato che sfugge- non riesce a staccarsi dall’impianto teorico-demagogico sul concetto di libertà e democrazia, lasciando inattuate le possibilità di una nuova clownerie di acrobazie del quotidiano.
Elena D'Angelo
Observatory critical Roma1
Monday, January 31, 2011
Pokemon Red For Calculator Plus 84
CRITICAL UNIVERSITY OBSERVATORY - Ninth meeting
Ninth meeting - November 12, 2010
Critical Novo 2010. Amber meets with Senator Rodolfo Sacchettini
Step
green wig, black dress.
Elena D'Angelo
Observatory critical Roma1
The stumbling
Laura Pacelli
Osservatorio critico Roma1
Ninth meeting - November 12, 2010
Critical Novo 2010. Amber meets with Senator Rodolfo Sacchettini
Step
green wig, black dress.
Building. Under the Fresnel lens of the light bath. Black wig. Green dress. The exact body, like a figurine of a cardboard cut out with extreme precision. Slowly comes to life. The first moments are populated by robotic movements, inhuman. The body of study space, it has with the dynamics of the imbalance and fragmentation, cutting off the air in the small 4x4 scene. The silence of the room is animated by the breath and the rhythmic creak of the wooden planks. And then: music. The movement becomes more fluid. My eye s'abitua, recognizes, does not follow his finger uncertain letters of a strange alphabet, but can read words, even whole sentences.
It multiplies. Two bodies are identical in the same way that they move in space, telling a story of everyday actions, familiar. The hand behind the ear hair system: instant humanity that wants to be danced in the flow of action. Indistinct from the surface of the movement emerge that reveal details such as flashes of individuality, often related to an error in the execution of voluntary choreography. In other words: the deviation from the norm is that the individual can hope to assert their uniqueness.
Among the cheers are still waiting for my eyes, from behind the curtain, black wig, green dress. Or even better: green wig, black dress.
It multiplies. Two bodies are identical in the same way that they move in space, telling a story of everyday actions, familiar. The hand behind the ear hair system: instant humanity that wants to be danced in the flow of action. Indistinct from the surface of the movement emerge that reveal details such as flashes of individuality, often related to an error in the execution of voluntary choreography. In other words: the deviation from the norm is that the individual can hope to assert their uniqueness.
Among the cheers are still waiting for my eyes, from behind the curtain, black wig, green dress. Or even better: green wig, black dress.
Elena D'Angelo
Observatory critical Roma1
The stumbling
What kinds unexpected drop a burst of laughter, enjoy the comic, the observer is given for granted , Charlie Chaplin and Buster Keaton practiced to perfection by masters dell'inciampo, think of the formidable duo in the spotlight. Pirandello is to inform the theory that the switch from comic humor is one step short. The observer perceives the suffering of the victim, his laughter turns off. The comparison with the great names can be frightening, so Amber Senator has placed in a corner two gifts, a book and a boxed set of DVDs on Keaton, readings and visions for a future when no longer have the fear of that great when compared with non- is rarely turn to the formulas of his dance theater, which houses the astonishment caused by an apparent unexpected. Everything is really designed to perfezione; il doppio, un piede che cede, una parrucca che vola, una mano che si stacca vengono inseriti ad arte per stupire, disorientare. Contro la sicurezza, che vuol tornare ad insediarsi, immediata deve nascere una nuova forma, che sia tableau vivant o fermo immagine, capace di stupire ancora: perché nel futuro spettacolo di Ambra Senatore la danza sia come la vita, di continuo soggetta a metamorfosi, afferrabile e definibile per poco, poi di nuovo in evoluzione. Un incontro piacevole quello che segue la presentazione del lavoro, in cui giustamente il critico Sacchettini lascia che la Senatore continui a fare teatro mentre parla del proprio teatro.
Laura Pacelli
Osservatorio critico Roma1
Questione di tempi
Daria Deflorian ha scelto di non presentare alcun primo studio.
Da sottolineare questa volontà, non dettata dalle circostanze, di soffermarsi con e sulle idee prima di metterle in pratica. James Hilmman le fornisce il sostegno teorico “[...]le idee perdono vitalità quando vengono concretizzate. Devono essere covate per farne uscire di migliori”.
Ecco mi pare buona cosa questo suo non cedere all'ansia del risultato, al ricatto della formalizzazione e della produzione immediata. La necessità quindi di sostare, assecondare i tempi del pensiero,e non precipitarsi.
E' il rifiuto di quella che la Deflorian definisce la “condanna dell'esposizione”.
Che un artista cerchi il confronto col pubblico in questa fase iniziale di creazione, è raro.
Quando ad esistere è solo l'idea, nuda, senza ancora una traduzione scenica, esporsi al giudizio esterno può essere prematuro ma anche stimolante.
Ambra Senatore, diversamente dalla sua collega ha scelto di non cogliere questa occasione. Ci ha mostrato un estratto da “Passo”, spettacolo che ha già avuto modo di girare e ricevere riconoscimenti. Ha ritenuto opportuno dover necessariamente “mostrare”. Difatti il nuovo lavoro quello annunciato, tarda a vedere luce. La Senatore ce lo fa intuire nella discussione con il critico Rodolfo Sacchettini , esponendo anche i propri doubts as to his initial idea: to build a path of movement that make it cinematic images. In declaring somewhat out of his intentions, and expressing the concern of failing at a certain timing, the Senator reminds us that creation has its time. Time often dilated, which can lead to not being "on time". And while he thinks and hesitates, tells of how the observation of reality is the main source of inspiration: the 'old husband who helps his wife to climb slowly pulling his arm is a whole world of gestures, poses and attitudes.
To err is human, he says. "Step" is deliberately littered with errors o “pennellate di umanità”, che intaccano l'apparente perfezione della danza. L'umanità è tutta in quelle mancanze,i n quei vuoti, in quel qualcosa che non torna e che devia dalle aspettative, è nel rifiuto della pienezza e della riproducibilità. Tutto questo è anche molto ironico. Ci si chiede allora cosa sia l'ironia e ci si interroga su i meccanismi del comico, che sono imperscrutabili e di difficile spiegazione. La comicità è in fondo una questione di tempi, non riproducibili con esattezza e precisione.
Giada Oliva
Daria Deflorian ha scelto di non presentare alcun primo studio.
Da sottolineare questa volontà, non dettata dalle circostanze, di soffermarsi con e sulle idee prima di metterle in pratica. James Hilmman le fornisce il sostegno teorico “[...]le idee perdono vitalità quando vengono concretizzate. Devono essere covate per farne uscire di migliori”.
Ecco mi pare buona cosa questo suo non cedere all'ansia del risultato, al ricatto della formalizzazione e della produzione immediata. La necessità quindi di sostare, assecondare i tempi del pensiero,e non precipitarsi.
E' il rifiuto di quella che la Deflorian definisce la “condanna dell'esposizione”.
Che un artista cerchi il confronto col pubblico in questa fase iniziale di creazione, è raro.
Quando ad esistere è solo l'idea, nuda, senza ancora una traduzione scenica, esporsi al giudizio esterno può essere prematuro ma anche stimolante.
Ambra Senatore, diversamente dalla sua collega ha scelto di non cogliere questa occasione. Ci ha mostrato un estratto da “Passo”, spettacolo che ha già avuto modo di girare e ricevere riconoscimenti. Ha ritenuto opportuno dover necessariamente “mostrare”. Difatti il nuovo lavoro quello annunciato, tarda a vedere luce. La Senatore ce lo fa intuire nella discussione con il critico Rodolfo Sacchettini , esponendo anche i propri doubts as to his initial idea: to build a path of movement that make it cinematic images. In declaring somewhat out of his intentions, and expressing the concern of failing at a certain timing, the Senator reminds us that creation has its time. Time often dilated, which can lead to not being "on time". And while he thinks and hesitates, tells of how the observation of reality is the main source of inspiration: the 'old husband who helps his wife to climb slowly pulling his arm is a whole world of gestures, poses and attitudes.
To err is human, he says. "Step" is deliberately littered with errors o “pennellate di umanità”, che intaccano l'apparente perfezione della danza. L'umanità è tutta in quelle mancanze,i n quei vuoti, in quel qualcosa che non torna e che devia dalle aspettative, è nel rifiuto della pienezza e della riproducibilità. Tutto questo è anche molto ironico. Ci si chiede allora cosa sia l'ironia e ci si interroga su i meccanismi del comico, che sono imperscrutabili e di difficile spiegazione. La comicità è in fondo una questione di tempi, non riproducibili con esattezza e precisione.
Giada Oliva
Osservatorio critico Roma2
Tuesday, January 25, 2011
Compatible With Same Birthday
Program of the opposition to the government of the country
Unfortunately it is not a joke. 
Unfortunately it is not a joke.
Thursday, January 20, 2011
Whats That Song That Sounds Like Riverside
CRITICAL UNIVERSITY OBSERVATORY - Eighth meeting
Eighth meeting - November 10, 2010
self as another.
Francesca Bini
Observatory critical Roma2
Eighth meeting - November 10, 2010
Critical Novo 2010. Daria Deflorian meets Katie Ippaso
self as another.
Spending, not shown to avoid excessive immediacy and the design intent. Daria Deflorian
choose for the public the story of the idea of \u200b\u200bNovo Critical cornerstone of Reality, the future will show that the main character along with Antonio Tagliarini. No representation, therefore, what we have at the moment is the beginning of a shock, the entropy of an idea incubator. The encounter with the subject, says the artist, takes place during a sunny Sunday in March: Daria comes across by accident in the history of Janina Turek, home of Krakow from 1943 to 2000, the year of death, tells the details of their daily non-stop and never make them public. Gradually, the writing becomes his job: the most trivial and irrelevant details are recorded about 748 books, though they were books. Janina never writes of himself, and when it does happen in the third person, looking to live. The artistic intuition is imperious, categorical; il primo impatto fortemente emotivo. Ossessione patologica o meno, poco importa. Il racconto della Deflorian è commovente e commosso, la sua immagine della donna che spiò se stessa quasi come fosse una necessità imprescindibile, è felice e rispettosa. Forse ancora troppo partecipata. Per la domanda di Katia Ippaso sulle modalità della messa in scena non c’è ancora una risposta precisa. Ciò che è certo sono i molteplici interrogativi che la storia pone agli artisti e al pubblico. E il futuro titolo sintetizza e non lascia scampo: Reality contiene in sé il rapporto tra il reale e la sua rappresentazione. Ci troviamo ancora una volta a riflettere sul paradosso del Teatro, che è per definizione vita artificiale, Yes, but shared, and that both differ from that vision voyeuristic voyeurs which is proper instead of the modern reality show. We must work to subtraction, then, to eliminate that term altogether missing. It 'the same job as Janina pave the way for bringing into play the dialectic between public and private, ineffable and unutterable. Apparently his writings seem to fit into a closed circuit that bypasses both the size of their emotional experience, as a collective. A car stops on the meticulous sterile paper and mathematical meaning, where pathos and ethos vanish. Yet, says the Deflorian, the action of this woman seems to have something to do with not told anywhere else, with a size metaphysics to be investigated, as if the voluntary choice was to conceal the essential. In addition, we add, if one side seems to objectify the subject only through a private investigation and self-analytical, second, they reflect the continuity and the decision to keep these writings. A future memory. No violence, therefore, as someone suggested. A betrayal must, of course. Faced with an individuality split between that and what is not said - inescapable starting point arises-looking critic, to dialogue with the past history and present, to reflect on their identity and their everyday dimension.
choose for the public the story of the idea of \u200b\u200bNovo Critical cornerstone of Reality, the future will show that the main character along with Antonio Tagliarini. No representation, therefore, what we have at the moment is the beginning of a shock, the entropy of an idea incubator. The encounter with the subject, says the artist, takes place during a sunny Sunday in March: Daria comes across by accident in the history of Janina Turek, home of Krakow from 1943 to 2000, the year of death, tells the details of their daily non-stop and never make them public. Gradually, the writing becomes his job: the most trivial and irrelevant details are recorded about 748 books, though they were books. Janina never writes of himself, and when it does happen in the third person, looking to live. The artistic intuition is imperious, categorical; il primo impatto fortemente emotivo. Ossessione patologica o meno, poco importa. Il racconto della Deflorian è commovente e commosso, la sua immagine della donna che spiò se stessa quasi come fosse una necessità imprescindibile, è felice e rispettosa. Forse ancora troppo partecipata. Per la domanda di Katia Ippaso sulle modalità della messa in scena non c’è ancora una risposta precisa. Ciò che è certo sono i molteplici interrogativi che la storia pone agli artisti e al pubblico. E il futuro titolo sintetizza e non lascia scampo: Reality contiene in sé il rapporto tra il reale e la sua rappresentazione. Ci troviamo ancora una volta a riflettere sul paradosso del Teatro, che è per definizione vita artificiale, Yes, but shared, and that both differ from that vision voyeuristic voyeurs which is proper instead of the modern reality show. We must work to subtraction, then, to eliminate that term altogether missing. It 'the same job as Janina pave the way for bringing into play the dialectic between public and private, ineffable and unutterable. Apparently his writings seem to fit into a closed circuit that bypasses both the size of their emotional experience, as a collective. A car stops on the meticulous sterile paper and mathematical meaning, where pathos and ethos vanish. Yet, says the Deflorian, the action of this woman seems to have something to do with not told anywhere else, with a size metaphysics to be investigated, as if the voluntary choice was to conceal the essential. In addition, we add, if one side seems to objectify the subject only through a private investigation and self-analytical, second, they reflect the continuity and the decision to keep these writings. A future memory. No violence, therefore, as someone suggested. A betrayal must, of course. Faced with an individuality split between that and what is not said - inescapable starting point arises-looking critic, to dialogue with the past history and present, to reflect on their identity and their everyday dimension.
Francesca Bini
Observatory critical Roma2
Sunday, January 16, 2011
How To Make A Gun Cakes
CRITICAL OBSERVATORY UNIVERSITY - Sixth meeting
Seventh meeting - November 3, 2010
Theatre madman meets Florinda Nardi.
Francesca Bini
Observatory critical Roma2
TRITOLO & DYNAMITE
The Han said.
Maybe then well have done. What a terrible awakening
the interruption of a dream that we talked about as if it were truth. Han
silenced a small audience, it is true, but still respectable.
Maybe not but, my memory limps and focus very carefully and Dario Aggioli Angelo Tantillo (Teatro madman) the public have swallowed.
And then he had to serve long for saying what few have digested.
A jew who escapes death by the sight of the fate
in bygone
which called Aryan race and in front of a mirror
becomes excessive in his mind healthy and shiny
and immodest in another late
that already locked up where
singing "Long live our king!"
was convinced that the scheme is
the friend to obey.
I have said and then I have done.
"In our work, we chose to overcome psychologism."
"Stanislavsky's gone!"
This seems well established method with his inner
you raise the fervor for a
that act like you were talking.
Screwdriver impractical
so that you apathetic
makes the desire to explore
new walls to be drilled.
of the tools and the time
not disturb the poetic
that if the result is not fixed on
burden of something that is off. Attention dear audience
the news is not bitter but you
Bell'O is clear: Do not ignore
superar
indefinitely despite
grammar seasoned
rhymes with the word that is joined with the first of the three
the most conspicuous.
E 'fear that the answer misleading
a program that only sees the gallows
its ancient and hatched the plot that
alliscia
face and called the philosophy of a myth that the
Aggioli
replaced with proposals that do not shoot well hidden
history
but tried again.
At which point is the claim that what tired
v'arranca
fixed on the idea of \u200b\u200bbeing able to
if the jew and the insane (that style is not soft)
abbian
types built on the colors established by
'Freudian analysis
that her skirt is bell.
Outside the glass instead a chorus
that psychology is golden
while showing that sometimes
make himself good luck
that gives you an inheritance
four masks in the middle
that with the new van filled with TNT and dynamite
for something to try to overcome
but also in what they call intelligence of the actor under the cap
that the psyche is certain but
passed is the era of its discovery .
Maria Rita Di Bari
Observatory critical Roma2 
Seventh meeting - November 3, 2010
CRITICAL NOVO 2010 - "Study for an asylum"
Theatre madman meets Florinda Nardi
Theatre madman meets Florinda Nardi.
University of Tor Vergata, Classroom Moscati.
Two actors sit on the examining table.
Falls le barriere didattiche ci ritroviamo in un manicomio: sullo sfondo la figura di Carlo Angela, direttore della casa di cura torinese per malattie mentali “Villa Turina Amione”. E’ qui che durante la dittatura fascista Angela salvò, facendoli ricoverare e insegnando loro a simulare le condizioni dei “veri” malati mentali, un gran numero di antifascisti ed ebrei. I protagonisti sono Enrico - Dario Aggioli- fascista che soffre di autismo, e Ferruccio – Angelo Tantillo - ebreo che finge la follia per eludere le leggi razziali.
A risposta di una domanda non formulata,
Enrico si alza: sa ciò che deve cantare e sembra goderne.
Faccetta nera..bell’ abissina…
Aspetta e spera che già l’ora s’avvicina!
Godimento autistico e più che mai illusorio di chi si sente finalmente parte di un sistema.
Enrico ha bisogno della “maschera fascista” e sarà Ferruccio, l’ebreo,
a porgergliela come se fosse un gesto quotidiano, abituale.
Il frammento della nuova produzione di Teatro Forsennato viene presentato al pubblico due volte e interrotto da una discussione tra il regista-attore Dario Aggioli, e il suo compagno di scena. Tra la rappresentazione e la teoria del suo farsi non ci sono tempi morti. La seconda volta si notano il cambiamento e in alcuni casi, le migliorie. Siamo di fronte a un atto performativo meta teatrale molto più esaustivo delle subsequent discussions. Opening the debate are, however, clarified some points concerning the modus operandi of the company's use of a cloth authorial practice improvisation, the active inclusion of the viewer. E 'in the manifesto of Theatre madman intent to re-evaluate the unique and unrepeatable event spectacular, maintain the details of the contingent, the changing of the real gap. Interesting use of half-mask of the Commedia dell'arte as a study tool to be abandoned along the route. In this regard: the constant references to the Commedia suddenly necessary to nothing but a sterile categorization, appeared at times anachronistic. Despite the use of some familiar tools, the will of the company certainly does not seem to be that of a revival of the Commedia dell'Arte, but rather the recognition of a useful method to their work.
But what is the point of half-mask important to me? What
togliendosela, the plaintiff must finally understand that it is himself, his whole self, a mask.
At that point you become an actor, a true actor.
Leo de Berardinis-
Two actors sit on the examining table.
Falls le barriere didattiche ci ritroviamo in un manicomio: sullo sfondo la figura di Carlo Angela, direttore della casa di cura torinese per malattie mentali “Villa Turina Amione”. E’ qui che durante la dittatura fascista Angela salvò, facendoli ricoverare e insegnando loro a simulare le condizioni dei “veri” malati mentali, un gran numero di antifascisti ed ebrei. I protagonisti sono Enrico - Dario Aggioli- fascista che soffre di autismo, e Ferruccio – Angelo Tantillo - ebreo che finge la follia per eludere le leggi razziali.
A risposta di una domanda non formulata,
Enrico si alza: sa ciò che deve cantare e sembra goderne.
Faccetta nera..bell’ abissina…
Aspetta e spera che già l’ora s’avvicina!
Godimento autistico e più che mai illusorio di chi si sente finalmente parte di un sistema.
Enrico ha bisogno della “maschera fascista” e sarà Ferruccio, l’ebreo,
a porgergliela come se fosse un gesto quotidiano, abituale.
Il frammento della nuova produzione di Teatro Forsennato viene presentato al pubblico due volte e interrotto da una discussione tra il regista-attore Dario Aggioli, e il suo compagno di scena. Tra la rappresentazione e la teoria del suo farsi non ci sono tempi morti. La seconda volta si notano il cambiamento e in alcuni casi, le migliorie. Siamo di fronte a un atto performativo meta teatrale molto più esaustivo delle subsequent discussions. Opening the debate are, however, clarified some points concerning the modus operandi of the company's use of a cloth authorial practice improvisation, the active inclusion of the viewer. E 'in the manifesto of Theatre madman intent to re-evaluate the unique and unrepeatable event spectacular, maintain the details of the contingent, the changing of the real gap. Interesting use of half-mask of the Commedia dell'arte as a study tool to be abandoned along the route. In this regard: the constant references to the Commedia suddenly necessary to nothing but a sterile categorization, appeared at times anachronistic. Despite the use of some familiar tools, the will of the company certainly does not seem to be that of a revival of the Commedia dell'Arte, but rather the recognition of a useful method to their work.
But what is the point of half-mask important to me? What
togliendosela, the plaintiff must finally understand that it is himself, his whole self, a mask.
At that point you become an actor, a true actor.
Leo de Berardinis-
Francesca Bini
Observatory critical Roma2
TRITOLO & DYNAMITE
The Han said.
Maybe then well have done. What a terrible awakening
the interruption of a dream that we talked about as if it were truth. Han
silenced a small audience, it is true, but still respectable.
Maybe not but, my memory limps and focus very carefully and Dario Aggioli Angelo Tantillo (Teatro madman) the public have swallowed.
And then he had to serve long for saying what few have digested.
A jew who escapes death by the sight of the fate
in bygone
which called Aryan race and in front of a mirror
becomes excessive in his mind healthy and shiny
and immodest in another late
that already locked up where
singing "Long live our king!"
was convinced that the scheme is
the friend to obey.
I have said and then I have done.
"In our work, we chose to overcome psychologism."
"Stanislavsky's gone!"
This seems well established method with his inner
you raise the fervor for a
that act like you were talking.
Screwdriver impractical
so that you apathetic
makes the desire to explore
new walls to be drilled.
of the tools and the time
not disturb the poetic
that if the result is not fixed on
burden of something that is off. Attention dear audience
the news is not bitter but you
Bell'O is clear: Do not ignore
superar
indefinitely despite
grammar seasoned
rhymes with the word that is joined with the first of the three
the most conspicuous.
E 'fear that the answer misleading
a program that only sees the gallows
its ancient and hatched the plot that
alliscia
face and called the philosophy of a myth that the
Aggioli
replaced with proposals that do not shoot well hidden
history
but tried again.
At which point is the claim that what tired
v'arranca
fixed on the idea of \u200b\u200bbeing able to
if the jew and the insane (that style is not soft)
abbian
types built on the colors established by
'Freudian analysis
that her skirt is bell.
Outside the glass instead a chorus
that psychology is golden
while showing that sometimes
make himself good luck
that gives you an inheritance
four masks in the middle
that with the new van filled with TNT and dynamite
for something to try to overcome
but also in what they call intelligence of the actor under the cap
that the psyche is certain but
passed is the era of its discovery .
Maria Rita Di Bari
Observatory critical Roma2
Tuesday, January 11, 2011
Poptropica Game Online
CRITICAL UNIVERSITY OBSERVATORY - Fifth meeting
Fifth meeting - October 29, 2010
A CRIB DIGESTIBLE
Maria Rita Di Bari
Observatory critical Roma2 
Fifth meeting - October 29, 2010
CRITICAL NOVO 2010: "1st study to DIGERLSELZ"
Elvira Frost meets Massimo Marino
Elvira Frost meets Massimo Marino
A CRIB DIGESTIBLE
what extent we should allow herself to the art of telling him to explain the legitimate concern of the author during the creation of their artistic side proves to be inadequate to take the trouble to dress up role of analyst and patient of himself at the same time. How much importance given to
posthumous words of a demiurge who until the previous time was busy domesticating wire to tape it back in rhythm is explained to anyone but the insistence (also more than lawful) or of a critical audience unless you have the need to fill incontinent notebooks with mental notes precise answers yearning preferably logical that they come with notes narrative of the person who gave you just got the best of what could have been.
Quanta subtraction suffers a symbol for all human yearning to give exhaustive explanations of warranty
, how many meals we usually give to the audio guides, captions, to Bugiardini, has denied Elvira Frosini in going with the multifaceted and uncertain as has traveled through the curious debate following the first study on "Digerseltz" showing and proving that the artwork is not in control and does not accept being forced to give an account of definitive interpretations.
Unanswered
for lobsters
advanced ear to proposals
spastic
of judgments in line with the drastic
numeretto
raving in the waiting room so to speak
play for the trouble
intervene with readings devoted to bad luck.
Ella,
ironic that it
and barons formed the substance could not dare
Pop
if the well to look for the cause or canonical
down in the rest of Santa Costanza.
slipped into shoes available, flexible and bold
raised by those corks
beautiful nails that have tamed them
to sit in the pack
chest hair removed the yellow tired.
asked who had the best view of what was
track of whether a character pink
od'un male choir gloss
intent on overthrowing
what women tend to do.
not a finished work of
messenging screen
but wanted to do in the making of a
that his plots had sewing
that of the audience MUST
loan in assembly of the Hellenic vision
but not d ' talk to an extension. She
voracious Minotaur
mouth drowning in the cast of twentysomethings
white powder that boast of majesty
squarterà to pieces. Food
a free ride at will
looks she is the satiety
that clings to the conviction of
cream puffs puffy
clerical collar that beats down the vice
of that apple now grayed
very distorted in a whimper. Everything is
tin
to swallow to the sound of Ta-ta eat is an art because
equal to a game of cards when it comes right man
away with the winner takes all and if men
no time
remove the nose by the fingers
is to account for the mirror
t'insulta that you're old.
And if you eat more?
Hush, Beelzebub comes
that if the child is picky
fear comes that the teeth of a vampire in the bone
not that much more indolent
is to tease her neck. What
the bridge and its border
between eating and the rest end
which instead is the deception in the
dell'onnivoro
of quaestor in charge
short that its belly filled and discharged.
how to provoke reaction
the dying breed that
s'ottenebra
swallowing and then do it without talking
Posar
feedback on the progress of his vice
to sing happy birthday at a party
blessed when toasted goat
this well-seasoned
by a Christian, honest invitation.
In a knee
Madonna
other times very modern
that she has crossed the border with the plebeians
and recalls the good of a dinner banquet
in common between the stomach and brain that
companions in a
ritrovan hostel you pay and satisfy
of life and its heartbreaks.
Here, a live nativity scene. Speaker. Bustling offices of spoiled.
Here, the mouth social mad, confused between the swallow images infused with lard and total abstention from food.
Here, the mouth where the wisdom teeth will no longer grow.
Here, the black sheep of the fence on the border of madness that can no longer dissolve in a Digerselz.
posthumous words of a demiurge who until the previous time was busy domesticating wire to tape it back in rhythm is explained to anyone but the insistence (also more than lawful) or of a critical audience unless you have the need to fill incontinent notebooks with mental notes precise answers yearning preferably logical that they come with notes narrative of the person who gave you just got the best of what could have been.
Quanta subtraction suffers a symbol for all human yearning to give exhaustive explanations of warranty
, how many meals we usually give to the audio guides, captions, to Bugiardini, has denied Elvira Frosini in going with the multifaceted and uncertain as has traveled through the curious debate following the first study on "Digerseltz" showing and proving that the artwork is not in control and does not accept being forced to give an account of definitive interpretations.
Unanswered
for lobsters
advanced ear to proposals
spastic
of judgments in line with the drastic
numeretto
raving in the waiting room so to speak
play for the trouble
intervene with readings devoted to bad luck.
Ella,
ironic that it
and barons formed the substance could not dare
Pop
if the well to look for the cause or canonical
down in the rest of Santa Costanza.
slipped into shoes available, flexible and bold
raised by those corks
beautiful nails that have tamed them
to sit in the pack
chest hair removed the yellow tired.
asked who had the best view of what was
track of whether a character pink
od'un male choir gloss
intent on overthrowing
what women tend to do.
not a finished work of
messenging screen
but wanted to do in the making of a
that his plots had sewing
that of the audience MUST
loan in assembly of the Hellenic vision
but not d ' talk to an extension. She
voracious Minotaur
mouth drowning in the cast of twentysomethings
white powder that boast of majesty
squarterà to pieces. Food
a free ride at will
looks she is the satiety
that clings to the conviction of
cream puffs puffy
clerical collar that beats down the vice
of that apple now grayed
very distorted in a whimper. Everything is
tin
to swallow to the sound of Ta-ta eat is an art because
equal to a game of cards when it comes right man
away with the winner takes all and if men
no time
remove the nose by the fingers
is to account for the mirror
t'insulta that you're old.
And if you eat more?
Hush, Beelzebub comes
that if the child is picky
fear comes that the teeth of a vampire in the bone
not that much more indolent
is to tease her neck. What
the bridge and its border
between eating and the rest end
which instead is the deception in the
dell'onnivoro
of quaestor in charge
short that its belly filled and discharged.
how to provoke reaction
the dying breed that
s'ottenebra
swallowing and then do it without talking
Posar
feedback on the progress of his vice
to sing happy birthday at a party
blessed when toasted goat
this well-seasoned
by a Christian, honest invitation.
In a knee
Madonna
other times very modern
that she has crossed the border with the plebeians
and recalls the good of a dinner banquet
in common between the stomach and brain that
companions in a
ritrovan hostel you pay and satisfy
of life and its heartbreaks.
Here, a live nativity scene. Speaker. Bustling offices of spoiled.
Here, the mouth social mad, confused between the swallow images infused with lard and total abstention from food.
Here, the mouth where the wisdom teeth will no longer grow.
Here, the black sheep of the fence on the border of madness that can no longer dissolve in a Digerselz.
Observatory critical Roma2
Monday, January 10, 2011
What To Charge To Design A Poster
The Return of the Subtle Doctor
you remember the "Subtle Doctor", the operation of "tears and blood" by 93mila billion old Lirette? What
the devaluation of the lira to 7%, the one that invented the ISI - special tax on real estate, then as anything "extraordinary" in Italy has become a routine robbery?
Yeah, yeah, just what the "forced removal" of 6 per thousand from the bank accounts. We were told that this was due to a "dramatic situation emergency public finance." Situation, ça va sans dire, created from the same political class which was part of ours.
He, silent witness (or worse, in the words of a famous adage tangentopoli era, he was the one who "held the bag open while all others were stealing") of decades of plunder of public finance and then of money of the taxpayers, once found itself on the brink of catastrophe, I find nothing better to do that another sack. This time it for good.
In theory. Why
that the end is good or evil, always pillage it was.
Yes, precisely that "Subtle Doctor" that we put it subtly there.
now is that I will remember you (or who are found later recalled esservelo) know that he is back with another of other sue.Un forced withdrawal, this time at all rates (and hence the principle of progressive greetings): 10000 € buckets from current accounts, of course, from those who can. The problem is that in Italy, thanks to the "Subtle Doctor", who can simply not had enough. One more reason for "him off," one more reason to secure (read "foreign") their money, another reason to close the little factory and reopen it in India, Algeria, Vietnam, Shangri-La ...
So much industrialization italiana.Il fundamental problem is that, as reported (not so) jokingly satirical periodicals of the left end of the '80s / early '90s, is that being socialist means to be culturally thieves, almost genetically. In short, the soul thieves. And they knew what they were right ...
Obviously our reacting to yet another disaster - more instinctively that Pavlovian - architettanto yet another robbery at the expense of the taxpayer.
But a question arises in my mind: when all the robber, sottraibile, plunder, expropriation, estorcibile sarà stato già rapinato, sottratto, saccheggiato, espropriato, estorto, che cosa faranno questi geni dell'economia socialista (palese ossimoro)? Cosa farà il "Dottor Sottile"? Metterà in vendita 120 milioni di reni?Perchè è a questo che si arriverà se non la si pianta una buona volta di cedere alle sirene ideologiche e non si comincerà seriamente a fare i conti, anche quelli della serva, magari, ma pur sempre meglio delle vere e proprie cazzate che ci sono state propinate in questi ultimi decenni.Un'ultima questione, di principio e buon senso. L'estorsione aggravata e continuata ai danni dei cittadini di questo paese, oltre ad avere un fondamento palesemente ideologico, ha anche una scusa prarica: il debito pubblico da paese in guerra che ci portiamo sulle spalle, deve essere ridotto o quantomeno tenuto sotto controllo. Apparente buonsenso.
Apparente.
Non è stato infatti il cittadino-contribuente italiano a creare "il buco". Non è stata la popolazione italiana a fare aste di BOT talmente colossali da sembrare saldi per imminente chiusura, noi italiani non abbiamo fatto sparire (letteralmente) i 60mila miliardi destinati alla ricostruzione dell'Irpinia . Non siamo stati noi a votare, volta dopo volta, leggi di spesa fuori bilancio, o a non fare nulla mentre queste leggi venivano votate. Non c'è responsabilità, tantomeno colpa da parte nostra.
La colpa è loro.
Loro, classe politica dall'MSI to Refoundation Communist them, the whole "Arc Constitutional . They, parliamentarians, deputies, senators, secretaries, ministers, chairmen of the board and the Republic.
"They" have done the damage. "They" pay. "They" we all take forcibly from current accounts _loro_ € 10 thousand, or what used to repay the debt that their generated.
At the risk of selling kidneys.
I their kidneys, of course.
"Mr Craxi, because a Pink?" "Because I ran out of chrysanthemums."
From " Heart", the years that were 
the devaluation of the lira to 7%, the one that invented the ISI - special tax on real estate, then as anything "extraordinary" in Italy has become a routine robbery?
Yeah, yeah, just what the "forced removal" of 6 per thousand from the bank accounts. We were told that this was due to a "dramatic situation emergency public finance." Situation, ça va sans dire, created from the same political class which was part of ours.
He, silent witness (or worse, in the words of a famous adage tangentopoli era, he was the one who "held the bag open while all others were stealing") of decades of plunder of public finance and then of money of the taxpayers, once found itself on the brink of catastrophe, I find nothing better to do that another sack. This time it for good.
In theory. Why
that the end is good or evil, always pillage it was.
Yes, precisely that "Subtle Doctor" that we put it subtly there.
now is that I will remember you (or who are found later recalled esservelo) know that he is back with another of other sue.Un forced withdrawal, this time at all rates (and hence the principle of progressive greetings): 10000 € buckets from current accounts, of course, from those who can. The problem is that in Italy, thanks to the "Subtle Doctor", who can simply not had enough. One more reason for "him off," one more reason to secure (read "foreign") their money, another reason to close the little factory and reopen it in India, Algeria, Vietnam, Shangri-La ...
So much industrialization italiana.Il fundamental problem is that, as reported (not so) jokingly satirical periodicals of the left end of the '80s / early '90s, is that being socialist means to be culturally thieves, almost genetically. In short, the soul thieves. And they knew what they were right ...
But a question arises in my mind: when all the robber, sottraibile, plunder, expropriation, estorcibile sarà stato già rapinato, sottratto, saccheggiato, espropriato, estorto, che cosa faranno questi geni dell'economia socialista (palese ossimoro)? Cosa farà il "Dottor Sottile"? Metterà in vendita 120 milioni di reni?Perchè è a questo che si arriverà se non la si pianta una buona volta di cedere alle sirene ideologiche e non si comincerà seriamente a fare i conti, anche quelli della serva, magari, ma pur sempre meglio delle vere e proprie cazzate che ci sono state propinate in questi ultimi decenni.Un'ultima questione, di principio e buon senso. L'estorsione aggravata e continuata ai danni dei cittadini di questo paese, oltre ad avere un fondamento palesemente ideologico, ha anche una scusa prarica: il debito pubblico da paese in guerra che ci portiamo sulle spalle, deve essere ridotto o quantomeno tenuto sotto controllo. Apparente buonsenso.
Apparente.
Non è stato infatti il cittadino-contribuente italiano a creare "il buco". Non è stata la popolazione italiana a fare aste di BOT talmente colossali da sembrare saldi per imminente chiusura, noi italiani non abbiamo fatto sparire (letteralmente) i 60mila miliardi destinati alla ricostruzione dell'Irpinia . Non siamo stati noi a votare, volta dopo volta, leggi di spesa fuori bilancio, o a non fare nulla mentre queste leggi venivano votate. Non c'è responsabilità, tantomeno colpa da parte nostra.
La colpa è loro.
Loro, classe politica dall'MSI to Refoundation Communist them, the whole "Arc Constitutional . They, parliamentarians, deputies, senators, secretaries, ministers, chairmen of the board and the Republic.
"They" have done the damage. "They" pay. "They" we all take forcibly from current accounts _loro_ € 10 thousand, or what used to repay the debt that their generated.
At the risk of selling kidneys.
I their kidneys, of course.
"Mr Craxi, because a Pink?" "Because I ran out of chrysanthemums."
From " Heart", the years that were
Thursday, January 6, 2011
How To Upload Tv Shows To The Internet
PRESS REVIEW - CRITICAL REFLECTIONS
NOT CRITICAL REVIEWS
Alfio Petrini
I do not exhaustive some reflections on the theater asleep in the woods, not having the power magic to awaken. Sleep of Reason. Sleep of the body-mind that you share. Sleeping thought that makes the blood and the blood that you thought. The theater is no exception to this condition, because it is a piece of the great machine of the real country. In this condition does not escape even the critical work.
In difficult times the Sleeping Beauty migrates to leave fables and lurks in the everyday realities of polis is not there. So even in the theater. If not by word becomes flesh, there is no experience, there is no movement of thought and desire, that does not mortgage the future, the theater ends up generating repetition, withdrawal, defending the status quo , easement policy and cultural benefit of the powerful or the untouchable guy. The man of the theater - but not only -, thinks that it needs to be smart or clever, to be lucky or unlucky depending on the circumstances, and does not realize that he had fallen in catalepsy. Thus resembles the movement standstill, life to death. So the culture of lobbying, political protection, inaction, l’eliminazione del conflitto e la subordinazione dell’arte alla politica dettano le regole e producono quel mercato che è dichiarato libero, ma che libero non è. Altro che meritocrazia!
Il sonno è della drammaturgia esangue, sociologica, ideologica e materialistica, sopraffatta dall’informazione, descrittiva, mimetica. Copia e non trasforma. Pompa sentimenti. Tratta il personaggio non come un lessema, ma come un organismo vivente. Pretende di cambiare il mondo. Insegue il male per suggerire il bene, ignorando che nessun uomo è esente dal male perché lo porta con sé. Eh, già, il male sta sempre fuori di noi! I cattivi, gli imbecilli e gli incompetenti sono sempre gli altri! Bellezza estetica e buone intenzioni non salvano il mondo. Buonismo e moralismo sono la negazione dell’arte, della informazione, della produzione di coscienza critica.
Il sonno è la condizione di molta scrittura scenica che non sa entrare nella mente dello spettatore - scuoterlo, provocarlo, indurlo all’attività -, anche per effetto della paura di sbagliare, della precarietà delle fortune improvvisate, delle riforme annunciate a dritta e a manca e mai realizzate. È la condizione che attraversa le centinaia di scuole di teatro e le pagine dei manuali impegnati a formare e informare disoccupati che sognano di ‘esprimersi’, alimentando un mercato fittizio che risponde a pratiche seduttive e corrosive, in un historical moment when we should be able to learn to unlearn and to train people, not actors, directors or critics. It is a condition in which the criticism is not critical, because it no longer believes in itself, because it is locked in asphyxiated fences, why not just do short memories, or pack-cultural chronicles mundane. It 's the condition in which the political class that has no ethics, that instead of changing herself, thinks of changing the people, proving to be out of place and not devoted to his work he should do. An evil from which to derive other serious ailments.
We are in the barbarism.
But be careful not to resort the habit and the habit of good feelings and good triumphant over evil. You can come out of barbarism provided it is understood and not demonized, studied and not convicted of res judicata, accepted and not rejected a priori as something that does not concern us. To move beyond the barbarism must be barbaric. Each of us must take the barbarism itself. In short, we can overcome it if we think first of all that is foreign to our person, which is one of the possible worlds that belong to us - given the vast inner world - even though in daily life we \u200b\u200bnever made barbaric acts. In short, we are the barbarians, wild, excessive and licentious. Not a-moral, but immoral. Capable of terrible confusion, errors and iniquities infinite, but also visions, ecstasy and magic spells for which, however, does not feel the thrill of romance. Who shows in the odor of sanctity is called progressive, modern and antibarbaro. Who admits to the evil in the body is called anti-modern, reactionary and barbaric. The first tends to win over the other, the second tends to change itself. Long live the barbarism.
I am convinced that if I do load, I suggest leaving dall'imbarbarimento one day with something new, because only the barbarism can go out with a concrete act of civilization, and why not, of beauty. If this is true, in whole or in part, in life, imagine the art of theater and critical work. So the criticism is not critical for social reasons, which I have mentioned, but also for cultural and technical shortcomings.
do not intend here to address the technical issues - related to learning and not-knowing - even though I think that exist and affect not only the young critics, but also what was supposed to be an alternative to the 'barons '. It is a tall order for a show and deconstruct it in an original way is necessary to go beyond the cliches of traditional property: it takes knowledge and skill rather complex, ideally supported by experience consumed alongside the acknowledged masters of doing theater.
Luckily there is a manual of good critic. The critical work, royalty has to be respected. However, I think he's right Carla Benedetti (quoted by Andrew Porcheddu in his fine book This ghost, a theater critic ) when he argues that we must "open the doors to thought, to ask questions across the board, naming conflicts and grievances, explore , distinguish, investigate. " While the separation el'autoreferenzialità are a betrayal of the critical work, you have regained that criticism of the weapons that are proper and gatherings in the social justice to the thought, work on memory and memory to dig, make light, capture the invisible, understand, and steal the image, to allocate to the future work done on the past, to separate the authentic dall'inautentico. Should free itself from the text and from the show to find the critical assessment of the text and the audience, which is peaceful, unhurried and tied to the veil surface. It is free from fluctuations in the tastes and dislikes quotas, aesthetic preferences and the ideological partisanship, the race for post-graduate job as improvisation (first) and the method of reporting relating to news rather than play in the critical work (after). It is free "from the review - writes Porcheddu - to find this review liberated" from censorship and self-censorship, mental reservations and awkward balancing acts. It is free, I might add, by the bond of absolute objectivity, taking into consideration the good level of subjectivity, it is true - how true - which is objectively impossible to tell a theater. In that sense, I think, paradoxically, that the best way to make criticism of a show is to get as far away as possible with the least hope of being able to tap. Rethinking and remembering the details means its working memory and the memory of the show to devote the future to which a written unconditionally recognize literary value independently of the text and the audience. I say literary value self.
The conclusion can only be inconclusive. The chatter is deafening, the silence is empty, the excess is cataleptic. However, it is true that the dead man hides turmoil of life, data on the decomposition of the body and if it is true that every degenerative process involves a regenerative process, it is reasonable to think that sleep may be generated by the critical work of awakening sleeping in the woods . The cultures are there. Lack the basic conditions of good governance, social credit, some conditions necessary to draw new job opportunities and the desire to feel part of a "community", that is talking about Katie Ippaso.
Who will have the courage to tackle the state of siege and to call into question? Who will have the courage to go into the ministry of strategies aimed at the say that theater is the show entertaining? Who will be willing to do X-ray distribution of the airship, covacci the power of patronage, the old and new rents position? Who will close the abysmal gap that has opened between the legitimate interests and illegitimate interests, between thinking and another win on the 'other ? What the world has gained the upper hand in us? What kind of world we can tell, if we have a world of death? What energy we can burning, which can generate sparks, if our body-mind is apparently alive? How can we go beyond their limits and their ideas, to think otherwise other elsewhere, through with fear and courage at the same time the places of meaning? How can we generate the light of madness which the world needs? How can we forget this world, when you need to forget, and shed tears after having forgotten?
Talk about theater of the world is talking.
To whom do we entrust the protection of our image and our operations? No one. Certainly not in politics, who follows - at best - the needs of men, instead of preventing them. Imagine if you can solve the problems of a small caste, which is meaningless in a society devoted to the development that does not coincide with social progress. No prince will save us. There is no need for nominees, much less of wizards or knights-errant, to give substance to our utopia. On the horizon I see a man who could do it. Even if there was not anything the delegate of my work and my life.
Maybe we should start from the 'low', the 'base', as it was once, in our daily work, with courage, determination, strength that potrebbe derivare dall’essere parte di una “comunità”. “Non sarebbe bello contribuire a fabbricare un nuovo immaginario, presentandoci l’uno all’altro come comunità?”, si chiede la Ippaso nella sua lettera aperta. Sarebbe bellissimo. A condizione che si prenda atto che la critica subisce sia il danno di una forte regressione sociale e culturale del paese sia lo svantaggio dello stato catalettico in cui giace da molto tempo e che la rende estranea ai problemi del teatro e della comunità nazionale. Nessuno può isolarsi. Nessuno può permettersi di sentirsi migliore degli altri, ma nessuno può concedersi il lusso di considerare intoccabili i “baroni che ci hanno mangiati vivi”. I baroni we were eaten alive because we live without eating. Do not repeat the error and create a coordination of the critics. From the questions we can, of course, start or restart. Any loss is good to start all over again, minus the loss of speech. In it are handled by the dignity, security and integrity. Only in conditions of insecurity can not listen to life. Dreams, sacrifices, delusions, then, and shamelessness it takes. Provided that they are uncontrollable.
Alfio Petrini 
NOT CRITICAL REVIEWS
Alfio Petrini
I do not exhaustive some reflections on the theater asleep in the woods, not having the power magic to awaken. Sleep of Reason. Sleep of the body-mind that you share. Sleeping thought that makes the blood and the blood that you thought. The theater is no exception to this condition, because it is a piece of the great machine of the real country. In this condition does not escape even the critical work.
In difficult times the Sleeping Beauty migrates to leave fables and lurks in the everyday realities of polis is not there. So even in the theater. If not by word becomes flesh, there is no experience, there is no movement of thought and desire, that does not mortgage the future, the theater ends up generating repetition, withdrawal, defending the status quo , easement policy and cultural benefit of the powerful or the untouchable guy. The man of the theater - but not only -, thinks that it needs to be smart or clever, to be lucky or unlucky depending on the circumstances, and does not realize that he had fallen in catalepsy. Thus resembles the movement standstill, life to death. So the culture of lobbying, political protection, inaction, l’eliminazione del conflitto e la subordinazione dell’arte alla politica dettano le regole e producono quel mercato che è dichiarato libero, ma che libero non è. Altro che meritocrazia!
Il sonno è della drammaturgia esangue, sociologica, ideologica e materialistica, sopraffatta dall’informazione, descrittiva, mimetica. Copia e non trasforma. Pompa sentimenti. Tratta il personaggio non come un lessema, ma come un organismo vivente. Pretende di cambiare il mondo. Insegue il male per suggerire il bene, ignorando che nessun uomo è esente dal male perché lo porta con sé. Eh, già, il male sta sempre fuori di noi! I cattivi, gli imbecilli e gli incompetenti sono sempre gli altri! Bellezza estetica e buone intenzioni non salvano il mondo. Buonismo e moralismo sono la negazione dell’arte, della informazione, della produzione di coscienza critica.
Il sonno è la condizione di molta scrittura scenica che non sa entrare nella mente dello spettatore - scuoterlo, provocarlo, indurlo all’attività -, anche per effetto della paura di sbagliare, della precarietà delle fortune improvvisate, delle riforme annunciate a dritta e a manca e mai realizzate. È la condizione che attraversa le centinaia di scuole di teatro e le pagine dei manuali impegnati a formare e informare disoccupati che sognano di ‘esprimersi’, alimentando un mercato fittizio che risponde a pratiche seduttive e corrosive, in un historical moment when we should be able to learn to unlearn and to train people, not actors, directors or critics. It is a condition in which the criticism is not critical, because it no longer believes in itself, because it is locked in asphyxiated fences, why not just do short memories, or pack-cultural chronicles mundane. It 's the condition in which the political class that has no ethics, that instead of changing herself, thinks of changing the people, proving to be out of place and not devoted to his work he should do. An evil from which to derive other serious ailments.
We are in the barbarism.
But be careful not to resort the habit and the habit of good feelings and good triumphant over evil. You can come out of barbarism provided it is understood and not demonized, studied and not convicted of res judicata, accepted and not rejected a priori as something that does not concern us. To move beyond the barbarism must be barbaric. Each of us must take the barbarism itself. In short, we can overcome it if we think first of all that is foreign to our person, which is one of the possible worlds that belong to us - given the vast inner world - even though in daily life we \u200b\u200bnever made barbaric acts. In short, we are the barbarians, wild, excessive and licentious. Not a-moral, but immoral. Capable of terrible confusion, errors and iniquities infinite, but also visions, ecstasy and magic spells for which, however, does not feel the thrill of romance. Who shows in the odor of sanctity is called progressive, modern and antibarbaro. Who admits to the evil in the body is called anti-modern, reactionary and barbaric. The first tends to win over the other, the second tends to change itself. Long live the barbarism.
I am convinced that if I do load, I suggest leaving dall'imbarbarimento one day with something new, because only the barbarism can go out with a concrete act of civilization, and why not, of beauty. If this is true, in whole or in part, in life, imagine the art of theater and critical work. So the criticism is not critical for social reasons, which I have mentioned, but also for cultural and technical shortcomings.
do not intend here to address the technical issues - related to learning and not-knowing - even though I think that exist and affect not only the young critics, but also what was supposed to be an alternative to the 'barons '. It is a tall order for a show and deconstruct it in an original way is necessary to go beyond the cliches of traditional property: it takes knowledge and skill rather complex, ideally supported by experience consumed alongside the acknowledged masters of doing theater.
Luckily there is a manual of good critic. The critical work, royalty has to be respected. However, I think he's right Carla Benedetti (quoted by Andrew Porcheddu in his fine book This ghost, a theater critic ) when he argues that we must "open the doors to thought, to ask questions across the board, naming conflicts and grievances, explore , distinguish, investigate. " While the separation el'autoreferenzialità are a betrayal of the critical work, you have regained that criticism of the weapons that are proper and gatherings in the social justice to the thought, work on memory and memory to dig, make light, capture the invisible, understand, and steal the image, to allocate to the future work done on the past, to separate the authentic dall'inautentico. Should free itself from the text and from the show to find the critical assessment of the text and the audience, which is peaceful, unhurried and tied to the veil surface. It is free from fluctuations in the tastes and dislikes quotas, aesthetic preferences and the ideological partisanship, the race for post-graduate job as improvisation (first) and the method of reporting relating to news rather than play in the critical work (after). It is free "from the review - writes Porcheddu - to find this review liberated" from censorship and self-censorship, mental reservations and awkward balancing acts. It is free, I might add, by the bond of absolute objectivity, taking into consideration the good level of subjectivity, it is true - how true - which is objectively impossible to tell a theater. In that sense, I think, paradoxically, that the best way to make criticism of a show is to get as far away as possible with the least hope of being able to tap. Rethinking and remembering the details means its working memory and the memory of the show to devote the future to which a written unconditionally recognize literary value independently of the text and the audience. I say literary value self.
The conclusion can only be inconclusive. The chatter is deafening, the silence is empty, the excess is cataleptic. However, it is true that the dead man hides turmoil of life, data on the decomposition of the body and if it is true that every degenerative process involves a regenerative process, it is reasonable to think that sleep may be generated by the critical work of awakening sleeping in the woods . The cultures are there. Lack the basic conditions of good governance, social credit, some conditions necessary to draw new job opportunities and the desire to feel part of a "community", that is talking about Katie Ippaso.
Who will have the courage to tackle the state of siege and to call into question? Who will have the courage to go into the ministry of strategies aimed at the say that theater is the show entertaining? Who will be willing to do X-ray distribution of the airship, covacci the power of patronage, the old and new rents position? Who will close the abysmal gap that has opened between the legitimate interests and illegitimate interests, between thinking and another win on the 'other ? What the world has gained the upper hand in us? What kind of world we can tell, if we have a world of death? What energy we can burning, which can generate sparks, if our body-mind is apparently alive? How can we go beyond their limits and their ideas, to think otherwise other elsewhere, through with fear and courage at the same time the places of meaning? How can we generate the light of madness which the world needs? How can we forget this world, when you need to forget, and shed tears after having forgotten?
Talk about theater of the world is talking.
To whom do we entrust the protection of our image and our operations? No one. Certainly not in politics, who follows - at best - the needs of men, instead of preventing them. Imagine if you can solve the problems of a small caste, which is meaningless in a society devoted to the development that does not coincide with social progress. No prince will save us. There is no need for nominees, much less of wizards or knights-errant, to give substance to our utopia. On the horizon I see a man who could do it. Even if there was not anything the delegate of my work and my life.
Maybe we should start from the 'low', the 'base', as it was once, in our daily work, with courage, determination, strength that potrebbe derivare dall’essere parte di una “comunità”. “Non sarebbe bello contribuire a fabbricare un nuovo immaginario, presentandoci l’uno all’altro come comunità?”, si chiede la Ippaso nella sua lettera aperta. Sarebbe bellissimo. A condizione che si prenda atto che la critica subisce sia il danno di una forte regressione sociale e culturale del paese sia lo svantaggio dello stato catalettico in cui giace da molto tempo e che la rende estranea ai problemi del teatro e della comunità nazionale. Nessuno può isolarsi. Nessuno può permettersi di sentirsi migliore degli altri, ma nessuno può concedersi il lusso di considerare intoccabili i “baroni che ci hanno mangiati vivi”. I baroni we were eaten alive because we live without eating. Do not repeat the error and create a coordination of the critics. From the questions we can, of course, start or restart. Any loss is good to start all over again, minus the loss of speech. In it are handled by the dignity, security and integrity. Only in conditions of insecurity can not listen to life. Dreams, sacrifices, delusions, then, and shamelessness it takes. Provided that they are uncontrollable.
Alfio Petrini
January 2011
Wednesday, January 5, 2011
Books For Stroke Ictims
Elections?
So let's do a little 'picture of the situation: we are gutted of these taxes and government spending.
If they win those other (yes, those who do wrong to account in their economic forecasts) instead of taxes and government intervention massacre there (already feels Dr. Sottile excited from the back: who knows what to invent this time The forced removal a kidney to the taxpayer?).
In truth the situation of the Italian electorate match the child who seeks refuge from slapped (or worse) of the mother by the mother herself. What gives
daughters more.
Benvenuti nella fossa dei leoni. Peccato che noi siamo la bistecca. 
If they win those other (yes, those who do wrong to account in their economic forecasts) instead of taxes and government intervention massacre there (already feels Dr. Sottile excited from the back: who knows what to invent this time The forced removal a kidney to the taxpayer?).
In truth the situation of the Italian electorate match the child who seeks refuge from slapped (or worse) of the mother by the mother herself. What gives
daughters more.
Benvenuti nella fossa dei leoni. Peccato che noi siamo la bistecca.
Sunday, January 2, 2011
Stratos Replacement Seats
UNIVERSITY OBSERVATORY - Fourth meeting
Fourth meeting - October 26, 2010
Artist
You Can
It should be a spectator at Art. Itself.
Everything flows in you in equal and opposite directions from the center to the outskirts
from the periphery to the center armrest
The feeling of touching your eye travels to that suit the taste in your mouth until you touch what you hate and transformed in that dusty smell
Air Dry Wet
You can do something of everything that is done for you.
All that you are given may be processed, you will not store data, ideas, images, but you are invited to reconstruct them, as you wish, in your ability, that no one knows what they are. For Trying to fit each What a page from Microsoft Excel are not made just for this.
're made to go out from the lines and formations.
You also made to reinterpret and transform
Buy To take "A", eat it, smell it, see, touch, hear and transform
That is, if you like
profane From the dance which I have not got that the suggestions of the artist to lead them to an imagination that was familiar to me in an attitude which, I think I understood what was hoped for by Alessandra Sini.
Unable to let mere emotions run my brain has built a story around the choreography the dancer, evoking a world of women "first", intent on discovering their bodies and the world around them, I could not help but see something in mejercholdiano carefully studied and its clumsiness of Sini, clear to me, return to a primitive, one could say a "first dancer".
What troubled me was to hear in his words, during the debate, a kind of perseverance to this dance comes from, the classic one, that made me read the show as a sort of criticism of the dance rather than the ' artistic expression of a need, but perhaps that impression was also due to the narrow focus sulla danza e sul mondo della danza e sulla storia della danza che la critica Rossella Battisti ha tenuto per tutta la durata dell’incontro.
Gabriele E.
Osservatorio critico Roma2 
Statuaria in movimento
Maria Rita Di Bari
Osservatorio critico Roma2 
Fourth meeting - October 26, 2010
CRITICAL NOVO 2010: "A"
Alessandra Sini Rossella Battisti meets
That is, if you like
You can not choose what happens
You never know what you are called to live
You can choose your attitude in that spirit we have
to the world that we This will begin
you can.
You can choose to stay outside, try to be the target element, but that goal is not, the system where you are, or understand that within a system of reality and fantasy that you're not a variable component and abandoned to what triggers seem the most appropriate for diving and trying to grasp the substance of what you perceive.
Vista
Hearing
Touch Smell Taste
Hearing
Touch Smell Taste
You can choose to activate each of these senses, to become pure instinct
And to make it through the intellect
You can take all the tools you are provided and rework information that you receive through your sensitivity. There's no right or wrong, correct or incorrect. It is a creative process sensory triggers.
Artist
You Can
It should be a spectator at Art. Itself.
Everything is connected, we are not a tightly sealed. Our progressive dehumanization leads us to identify with the slaves that we have created for us
For
art machines.
Man is a perfect machine!
No, man is the most imperfect, and therefore unpredictable robot that can be imagined.
For
art machines.
Man is a perfect machine!
No, man is the most imperfect, and therefore unpredictable robot that can be imagined.
Everything flows in you in equal and opposite directions from the center to the outskirts
from the periphery to the center armrest
The feeling of touching your eye travels to that suit the taste in your mouth until you touch what you hate and transformed in that dusty smell
Air Dry Wet
You can do something of everything that is done for you.
All that you are given may be processed, you will not store data, ideas, images, but you are invited to reconstruct them, as you wish, in your ability, that no one knows what they are. For Trying to fit each What a page from Microsoft Excel are not made just for this.
're made to go out from the lines and formations.
You also made to reinterpret and transform
Buy To take "A", eat it, smell it, see, touch, hear and transform
That is, if you like
profane From the dance which I have not got that the suggestions of the artist to lead them to an imagination that was familiar to me in an attitude which, I think I understood what was hoped for by Alessandra Sini.
Unable to let mere emotions run my brain has built a story around the choreography the dancer, evoking a world of women "first", intent on discovering their bodies and the world around them, I could not help but see something in mejercholdiano carefully studied and its clumsiness of Sini, clear to me, return to a primitive, one could say a "first dancer".
What troubled me was to hear in his words, during the debate, a kind of perseverance to this dance comes from, the classic one, that made me read the show as a sort of criticism of the dance rather than the ' artistic expression of a need, but perhaps that impression was also due to the narrow focus sulla danza e sul mondo della danza e sulla storia della danza che la critica Rossella Battisti ha tenuto per tutta la durata dell’incontro.
Gabriele E.
Osservatorio critico Roma2
Statuaria in movimento
“L’arte del mimo è arte del movimento corporeo.
L’arte della danza, pure. /…/
La danza è un’evasione, il mimo un invasione.
Il danzatore non è neppure danzante, è danzato. Non trasporta niente, neanche il proprio corpo; is transported from the body, which is transported by the dance.
The worker, by contrast, tell himself that the motion was seconded. The rhythm of the dance is a wind that pushes the pace of work and is a breath that the work goes.
The mime is a portrait of the work, the portrait of the dance the dance because the dancer on the stage, dance beyond its need. So suffer. Translates the natural movements of the dance movements in an instinctive anti-natural. So suffer. Stretches a smile on her pain. But because it spreads a smile on her pain, if not in memory of his model, which is the joy that blooms into a smile? "
Some people today still tends to separate and contrast mime and dance forgetting perhaps a bit 'too quickly contacts and mutual influences of direct and indirect but the two disciplines were sisters. Of course, in their own specific language, but they were not lacking, and there are still, however, to pursue avenues of research that, sometimes underground, draw on common lifeblood.
"A look at dance as theater
is a sin!"
is ADJUDGED
great voice for the air then expands
viewing
extension of an art overview
suspended and very dynamic
that film was close to capturing
asceticism
its metacinesi
moving
revealing that the act brings in
as random transmission of television program. Then he got up the first
Timpano
ringing which Zampano / (O)
and melts in the opinion
neurovisione
spot and listen well
rice does not hold in the simple discovery
flash in the machine. He spends
target them in the clouds now the thousand stoves
Thumb
that scambian for kittens and doubtful
and generous him
Arsenio
you genius
and welcomes the proposal of the heaven that turns and yells to his
crews of
end the practice varied
who knows that a cloud that will always
.
Dance
is a bit 'so
all say yes if you look
has run the show is filled
acceptable form of kinesthetic
not give account of the poetry that helps
freedom
daughter of curiosity.
Dance Alessandra Sini seemed the proposal to gather and collect from the jar of a Pandora's Democratic Freudian what is most remember the eye of one who searches the atavistic reminiscence of a few quid in lost time.
An excerpt in which "A" in the reality of its completeness, provides a dialogue built on the physical presence of "another", which is absent in today's context, the lack of which is not hard to be on letting the thought of looking at a half empty, however, that the occupying power is perceived as a place alive. His sister, completing a circle that runs the Sini in fact, alone, but definitely together in a gesture charged with tension in the search for missing piece.
And I think I can say that in the search for Alessandra Sini, in his insistence on calling the statuesque positions, for example, resides part of the work done by the father of modern mime. In a succession of positions where the Sini has labeled the idea of \u200b\u200bmobility of the property, restituendo attraverso la tensione definita di una carne che grazie ad una formazione severa “arriva a fare cose che non tutti hanno la capacità di fare” l’autrice di “Una”, volontariamente o meno, mi sembra abbia riportato in vita quel che Decroux ha tentato di ricamare ad arte sul corpo del mimo, partendo dalla convinzione che la statuaria fosse l’esempio perfetto da seguire e da scavare sulle tensioni e sulle intenzioni fisiche del movimento.
Trovare e restituire una dinamica all’immobilità della materia.
Nella sua entrata scenica attraverso il primitivismo curvo di una camminata ci si convince che risieda molto più di quel che s’è visto, e viene la curiosità more paths to follow in some kind of atavistic transferred to the new era. But most of all is the "new", as the Sini has tried to understand, it was heartbreaking for her to rebuild from a body deeply marked by the first experience of ballet, but it has come down now that artistic independence gives a desired, coveted, hard time.
Mea culpa on behalf of all critical if the observatory to "take" no "claim" has fallen into a silence that subsequent efforts are made to fill in the hope that continue a dialogue with all the eyes that, as our , appeared on the stage of the Auditorium Universitario per prendere parte attiva a questa preziosa e rara iniziativa.
L’arte della danza, pure. /…/
La danza è un’evasione, il mimo un invasione.
Il danzatore non è neppure danzante, è danzato. Non trasporta niente, neanche il proprio corpo; is transported from the body, which is transported by the dance.
The worker, by contrast, tell himself that the motion was seconded. The rhythm of the dance is a wind that pushes the pace of work and is a breath that the work goes.
The mime is a portrait of the work, the portrait of the dance the dance because the dancer on the stage, dance beyond its need. So suffer. Translates the natural movements of the dance movements in an instinctive anti-natural. So suffer. Stretches a smile on her pain. But because it spreads a smile on her pain, if not in memory of his model, which is the joy that blooms into a smile? "
Some people today still tends to separate and contrast mime and dance forgetting perhaps a bit 'too quickly contacts and mutual influences of direct and indirect but the two disciplines were sisters. Of course, in their own specific language, but they were not lacking, and there are still, however, to pursue avenues of research that, sometimes underground, draw on common lifeblood.
"A look at dance as theater
is a sin!"
is ADJUDGED
great voice for the air then expands
viewing
extension of an art overview
suspended and very dynamic
that film was close to capturing
asceticism
its metacinesi
moving
revealing that the act brings in
as random transmission of television program. Then he got up the first
Timpano
ringing which Zampano / (O)
and melts in the opinion
neurovisione
spot and listen well
rice does not hold in the simple discovery
flash in the machine. He spends
target them in the clouds now the thousand stoves
Thumb
that scambian for kittens and doubtful
and generous him
Arsenio
you genius
and welcomes the proposal of the heaven that turns and yells to his
crews of
end the practice varied
who knows that a cloud that will always
.
Dance
is a bit 'so
all say yes if you look
has run the show is filled
acceptable form of kinesthetic
not give account of the poetry that helps
freedom
daughter of curiosity.
Dance Alessandra Sini seemed the proposal to gather and collect from the jar of a Pandora's Democratic Freudian what is most remember the eye of one who searches the atavistic reminiscence of a few quid in lost time.
An excerpt in which "A" in the reality of its completeness, provides a dialogue built on the physical presence of "another", which is absent in today's context, the lack of which is not hard to be on letting the thought of looking at a half empty, however, that the occupying power is perceived as a place alive. His sister, completing a circle that runs the Sini in fact, alone, but definitely together in a gesture charged with tension in the search for missing piece.
And I think I can say that in the search for Alessandra Sini, in his insistence on calling the statuesque positions, for example, resides part of the work done by the father of modern mime. In a succession of positions where the Sini has labeled the idea of \u200b\u200bmobility of the property, restituendo attraverso la tensione definita di una carne che grazie ad una formazione severa “arriva a fare cose che non tutti hanno la capacità di fare” l’autrice di “Una”, volontariamente o meno, mi sembra abbia riportato in vita quel che Decroux ha tentato di ricamare ad arte sul corpo del mimo, partendo dalla convinzione che la statuaria fosse l’esempio perfetto da seguire e da scavare sulle tensioni e sulle intenzioni fisiche del movimento.
Trovare e restituire una dinamica all’immobilità della materia.
Nella sua entrata scenica attraverso il primitivismo curvo di una camminata ci si convince che risieda molto più di quel che s’è visto, e viene la curiosità more paths to follow in some kind of atavistic transferred to the new era. But most of all is the "new", as the Sini has tried to understand, it was heartbreaking for her to rebuild from a body deeply marked by the first experience of ballet, but it has come down now that artistic independence gives a desired, coveted, hard time.
Mea culpa on behalf of all critical if the observatory to "take" no "claim" has fallen into a silence that subsequent efforts are made to fill in the hope that continue a dialogue with all the eyes that, as our , appeared on the stage of the Auditorium Universitario per prendere parte attiva a questa preziosa e rara iniziativa.
Osservatorio critico Roma2
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