are usually the last to leave the room. As the public leaves the rest of the audience turned to stone, stare at the scene that is now empty and recompose the pieces of the show along the path of the emotions aroused. This was not the last time a girl has been sitting in the front row crying. He wept with his head down, letting slip vigorous sobs. I tried to ride sitting in the theater, but never as intense forbidden to stay in a sea of \u200b\u200btears.
chilling. This is the first word that comes to mind thinking Psychosis 4:48 of Sarah Kane , British author who committed suicide at age 28, in the scene these days at the Space Theatre of Rome. A text, Kane's last before his suicide, which takes you directly to the stomach, there is, in his crude words, pain, all the existential pain of a complex art.
female monologue that puts a strain on the qualities actorial, is a bleak cry of pain that occurs in our guts dragging with him all the sickness, madness, the tight grip of loneliness, because awareness first against the inadequacy of the world where you live. Time, perhaps wrong - perhaps I was born the wrong age.
A pain that leads to the suicide plan, the final act polished and thought, knowing the end of evils: and were it not for the end? If you also asked in his famous Hamlet soliloquy. Death wish, we try, but rejected: "I do not want to die, no suicide want to die."
the weight of life is to whisper in the wind, the word suicide, loneliness, oppressive that boulder currency acceptable to the unacceptable death. 4:48 Psychosis is a whisper that gradually become a cry, piercing cry for help, a call for assistance not to medicine but to love. "I caverei eyes, I would amputate the limbs, but never renounce love." The cry reaches its maximum, turn off, you whisper, in silence becomes a white veil.
The preparation is simple. Walter Pagliaro built an extremely close: the stage is not used, the action takes place at a height audience, as if we were doctors who are studying to be a mirror behind the decline of the patient. A bed in the middle, white blankets, three pillows, the public placed in a horseshoe around the site of action. A Micaela Ezra hounded from our eyes locked in an enclosure of breaths. We look, keeps his eyes closed for a long time, until the space becomes narrow and looks in our eyes as they wheeled the walls of an asylum. The breath is broken and the fast-paced action, chase ghosts, responds to itself, we quarrel, sometimes physically fighting with someone, but there is none, the only presence is that which comes from his head, a voice that seems not come from her but from above, a thunderous thought for us: she is exhausted before us, his voice descends from above, takes us behind. I like what he has set up Pagliaro: with such a text it is perhaps tempting to dazzle the audience, looking for ways to surprise effect. Instead he opts for the simplicity representative to give greater force to the words. The room was small, but the actress used the microphone. Not liking the use of the microphone on stage, I was left disappointed, as more and more I am convinced that the technique is used to compensate for the shortcomings of the actors. I told the guy at the direction of the desired choice and designed to create an overall effect, a voice came from the thought and not from the mouth, which falls on the audience cracking and wrapping a bit 'intimacy. Kane does not speak to the audience but to herself, and this choice was apt and well calibrated. Beyond personal preference, it's when the feelings of the public and will meet the public that a show can be called successful. Good interpretation
Micaela Ezra, though her tone often changes did not seem to think. Probably affect the microphone in this aspect. Energetic, clean, no smear, yet it is not a delirious brilliance in the highlights that would give greater vigor to his performance: If there is a ten and an eight. Too bad the end is not hearing the thunderous applause of a full house. In the room there were only 16 people (including myself), and the clapping of an audience so small transmits a vague feeling of coldness. Too bad, you needed some 'heat to dissolve the tension, and perhaps also that the girl was crying.
chilling. This is the first word that comes to mind thinking Psychosis 4:48 of Sarah Kane , British author who committed suicide at age 28, in the scene these days at the Space Theatre of Rome. A text, Kane's last before his suicide, which takes you directly to the stomach, there is, in his crude words, pain, all the existential pain of a complex art.
female monologue that puts a strain on the qualities actorial, is a bleak cry of pain that occurs in our guts dragging with him all the sickness, madness, the tight grip of loneliness, because awareness first against the inadequacy of the world where you live. Time, perhaps wrong - perhaps I was born the wrong age.
A pain that leads to the suicide plan, the final act polished and thought, knowing the end of evils: and were it not for the end? If you also asked in his famous Hamlet soliloquy. Death wish, we try, but rejected: "I do not want to die, no suicide want to die."
the weight of life is to whisper in the wind, the word suicide, loneliness, oppressive that boulder currency acceptable to the unacceptable death. 4:48 Psychosis is a whisper that gradually become a cry, piercing cry for help, a call for assistance not to medicine but to love. "I caverei eyes, I would amputate the limbs, but never renounce love." The cry reaches its maximum, turn off, you whisper, in silence becomes a white veil.
The preparation is simple. Walter Pagliaro built an extremely close: the stage is not used, the action takes place at a height audience, as if we were doctors who are studying to be a mirror behind the decline of the patient. A bed in the middle, white blankets, three pillows, the public placed in a horseshoe around the site of action. A Micaela Ezra hounded from our eyes locked in an enclosure of breaths. We look, keeps his eyes closed for a long time, until the space becomes narrow and looks in our eyes as they wheeled the walls of an asylum. The breath is broken and the fast-paced action, chase ghosts, responds to itself, we quarrel, sometimes physically fighting with someone, but there is none, the only presence is that which comes from his head, a voice that seems not come from her but from above, a thunderous thought for us: she is exhausted before us, his voice descends from above, takes us behind. I like what he has set up Pagliaro: with such a text it is perhaps tempting to dazzle the audience, looking for ways to surprise effect. Instead he opts for the simplicity representative to give greater force to the words. The room was small, but the actress used the microphone. Not liking the use of the microphone on stage, I was left disappointed, as more and more I am convinced that the technique is used to compensate for the shortcomings of the actors. I told the guy at the direction of the desired choice and designed to create an overall effect, a voice came from the thought and not from the mouth, which falls on the audience cracking and wrapping a bit 'intimacy. Kane does not speak to the audience but to herself, and this choice was apt and well calibrated. Beyond personal preference, it's when the feelings of the public and will meet the public that a show can be called successful. Good interpretation
Micaela Ezra, though her tone often changes did not seem to think. Probably affect the microphone in this aspect. Energetic, clean, no smear, yet it is not a delirious brilliance in the highlights that would give greater vigor to his performance: If there is a ten and an eight. Too bad the end is not hearing the thunderous applause of a full house. In the room there were only 16 people (including myself), and the clapping of an audience so small transmits a vague feeling of coldness. Too bad, you needed some 'heat to dissolve the tension, and perhaps also that the girl was crying.
Review by Alessandro Giova
(seen at the Space Theatre 02/12/2010)
(seen at the Space Theatre 02/12/2010)
4:48 Psychosis by Sarah Kane directed by Walter Pagliaro
with Micaela Ezra
Cultural Association Gianni Santuccio
From December 01 AL December 12 at the Space Theatre, Via Locri
42/44
Information Tel: +39 06 77076486 +39 06 77204149 (15.30 to 19.30)
info@teatrolospazio.it
4:48 Psychosis is the latest text of Sarah Kane brings to the stage here that his death in an hour is not unusual, given that according to some statistics, the 4:48 time seems better suited to accommodate suicide. What might be the cause of such a choice? The discordant relationship with parents, distrust in society, feeling guilty for all the wars, but especially the lack of love, loneliness unbearable, especially when you feel abandoned by loved ones. Psychosis is a poignant confession, an act of faith towards the theater that forces us to look into it again without excuse or pretense.
- Walter Pagliaro -
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