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Clown and poetry at the Teatro Verdi in Florence, the first Italian leg of the tour by Slava Polulin

For this show are offered Atrapalo.
details at bottom of page.

***

Slava Polulin , the world's most famous clown, he returned to Italy after four years with his Slava's Snowshow, described by critics as a classic of the theater of the twentieth century. The Italian tour started from Florence (where he remained until March 20), will continue to Naples (22-27 March, Teatro Bellini), Padova (March 30-April 3, Gran Teatro Geox) and Lugano (5-10 April, Theatre the citadel). A good opportunity for the Italian public to see a show that experts call full of a "poetry awkward and touching. "This show, which since 1993 does not cease to move and evolve, arrives with his mysterious charge, with his magical world that generates itself from the world of fairy tales and dreams. A kingdom of fantasy that impresses with pictures , spectacular, colors and sounds, the hand of the minds and puts them on a whirling carousel in the balance between comedy and tragedy, between laughter and emotion.

protagonist of this clown is permormance Asisyai, the most famous clown Slava; suit work soft yellow and red shoes, this moving figure includes various elements of the great masters of mimicry: a Leonid Engibarov clowns, pantomime Marcel Marceau to the film by Charlie Chaplin. How every great artist, Slava draws from the masters to find its own form and this finds its expression in Asisyai clown. A character that will bring the viewer back to the days of childhood, when still a snowflake knew amazement and wonder. And the snow will be the central element, the common thread that binds all its parts:

" snow is a beautiful picture for me, like a wedding dress, white as a sheet when an artist begins to draw . But it also fills me with fear and horror, cold and death "Slava says the same. Men

bizarre, no one knows where it ends and where the man starts the clown, which one is more true. Aisisyai and Slava combine to conform to a single figure, identity, form. And life itself seems like a fairy tale by Slava Polunin unreal, a dream perennial, the story of a fictional character, a projection of our lost childhood. Born in Russia and raised in a pristine environment, he spent his childhood in the midst of forests, fields and rivers. He fed his imagination into a realm far removed from our fees. Thanks to television and the cinema has known the art of the great clowns and mimes, and this became his dream and at 17 he moved to St. Petersburg with the intention of studying engineering. In reality, a fairy tale wishes, he enrolled in a school of mime to become a leading representative nel mondo. L'obiettivo dichiarato è quello di portare il clown nel 21esimo secolo, trasferendolo dal mondo circense a quello del teatro. E' ciò che fa ed è riuscito a fare,continuando ad emozionare migliaia di famiglie del mondo: se non è una favola, poco ci manca.

ps. lo spettacolo non è consigliato per bambini al di sotto degli 8 anni.

Date Tournèe italiana:

* 15 - 20 marzo 2011
FIRENZE - TEATRO VERDI
www.teatroverdionline.it
* 22 - 27 marzo 2011
NAPOLI - TEATRO BELLINI
www.teatrobellini.it
* 30 marzo - 3 aprile 2011
PADOVA - GRAN TEATRO GEOX
www.granteatrogeox.com
* 5 - 10 aprile 2011
LUGANO - TEATRO CITADEL
www.luganoinscena.ch

Tour organized by the Italian in ATER collaboration with Slava and Gwenael Allan
info@slavasnowshow.it
tel.: + +39059 340 221
fax: + +35059 342 802

Atrapalo OFFERS: For dates
Florentine Atrapalo offers 21% discount on tickets (€ 24.50 instead of € 31), and a combined day on Saturday which includes ticket and accommodation in Hotel 4 Stars (50 € instead of € 91). A good solution for a different weekend.

Any offer for other Italian dates will be added later.

Multiplication Table Printable 100 X 100

Waiting for my first Peter Brook: Reflections on the theater.

Peter Brook returns to Rome and for many it will be the first time. The master now has 85 years, too many to lose poterselo. There are those who have never seen but has only heard about. He watched videos, read articles, listened to teachers name a maximum and insights. Yet so close there was never, now, the teacher is there to a foot from your nose, as the years go by, and (sorry to say) that time may not be repeated. We who have missed so many great and that one looks to the theater in the dark years of the crisis in the years when television seems to seize the imagination of the artistic genius, years of entertainment and disposable. We that, today, we decided to study and we love the theater of fools. Some died before we could find our first stop on a stage, there remains the biography, writings, video clips. By Peter Brook other hand, we still have a chance to see up close, to tell it, to try and save a piece of theater history. Because the theater is an art that you eat mainly live, that is consumed immediately and not play, is a painting, a book lives and multiplies, as well as film. The theater is living one night, and although today's technology allows us to take it back and store it, died with the closing of the curtain. It's nice to be we live, for once, before the staging of a master. Then, what will become of us, the theater, the old master? There will be a new teacher or we will all be swallowed up by the screen? Is there room in the auditorium, the room does not fill us and sweat behind the red cloth, looking forward, hoping not to die with him, not to stop him. We still want to drama, even if the disposable wants to stop us, though, the events seem to be unfavorable, we want more. Want. Because that's what makes us love the theater: the ability to continue even against the evidence of reality. Will close the theaters, but there will be roads, arrest us but we will always have the body and voice to scream our disappointment, our isolated world view, to communicate, to collect a soul from the earth and bring unhappy with us on our palm. The theater does not die, because there exists the body. He does not need electricity, breathing human heartbeats, sweats and trembles as he sweats and trembles a human being, and while there will be a man who sweats and trembles live theater. Always, and beyond places and governments.

wanted to be an article on the performance of Peter Brook, has become an outlet, a manifesto of love given to these pages. Today, hardly pronounce the word the word Theatre Fus I attack my personal manifesto, because there are realities that can survive only with the strength of his art. From allocated. It should

Alessandro

***

on the show: Peter Brook will be staged at the Teatro Eutheca (European Union Academy of Theatre and Cinema) in Rome March 15 to 19 with Fragments, a show that brings together five pieces by Samuel Beckett: Rough for Theatre I, Rockabye, Act Without Words I, Neither and Come and go. Others do not because I want to add the name of Brook and Beckett set to apply the ticket, and because, in addition, certain events can also be enjoyed in the dark.

"Beckett was a perfectionist, but you can be a perfectionist without an intuition of perfection? Today, with the passage of time, we see they were the first false definitions on Beckett: desperate, negative, pessimistic. His humor saves him, and us, from the edge and rejects theories and dogmas that have pious consolations, yet his life was a constant, painful search for meaning. Beckett puts human beings, just as he knew them in the darkness. Constantly look through the windows, in themselves, in others, out, sometimes upwards, towards the vast unknown. He shares their uncertainties, their pain. But when Beckett discovers the theater, has presented a chance to fight for unity, a unity in which sound, movement, rhythm, breath and silence merge into a single justice. This was the ruthless request he made to himself - an unattainable goal that has fueled his need for perfection. So he enters the rare passage that connects the ancient greek theater, through Shakespeare, to this day, in a celebration of uncompromising search for truth, strange, terrible, unbelievable ... "

Peter Brook

F ragments
(Rough for Theatre I, Rockabye,
Act Without Words II, and
Neither Come and go)



Texts by Samuel Beckett Directed by Peter Brook & Marie-Hélène Estienne

with Hayley Carmichael, Bruce Myers, Yoshi Oida

Produced by CICT / Theatre des Bouffes du Nord, Paris

Ticket price: 20 € full price; € 15 concession ( www.eutheca.eu www.vivaticket.it )

What To Do If You Get An Erection In A Dance Belt

A nice (half) Elena Bucci / Mirandolina commander of a ship creaks

Elena Bucci and Marco Sgrosso return to Rome after the successful experiences of the past years, The hostess with Goldoni. The two founders of the Society of Fine Flags and already known to the public of the Teatro di Roma in front of which led Macbeth, Hedda Gabler, back now with this re-reading of the text Goldoni. In a crowded theater, dominated by the presence of many children, the group takes us into the story with clever play of light and shadows, with the sound of a creaking ship - and the crunch that seems to sound the alert to a sudden lunge - and an atmosphere a bit 'dark and faded. is the dangerous bend structures which could crumble to lie on our heads, is built on the illusion of happiness and wealth to haunt us all passengers of the same ship. Mirandolina is the captain of this ship, where they meet / collide friends / foes bitterly disputing a heart that uses them to carry on the beloved inn. The Mirandolina Elena Bucci is a woman who uses his puppets with delight, we test an almost sexual pleasure, knows what he wants, does not give the independence of his heart to a man master sway sensuously weaving plots and unscrupulous never slaves. He knows he is not having to sell to the riches of wealthy men and in a ruthless game picks up in the handle and ruin his reputation. is probably the woman who would take in this reality sinks, dominated by men who are too overwhelmed by their cravings, by their own interests. this is the hidden message in fun events inherited by the innkeeper Goldoni, and this is what the company wanted to convey to us the public. So we read the director's notes: "As we have lost by sacrificing a feminine world view in favor of the masculine view of the world?"

The system and staging are very effective, Mirandolina - often represented with humble femininity - has the power of a resolute woman, sly, and very reminiscent of the Lady Macbeth already interpreted by the same Bucci. Two women apart, but they share a lot, especially in the interpretation and directed by Elena Bucci. Perhaps, too much similarity between the two remains a bit 'of force to the latter interpretation: too much alike, too much like the gestures and expression of feelings, even in similar spaces on the stage win. I would say probably in the interpretation of Lady Macbeth, Hedda Gabler and Mirandolina by Bucci could not see the differences. Moreover, the same director and actress has appeared somewhat subdued, using a warm voice that you try to convey the feelings alive wanted by his direction, but these have often turned off in mid-stalls. Among the comments at the end of the first act someone in the back row has complained of not warn the words of Mirandolina. And I can not confirm that, as the tone of voice was very low and extremely lower than that of the other actors, creating a gradient that was swaying violently the ship on which the actors move. Among others, he was appreciated Gary Cole (The Marquis of Forlipopoli), the protagonist of a test perky and fun. Sparkling also Fabrizio (Roberto Marinelli) who gave a special thanks to the brio Tuscan dialect (the choice is also the director of Bucci vololtà of "dirty" text with the use of dialects). Marco Sgrosso scratching in the role of rude, misogynistic Knight Ripagratta. Belle and balanced forms Dejanira (Daniela Alfonso) and Hortense (Nicoletta Fabbri).
For the rest, the hallmark of the royal Bucci is visible, always very intelligent and charming. Too bad, they can not define this work among their best.

Review by Alessandro
It should be (seen at the Library Theatre Quarticciolo March 12)

Locandiera
Carlo Goldoni

Director: Elena Bucci
Genre: Comedy
Company / Production: CTB Teatro Stabile di Brescia, in collaboration with the Society The Bella Band
Interpreters : Elena Bucci ( Mirandolina ), Marco Sgrosso (The Knight of Ripafratta )
Daniela Alfonso ( Dejanira ), Maurizio Cardillo ( The Count of Albafiorita ), Gary Cole (The Marquis of Forlipopoli ), Nicoletta Fabbri (Hydrangea ), Roberto Marinelli ( Fabrizio )

Date
12 and 13 March at the Theatre Library Quarticciolo (Roma)
29 and March 30 at the Teatro Tor Bella Monaca (Rome) for
other dates Click here

Printable Whist Score Cards

Laughter and good theater to the Foundry Arts

A great Pierpaolo De Mejo, with Maris Leonetti and Greta Bellusci, are the protagonists of the arts Foundry of a roaring "Andy and Norman," comedy by Neil Simon. Performed for the first time in 1966 on Broadway, the text brilliantly alive in this street almost forgotten Tuscolana, far away from Roman theaters, but no less worthy of appreciation. Norman (P. De Mejo) and Andy (M. Leonetti) are two of the green journalists who founded an independent ecologist magazine. Norman is in charge of writing articles, Andy is the handyman who takes care of the administrative and commercial aspects. The two do not fare too well, there are daily harassed phone calls from Mr. Franklin and the old landlady, with whom Andy organizes extravagant evenings to avoid paying the rent. Things get complicated the arrival of Sophie, a young and beautiful girl in the province, of which Norman falls in love. Here the trouble starts for the rowdy duo, the inevitable misunderstandings between the gags and situations that are likely to fall.

Set in an apartment used as office space, the text requires no abstruse interpretations, therefore, lends itself to a very easy fitting. The brightness, and the necessary harmony of the three actors are, however, essential to the success of a performance like this, the absence of these two elements would result in the disintegration of the whole representation and the irretrievable fall dell'attezione in the audience. The three, however, are just a memory, and have a real volcano in De Mejo of humor, brilliance and energy. he is in my opinion, the actor who stands out more in this evening in which, however, are all distinguished for ability, stage presence and vocal setting. Some phonetic for deburring not yet 26 years old Leonetti, who lost a bit 'when the enamel was to articulate quickly, but this is nothing but a note and does not stain at all the final work, much better. Greta also very good Bellusci changed from being quiet and polite country girl in town neurotic without any loss of energy. Una fortuna per Salvatore Chiosi aver tra le mani questo tris di promettenti attori.

Recensione a cura di Alessandro Giova
(visto a Roma il 9 Marzo 2011)

***

ANDY E NORMAN
di Neil Simon

dal 4 al 13 Marzo presso Fonderia delle Arti,
Via Assisi 31, Roma

Regia: SALVATORE CHIOSI
Genere: commedia
Compagnia/Produzione: AREA TEATRO 010
Cast: PIERPAOLO DE MEJO (NORMAN) MARIS LEONETTI (ANDY) GRETA BELLUSCI (SOPHIE)

Biglietti: intero 13 euro, ridotto 10 euro + 2 euro di tessera. Per questo ninth show there are promotions.