Colonoscopy Prep Colyte

critics or the public? Free

Lucio Perca

How nice to see the full theaters in these bleak times for the Italian scene in which many but not all (thankfully) speak of deep irreversible crisis. Do not forget that time, too, is fascinated by the theater and the echo of the cinema, however, we should say, if he had not after all the hype of starlets, heiresses, actresses, actors pseudo celebrities and patrons in high places certainly would live same sort of a stage. One account came from having seen in recent times the halls of Milan (without naming names or praise for doing harm to no one) full of young, very young, experts on the subject, actually a large audience focused and attentive to the word, gesture, research, dramaturgy, the play of light and to sudden changes that occur in direct front of and behind the scenes. A lot of spectators and people who have had the opportunity to get closer to the wonders of the stage thanks to the excellent idea of \u200b\u200bthe Province of Milan to establish the feast of the theater with reduced price tickets and guided tours, workshops and outbuildings senminari. Certainly fans of the world have appreciated being able to finally descend closer to a reality that has always loved, dragging the last so many newcomers now that they have approached the magical world of theater for fun or curiosity, but for friends that theater people are returning to the scene of the crime populating the halls and stairways which hosts various events. That people have finally realized that the Big Brothers, the famous island and the various TV programs have annoyed the pain and get back to feel the magic of theater, the rustle of a fifth, the heat of a projector, in a word the fascination with a capital of the spoken text. While waiting for this faint hope it occurs and it can be achieved with some concrete facts, but it is necessary to emphasize the eternal dissatisfaction of the first players of this world, actors and directors in the first place, who do nothing but complain about the lack of criticism in the press releases need only to show their presence and their need to appear and exist. Where's the taste of the narrative, the ancient oral tradition of an old bard who told for the sake of handing down and let the world know, not to sell-out audience and box office closed? Because when the shows are beautiful and worth not to lose all changes seen on the horizon wondering gifts, credits, pretending to be critical and looking for any excuse so as not to miss the event of the moment? Perhaps because we live in a society in which six of the cult of rock if you go to shows for free, shows, events and a simple nullity if you do not have access to such privileges. But if he comes in and crushes the real criticism here is that the product is deflated and all to wonder why and the need for such work. Perhaps many times you should just think well about what you put on stage, thinking about the message you want to go and what the public, the better the company, it needs because the people are rediscovering the value of speech and text.

E 'also eager to know and do not care if the same critical issues its ruling puzzled on a show played in the Sicilian dialect, but without subtitles. We are not stupid enough to stop the dialect, there is very well and do not complain then if our talents flee abroad.

Mandingo Club Popularity

contemporary masks


photos www.sickgirl.it

one hand there is a reality that will get on the mask, the other a theater feels an urgent need to remove it. From pin-up spaghetti in the metro, the reality and second life: trends in popular drama.

Alessio Di Ramerino

During the nineteenth century the public filled the audience not only to enjoy a show or lyrical prose: a kaleidoscope of variety performances took turns on the stages of salt especially children. Often theatrical medium was used to dramatically expose the latest discoveries of science: two electrodes that generate a discharge is visible between them, light experiments, demonstrations of innovative technological machines submitted by their inventors, etc.. Etc.. In an era preceding the advent of mass media and, simultaneously, passive of swift industrial revolution and scientific and technical there is a need to communicate to people, as directly as possible, the results of the achievements of human progress . Clearly, these performances had little to do with the development of science itself, however, the need for an enlargement Information was also no question that underlies a particular meaning for the exhibition. In the same vein are also inserted a string of shows, the boundary between art, theater and circus arts, which requires the review, for example, groups of dwarfs that of hunchbacked servants farces or dramatic action.

The tsunami created by the sclerotic growth media deprived of the means of theatrical feature communications to the masses. However, inherent to certain aspects of human nature is the ability to ostentation, though now it is not always detectable in a common purpose or a message to convey. The prime example of this is before our eyes every day: reality - real or created on the script, but with a certain degree of credibility - in which ordinary people are revealed in their mediated normality, restaurants with kitchens view, where histrionic chefs cook for the audience of customers, people who live in the window under the eyes of the public bystander, not to mention the interactions generated by the creation of alter ego in virtual chat-line in programs such as second life and in games like The Sims .

One of the most recent and explicit occurrences of a similar trend is to be found in the recent show of lap dance - which is rare but recognized with cadence - acted by a girl dressed as a cat in the subway cars in Milan. The student cat gives birth to her provocative show then move passengers between disturbed and have fun with the classic short collect alms. She is part of a group of young women around a raccoltesi virtual community, always open to new members, called Sickgirls. The pin up spaghetti ( www.sickgirl.it ), whose members call themselves modern and very Italian pin up that blend the delicate boldness of women from the Fifties America cover with an irreverent streak around the same time. If the meter is configured as a dance in the most explicit example of the will of provocative members of the group, in a versified short presentation of their assets at the beginning reads: "erotic drama with a hint of irony." Such a manifesto is explicit photo, reviews, articles, unpublished short stories and a number of other material in accordance with the editorial line of the web site published on . However, what we would like here is to try to find some lawful use of the word play.

First of all it should be noted as a private exhibition a message to transfuse it becomes pure performance, or better, "exhibitionism", loose from the constraints of their medium theater. In this case, however, we are confronted with a provocative and will therefore carries meaning. In addition, in particular, there is also a common need to expose themselves in front of a tangible result, mediating their being through belonging to a group, using a code expression of which, a priori , were granted specific behavioral details.

We have repeatedly used the word "mediated" in this paper, however, given the scope teatrologico where our thoughts belong, would be more appropriate to use the term "mask". Figure of any kind of display a message carrier, the use of a form, whether real or imagined, often becomes the key to interpreting the message itself, compared to placing it in a metaphorical relationship. Increasingly, the form allows you to take a sort of personal identity other immune from criticism, to feel protected if you want to loosen the brakes inhibition, to play a role in all and for all theatrical and representative to act a part rather than living it.

needs now conduct analysis on other side of the coin. Several times in some area of \u200b\u200bmy research I found spettacolistico contemporary poetic drama in front of the stage designed to bring the confession is no longer the character but the actor, joined the exhibition of the naked body and shocking details, including sweat and other body fluids (See in this regard, an article by Renato Palazzi and appeared on the sun 24 hours of March 5, 2006, in which the critical comments received at the Biennale trends spettacolistiche Theatre). This mode seems stretched to the representative will find a new figure ontological event live, "live". Naturaliter , everything that goes on a stage has to deal with through the inherent drama in the middle in common sense and, therefore, give up a more or less detectable quid of reality and take on the characteristics of force-mediated transmission.

In conclusion, on the one hand there is a reality that will get on the mask, the other a theater that feels like an urgent need to remove it. Could not be established, unless it is done with psychology and anthropology from peanuts, if the origin of the observed trends should be considered the daughter of an unconscious reflection parallel or whether it is pure coincidence, as some seem to assert that the search for a truth more and more real by some poetic representative is a reaction to the reality in the mass media, but fictitious reality created and implemented in good faith. We do not judge it, our task is limited to the observation and record trends such as those described above, for now lack the necessary critical distance to their categorization.

Welcome Letter To New Salon Client

SUCCESS EMMA DANTE

Elisa Ferrari

These days you can see the stage of the CRT 'invaded' by the performance of players in the South West Coast company headed by Emma Dante.

At the opening of exhibition 'of Mishelle Sant'Oliva', to play a father and child that explores the difficult relationship between two human beings viscerally linked in memory of a 'lover / mother / dancer.

Then 'Carnezzeria' bond of blood between brothers to regain the honor they hold a ritual drama beneath the surface of a joyful holiday event. And again 'The Scimia' then 'mPalermu' and 'My Life' closing. Almost the entire theater of Dante, in the form of intimate poetry, scours the toughest issues of a Sicilian ancient and deeply rooted.

The director pays homage to his audience by offering events that have accompanied it throughout his artistic career, shows that the growth would lead confirmations have made important, even through various awards such as' Scenario Award 2001 'by' mPalermu 'and' Ubu Prize '2002 and 2003 respectively with' mPalermu 'and' Carnezzeria '.

In turn the CRT pays tribute to the young creative housed in this original initiative, which becomes important place of exchange.

Right at Teatro Dell'Arte Emma Dante debuted eight years ago with 'mPalermu' when he already had a solid career actress and some shows she created and directed, but had not yet established itself as a director. The CRT has contributed to its artistic statement and the resonance of this name and these shows are having the show in Italy and abroad.

Yes, besides Italy. Beyond the Alps there are 'public' who like to enjoy the performances of the Sicilian playwright.

Between May and June, the company debuted at Rond Point in Paris, one of the most popular theaters in the city's bohemian who fled a curious audience and 'alternative'. For six weeks, the actors have trod the South West Coast the scenes of the prestigious theater, taking the spotlight 'of Mishelle Sant'Oliva' and 'My Life'. This has literally fall in love with the director Michel Ribes, according to which Emma Dante is able to analyze the deeper nodes of human relations by addressing sensitive issues such as death, but absolutely present and transsexuality with great freshness, a language very close to his idea theater, probably a 'universal language' that does not require a translation of the texts, but a simple subtitling.

The Sicilian dialect remains intact, the message arrives, however, supported by body language and a chant that like a mantra, absorbs the attention of the audience beyond the Alps.

year 2007 was another milestone for Emma Dante and the boys of his company, the Festival of Liège in Belgium, directed by Jean Louis Colinet, who also directs the Théâtre National in Brussels. This festival, held every two years, aims to disseminate contemporary performing arts.

In reality, the Sicilian artists were already guests in 2005 with 'The scim', a show that reflects on the significance of religion in a society may be too conservative. This year the festival has brought to his audience 'Dogs of bank' , One of the most complex to show the density and number of signs and stage dialects. The audience reacted positively. Why? Why in any case it is a theater that holds about universal themes and deep. A theater, that of Dante, free of pomp and excess, then. An intimate theater, almost as if in a chant, the human being brings to the stage in all its frustrations and its fragility. A theater full of folklore as a mirror reflecting the soul of who is watching from the audience. This is probably the strength of a theater that communicates universally.

Online Speech Emulator

sites have magical properties

Laura calabash

The French philosopher Denis Guénoun, hosted last year at the CRT, we are often interested in the theater as a meeting place protopolitico, meaning that the only genuine source of power coincides with the social body, and that every public meeting of human beings by other human beings , contains a strong potential for self-determination.
This assumption leads to at least two consequences: first, the unproductive time dedicated to the aggregation of human dignity are fundamental. Secondly, the opportunity to answer the common fate depends on the quality of the match. Apart from this factor of historical circumstances, which would require an analysis of its own, this quality of the meeting does not fail to be seriously considered by Guénoun which, for example in Exhibition des mots assesses the impact that architecture, location planning and other "details" - affecting the way of being together in one place.
We have therefore established that the exchange goes through several layers of matter: body, body to body, and the structure that houses. At this point we imagine to remove the physical characterization of environments and social actors. We are in a potentially unlimited space, a universe through which to project the real world together with our fantasies. We threw away our bulky encyclopedias because with one click all the knowledge produced by humanity is available on the web, we can also do shopping, meet our friends, we can fall in love, participate in forums on almost any topic. Last but not least we can give credit to real political action on this point we return to confront the delicate question of protopolitica Guénoun.
What is political is placed on a level of intellectualization back than the simple aggregation, so its launch in a space of binary codes and electrical impulses, similar to those of the brain is accomplished successfully, it is difficult to think running out of "raw material" of politics, art, and all that rests the fabric of a civilization-as part of a exclusively neurological structure.
entering a space without place, it is possible to deposit a coat themselves in an imaginary closet, where you can wear with ease (the only option that guarantees a perfect solitude) as shameful or functional forms to achieve certain objectives. Take, for example, the infiltrators, who attend one or more chat room with a view to achieving the goal obscure other members, such as acquiring information. On the one hand we see those who take advantage of anonymity to let go, perhaps bringing out unsuspected sides of your being in the world, on the other who plays the spy craft, is infinitely relaxed and safe from her body: we know how to lie and what is trivial, however, is complex to be credible. The body is here, the same expression we took her to school and the supermarket, everywhere the same face. The body sweats, shivers, a smile that does not contain and the game is broken. The body guarantees the sincerity of the individual performance of themselves.
The non-architecture allows the underground city that obstructs the truth, no one is meeting this allows us to study the color of the negative, to paint a picture, deeply expressive of who we are and we are not. The reality crosses the imagination, creativity Social expands its capabilities beyond the limits imposed by the material of the body and the cement and plunges into the great collective dream. We can save you the trouble of the gods incarnate in an assembly gathered, it is easier to give way to the scene of a large representation of spontaneous, without exposing themselves to which everyone participates. It remains to ask whether we are speaking now of Eden or toyland ...

Peavey Windsor Half Stack For Sale

The audience this unknown

Elisa Ferrari

Throughout history the public was to be a metamorphic. In the past characterized some awareness both about the fact of having a role, and how this role was to be exercised. In ancient Greece it was the attitude of a political nature. In the Middle Ages resulted in a religious feeling. This participation from 800 'active' suffers a setback, the theater is transformed into pure entertainment, the whole self. The role of the public is not well identified, perhaps there is.
comes the 900.
In the definition of 'Theatre of Cruelty' Artaud rejects the idea of \u200b\u200bart as imitation of reality, arguing that art is life itself.
are so undermined the roles and obligations of the classic drama. The viewer does not
identifies more as a passive observer, the show is no longer subject to the same person look. The show is a vortex that swallows the viewer. Replaces the concept of party : theater people and communities become communities in a sort of rite of purification, or perhaps infection.
In the ritual of theater every individual participates empathically to the party, without distinction of roles.
If it is assumed that the drama explores the human condition, it is a glimpse, a window on the contemporary world that offers an overview and critique of the conditions of society, which has the world view of the audience today?
What is the role that now belongs to the public?
The public has a role?
After Artaud, after Piscator, after the avant-garde, one gets the impression that he has suffered a reversal of a couple of centuries.
Inside the box play the spectator is 'aseptic', automizzato. Watch (or perhaps see it). Cheers. Join? E 'emotionally involved?
Perhaps we have lost the freedom of opinion. The public suffers. We let 'torture' by events that offend the dignity of the observer. Do not take positions. You remain anonymous until dell'applauso at all costs when switching on lights. Why?
Perhaps for fear of no longer feel part of a group, that in any case did an important choice and that is to go to the theater?
The public is unaccustomed to what is happening.
The show sometimes is reduced to a mere exposure to a look not ready to admit.
If artists do not have anything to say, if the staging of the self becomes a mere display, if the public participates only physically at the event, if the body of the viewer left the chair becomes the target that does not respond to shots fired blanks as there are no real shots of the lack of message, after all the 'if' where's the drama? Where is the exchange? Where's the communication?
If the participants refuse their role, where the party?
Probably the sense of community and, consequently, the sense of theater is palpable in places that are not purely Members of the theater itself. As Artaud said, "art is life" and perhaps the theater has chosen to live on the streets of a city anonymous but alive.

Have Had Shin Splints For Months

Thoughts on the short

Serena Mola

Short Formats. Six nights, twelve shows, four hundred minutes scarce. Why?
Every show, show an easy calculation reveals its short duration: about half an hour. The artistic works, sometimes presented in their original conception, sometimes specifically "cut" they are therefore by a lack of time dilation, which often has to be counterbalanced by a cryptic conceptual density.
Brevity is indeed programmatically announced by the dual title of the event that an explicit and preliminary indication of "gender," Short format, adds an (over) symbolic title: Intermittent dance.
addition to a growing trend of acclimatized "performative contemporary creativity" the shortening of time is perhaps one of the most typical of modernity at large, in particular underground nell'accezione of the term.
And interestingly, in the light of these circumstances, bring the two areas just mentioned, and try to read the short form (in this case dance) as the heir to some basic literary experiences of our time, trying to make a journey through four stages, four stages of Western thought that we unknowingly have marked and perhaps, interpreted in this context reveals something of the twelve short staged.
1857, Paris. Output of Fleurs du mal . Bursts into the modern literature, indeed, the impact is even stronger, in poetry, sonnet that implodes under the blows of content sensual and scandalous, but profoundly human.
1955, Germany. Walter Benjamin, in his writings on Baudelaire, he tries to to account for a fundamental perversion of anthropology, which the damned poet par excellence is the undisputed starter. Benjamin calls Choc the Flash experience, who, just like (and not coincidentally) intermittence, guides man in the metropolis: fugitive glances, hectic, sudden shocks and insensitive.

1909-1922, France. Marcel Proust rinviene traces of lost time due to intermittence of the heart, where lightning details sensations, images of a past that was thought to emerge deleted blasted with tremendous force.
1950-1979, Italy / France. Italo Calvino publishes numerous writings, romance and essays: the three allegories of modern man, united in Trilogy ancestors to Marcolvaldo , from Invisible Cities until Memos . In these texts, in a different way is what the main topic of modernity and its impact on humans, which comes out dimidiato, empty, alienated ...
The thread that connects all these experiences is the very sharp break in an experiential give rise to the advent of modern industrial, urban, or, if you like, underground. The city then becomes a true theatrical stage on which man unwittingly exhibits itself in his daily distorted.
What is important to emphasize for the purposes of our discussion is that this upheaval affects mainly an anthropological dimension, that of time. The timing of the city are fast paced, perpetually stragglers and hungry, anxious and restless. Times and dates are likely to robotize days metropolitan man, to flatten the size of daily life in a routine equal to itself, by the rhythms of the assembly line.
Calvin is not impressed by this risk, and indeed is the literary antidote to combat it: the brief. The timing of the literature, we recall and inalienable prerogative of the human soul, you are thus conforming to the then ongoing paradigmatic change, and now settled. Calvin publishes books that is short to meet a player who, curious and interested, but has less time of his "colleagues in the nineteenth century." By extending the scope
literary discourse takes theatrical form one of the ways that allow us to understand why Short formats: the scenic work, loses, becoming intermittent, it is compatible with new rhythms of life.
Here then is the reason for six nights, twelve shows and four hundred minutes scarce.