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'NZULARCHIA THE FACE OF THE SURREAL AND UNEASE CAMORRA

From May 27 to the Art Theatre's award-winning show Borrelli and Cerciello

'Nzularchia is an expression that stands for jaundice, jaundice, yellow fever, but its significance is also due to afraid that when it is particularly violent, seems to cause these diseases.

In a stormy night, Spennacore - a racketeer for years forced to stay locked in four walls - is around restlessly in the room of his prison-house. His presence is felt only for the sound of footsteps and that makes the voice that sometimes sounds threatening, with the fury of rain and wind.

In another "place" of the house - right from the start that takes the form of disturbing memory space removed - are holed up Gary, a man of about thirty, and Piccerillo, son, brother, friend, or simply personification of memory, the brutalized childhood, and perhaps never lived.

And it is the continuing confrontation between Gary and Piccerillo to trigger a painful and overwhelming process of reconstruction of memory: a psychoanalytic journey in a surreal environment, able to conjure up ghosts of the past and put together the pieces of a ' torn from the nightmare of life indelible a tragedy that leaves no possibility of salvation.

Gaetano, in fact, feels he must avenge appalling abuse of power, of having to get rid of a father and jealous murderess, who has deprived of a mother and a brother never born, but above all, has to heal from the "fever" of fear, by the parent with frightening inoculatagli initiations, physical and psychological violence, which find in water - the sea like that of thundershowers raging outside - a recurring motif.

As in a yellow, dissolution comes, in all its drama, only in the finale, when the veil of oblivion - frighteningly - Is torn to lead to a tragic and, inevitably fatal conclusion.

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Holophones VIDEORICERCA

The crew of Crit, Centre for Research and Technological Innovation of Rai, led by Dr. Scopece, has experienced the exhibition, as part of an agreement with the CRT, the microphone holophonic, which will enable revolutionary relationship between theater and video. The experiment took place during rehearsals of The license, Claudio Autelli, and used a Sony HD camcorder, for a particular definition, and especially the holophonic microphone, a microphone, "panoramic" able to grasp the depth of all the sounds from an environment. This tool could revolutionize controversial relationship between theater and video, as it is able to reproduce a realistic atmosphere of a live theater. We report following an exhaustive article by Dr. Scopece, Electronics and Telecommunications from the magazine, No August 2, 2007, from the site of CRIT, www.crit.rai.it.

Holophones, a sound recording of everything that surrounds us Leonardo Scopece by Electronics and Telecommunications, No. August 2, 2007

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EUROPE AND THE ART THEATRE

Sisto Dalla Palma (text collected from Ida Senoner)

When I think of Europe not a dream, a horizon where we can not reach a real involvement, as if Italy was a enclave separate and distinct from the rest of Europe. Moreover, even in Europe, some fundamental choices become the responsibility of large bureaucracies. I believe, not to be abstract or general negative attitude about this, that the reference point that we have in mind is that of a country where theater really matters and where the theater is done, you measure in new, strong all-pervasive in companies with the ability to stick really needs. It seems to me that this is all in all the Anglo-Saxon model in which more and historically there have been attempts to put a wall between politics and culture and to ensure the autonomy of culture and theater.

Through the international network we have entered the most significant moments of our production, particularly that of Emma Dante, from "Carnezzeria" to "Dogs of banks" to "Scimia" that toured France, Spain, Netherlands but also in South America In any case I think the international connections demonstrate not only that there are areas outside of the whole texture, but in some cases it is easier to stay abroad, out of combinations of logic trade and moving in a perspective of absolute autonomy of art and cultural options of the various directors

All our products (and I'm talking about a number that is among the seven, 8:00 to 9:00, over two years), all contemporary drama. This classification is an element of some 'extrinsic. I would say that we are less interested in autonomy of the text, dramatic literature and theatrical works that are more an expression of a drama group and an ensemble. This, for example in the case of Emma Dante, I think that is absolutely obvious. But in addition to Emma Dante Autelli we presented, we presented Facchetti, we worked with Mimmo Sorrentino, who was not present with a general text, but developing a collective moving drama schools of the real problems of boys. And this is a subject that should be taken into account, because it exceeds the old logic of the author locked in his old tower of ivory, in his workshop to prepare literary texts, but rather moves in a direction of a network of relationships reports in which the land provides the drama and theater of experiences on which to work and turn and lead to representation.

In turn, the theater is able to break into the territory, returning emotions, experiences, values, expectations, problems that the territory, the school have the courage to express. From this point of view we are just working on a training project for actors, artists in field of social theater that will be able to intercept these experiences and that you put in the perspective of group work and social theater.

But what is possible is to build a collective entity capable of writing system to be connected immediately to the grassroots.

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IT'S HEAVY ...? Voyeurism

Laura calabash

In a world where everything is performance, performance is everything, it is so difficult to disentangle from full vacuum, the fake from the real ... down from advertising hoardings and challenges us to make us laugh, think, and sometimes exceeds itself. Yet it happens to feel like dry leaves, without hope to regain thickness rassegnamo us to ruffle a bitter laugh on the fate of political, social and cultural aspects of our humanity.

The story of Pippa Bacca and Silvia Moro has launched a kick to the resignation, while a revolver at the temples of optimism. A chance for redemption, a gasp and then a moan, maybe.

Two artists wearing wedding dresses, and treating in detail the media coverage of the event off on a hitchhiking trip through the Balkans, recently plagued by violent conflict, and then to Palestine. A madness "something a bit 'by girls," said his aunt, interviewed after the disappearance Pippa Bacca. Yes, because despite media coverage of performance it was, there was none of tricks, which is incompatible with our imagination nourished reality. The sentences dreamy confidence of man in man, now freeze even the eyes with which we read.

Now everyone will be able to give vent to the defeatism that always equals itself, it swallows every trace of life on its passage. We will return to the warmth of a newspaper without effect, which will continue to complain endlessly, satisfied with our eternal dissatisfaction ...

A sea of \u200b\u200bsqualor in which a disarming performance and incredible intolerably true exaggerated and "inversely proportional" to the canons of our non-being, it appears as a red mark of salvation.

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tactile reflections on the eye it touches, from Voyeurism tactile, visual and tactile aesthetic values \u200b\u200bof Maddalena

Alessia Gennari

Voyeurism tactile, that is, when the eye loses its intangible and immaterial dimension you touch, contact, involvement and full penetration. When the use ceases to be a distance "vision" becomes a groping and pushed the limits of the permissible. When art gives way and "touch" through the eyes, every fiber of the body of the observer.

The "touch voyeurism" as a category of the enjoyment of contemporary art Maddalena is the view taken by Mis-Mazzocut in his essay Voyeurism tactile, visual and tactile aesthetic values, published by The Melangolo in 2002. In it, the author takes a journey through contemporary art, especially of type "performative" in search of an answer to the question of whether or not we can still talk about art in our time. The answer, obvious, is that art is certainly still alive and that what has changed is not so much (or only) the aesthetic paradigm, as the fruit.

reflection of the author uses an important theoretical framework, which refers to aesthetics, particularly in the eighteenth century, and theories regarding the relations existing between the two directions in play: the touch and sight. First stop, the discussion of the note issue raised by William Molyneux in 1693, which opened one of the biggest debates in the history of philosophy (still unsolved), a blind man who has learned to distinguish, by means of touch, a sphere from the cube, may, once restored, to distinguish the two forms using the mere sight? Sight and touch are therefore complementary bodies or each of them acts overwhelming cognitive abilities of the other? If you can talk to the blind, in fact, a dictatorship of feel that, in cases of recovery from blindness, often makes it difficult if not impossible, to adapt the functioning of the sense of sight, in the sighted world there is a back view of the dominance over the other senses, rather than coming to the physical and then placed in the lowest rung of the hierarchy. And if having a dialogue with the beauty, indeed, is the responsible way, touch is rather entrusted with the management of relations with disgust, feeling far more speculative physics.

Contemporary art comes to rescue at this point touch. Triumph with their naked bodies, their sections exhibited, their fluids (blood, tears, semen, sweat), their miasma, sensations, pain, horror. Triumph for the physical (Defined as volume, weight, size) wins and a use of proximity (that of touch), to the detriment of the distance prescribed by the glance. Restore dignity to the touch is cognitive and not only: the most authentic vision of lies, just by touching it captures the truth of physical reality. Not that contemporary art is to touch, rather than to see. It is the view, rather, on whether to incorporate the use of tactile features: proximity, contact and, above all, loyalty.

The enjoyment of contemporary art is in fact a use "in detail" observed parties, special areas, the eye acts like a hand probe progression surfaces without being able to grasp the entirety. A detailed view, then, that lingers on the especially rough, in a voyeuristic: the morbidity is not only justified but actually required, the private sphere of the intimate and powerfully enter into the eye of the viewer, who can not help but touch , not "hand" but rather "eye", the object dissected before his eyes. It is precisely this "fragmentation" is the secret of use: we can tolerate some expressions of contemporary art, the most extreme and painful, just because the face "to groping, groping here and there and experimenting with the look alone senses, emotions, passions.

different from the simple mode of touch, that should also be redeemed and should be reconsidered in its role as a "poor relation of sight", also different from a simple haptic mode, the touch-voyeuristic feel combines with the eye, how use of incremental and fragmented, with an attitude of participation of different ways, with an involvement which is prompted by the same physiological rappresentazione.1

For art to be touched with the eyes.

Mazzocut 1-Mis M., Voyeurism tactile, visual and tactile aesthetic values \u200b\u200b, The Melangolo, Genoa 2002.

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gaze: definition, synonyms, antonyms


Serena Mola

Write on the look in the era of the image, mystified and mortified, abused and taken for granted, and having forgotten quickly is not easy, rather difficult and potentially very fruitful, as everywhere underpinned by moralistic traps, by trivializing underlying traps and so on. For this reason, you want to programmatically here to propose a "No more half-seasons" fell on the theme of the gaze, "yes was better when it was worse that builds on some of the most important literary and artistic experience from the Middle Ages to the present: all this with the sole purpose of cooling a bit 'memory, and why not get away from the glossy images of bloody or from which we are already overburdened, like it or not.

The game is simple, just open the dictionary, even the vocabularies and be transported by the evocative power of that strange but true, the aseptic lemmatiche definitions and suggestions synonymic go to him who only knows, not surprisingly, look beyond the encyclopedic classification, the taxonomy of speech, a strict alphabetical distribution.

This opens up four roads associated with exploration verbal retrospection is immediately historical, cultural and literary.

The very first definition comes to look like the act of looking : interesting use of the word Act, which gives this habit now a load of automatic and unconscious intentionality. The practice of observation is thus compensated and dignified, as if to pay homage, many centuries later to a 'time when the look was one of the most popular relational events and more valuable, if not the most valuable. The Stilnovo. Guinizzelli wrote in mid-'200, The your beautiful greeting e'l gentle gaze: the eyes in question were obviously those of his beloved, if only the poet turned to seizing, inflicting painful throes of love, making the slave woman (remember, it dominates).

value and the same, spelled differently, the same drama will return six centuries later, we are no longer in Bologna in Paris but soon dedicated to the metropolis. The lyric this time I was Charles Baudelaire, the woman also known, a passer, an atom of the crowd. From this emerges the glamorous female presence to the time of a love-at first as it had been one-Guinizelli but at the last look, and from which, a moment later, he anonymously reinghiottita. The power of the gaze, however, is identical, it is a spell that gives instant, and at the same time suicide all'innamorato: dans un oeil ... the bundles here douceur et le plaisir your here.

addition to the precious, therefore, in this first overview one can not overlook another feature of the eye, which, in effect, is suggested by the second dictionary definition, the lightning. At no 2 reads: look at first sight, at once.

If you go to No 3, the view changes completely, because the definition states: look that expresses a mood . The emotional just announced us from loving feelings, already widely explored, and leads us to two rather distant experiences, historically and culturally, but animated by the same intellectual tension, by the same force poetic, imaginative and creative: on the one hand, we evoke the look Don Quixote, which has the power to transform the world around him, to see the windmills valiant opponents to fight and a housewife all the princely Dulcinea, the other a look castrated, prevented, that the Leopards forced behind the hedge. In the first case the view is imagined in the latter only conceivable, but in both it's like, and more, if that were true.

The third stage, this time driven by the use of synonymy, it makes us think of the voyeuristic and morbid degeneration of the eyes, in reference to the suggestions: watched, peek. In this regard, the examples (in the first instance sets), much less noble precedents could really wasting, we want to mention Etant donnés, a work by Marcel Duchamp consists apparently of a wooden door, but instead was defined as "a device for peep pictures." Two holes is observed in fact a room, which in turn is an appendix to another room with a kind of window. Beyond the opening of the wall, lying on a pile of twigs, you can see a naked woman, holding one arm a small gas lamp lit, while in the background lit by a dim light, sets out a vision and exact real a picturesque natural landscape.

Finally the contrary, even if the dictionary in this case gives no indication, however, think you can look like the opposite of blindness, and dedicate these words to the legendary blindness of Tiresias. In fact, he received it as a sort of punishment of retaliation for his having granted a voyeuristic delight. In this punishment, however, was given some sort of mitigating or aggravating according to points of view: lost sight "sensory" experience the prophetic, oracular.

It is said that the game is better when it is short, then stop before they are fed up: the dictionary definitions are finite, so these ideas.

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taken from tales of a friendly

MICHELE RIDGE ...!!!!

This time we play at home, in "our" gym in San Paolo di Civitate.
The match is a friendly between the New and the son's volleyball Chieuti,
The meeting on the card is easy for those of us in the New volleyball son's also because the first leg, a few days before, winning with a dry between 0 and 3 the other with "many" of us (just 6) tired.
In reality there was nothing easy No, the "paper" we now torn and we were always to recall the entire batch.
Let's start with the assumption that there is nothing that can not preoccupied but do not think that this side there is nothing and means which would worry because we go beyond those immediately below a set, but recovered and we carry cover 1 to 1 then after our balance and our "now playing seriously" play seriously, and we find ourselves under 2 sets to 1.
nerves to someone on the team, we caught a bit 'between us and eventually pay the price is always our poor alzatore, Michele. The coach calls us back to the bench, hoping to calm down a bit 'water and put the team in sixth (in the sixth because we are alone again 6), explains that still need to worry, the more alzatore gets nervous if we give him anyway, and if Michael is wrong enough to say: MICHELE RIDGE ... to encourage it.
After the time out and the game continues from one point to another and 'fine Michelle "that come and go we carry the 2 to 2.
Despite the time you decide to play Sept. 5
now the fifth set is not so called by-case basis in fact after going under some point, we find ourselves in the field in 5 (yet another tirade against the central alzatore and leaving the field for abuse of "Michael is fine).
In five, by which time the game seemed lost "Michael is fine" so that the gap decreases and conclude the match 3 to 2 for us.

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Carrum Navalis From the Ship of Fools. The origins of carnival rituals

Caielli

Roberto Manzoni's famous novel of the plague is lucid example of the significance of the relationship between theater and sacred ritual, symbols of life and death, aided by the carnival. And even in the intertwining of the Betrothed, whose central drama is the love hindered Renzo and Lucia, the plague, along with other macro-reasons of the crisis, or famine and war, serves as the propulsion for the performance of the action, the crisis is the sacrificial atonement which is equivalent to having learned from the causes Manzoni recent history. The episode has repeatedly denounced the Monatti analogies with medieval characters of the show, which is the carnival, festive time of origin of the ritual performance, and jesters, the primary vehicle of extension and dissemination of such material performative. A more detailed study of their primitive origins justifies the insistent allusion to Monatti and Apparitori The Betrothed: from the latter and their inherent quality liminal the relationship between living and dead has agreed to take steps to try to trace back the origin of these dynamics. In the aforementioned book "The Origins of the Italian theater, P. Toschi richly documented paves the way for a symbolic interpretation of the Carnival. Toschi, after satisfactory evidence that the Carnival "... that is what for centuries has been in Italy's main New Year's party, is to recognize the cradle of our comedy" using ethnographic and literary evidence varied and abundant, leaves lodge under carefully drawn by the prospect ethnological doubt, locum where the circle closes:

the more difficult it succeeds, however, to recognize the Italian masks the elements that go back specifically to the souls of the dead. But those factors exist.

doubt Toschi The proposed changes in the interpretation and fascinating insight into hermeneutics. Referring to the "Origins of the Italian theater" for general news and documentation about the carnival, let's assume that information useful to explore the 'seemingly unfathomable relationship between masks and souls of the dead, starting with the more general relationship between death and Carnival.

In a step to the introduction of the Ship fools Brant, F. Saba Sardi try to summarize the contents of this analogy without the need for socio-anthropological liminality and rites of passage, but by proposing a number of interesting points:

... medieval carnivals were gruesome: the vehicles are exhibited, masked by death, fools, and the wagons themselves were decorated with representations of death. The festum fatuorum ... it was a combination of disorder, a journey made by chthonic droppings, dead things, rotten, orgy that is con-fusion: in-famia, that is to say the unspeakable, the unutterable, the metaphor par excellence, source of all revelation and every taboo ... And 'maybe known that the current term carnival has a double origin: carrus navalis carnem and upbeat, but the former is certainly the oldest, the second is an overlap, a rationalization, since the carnival "leverage" is, since the meat before Lent, but does so only at the eleventh-twelfth century. in Italy, when the Church fails to overlap with their pagan customs in which up to that point had to be an interpreter and translator.

The initial idea came from the original date etymology above passage, or by Carnival Carrum Navalis , with reference to the whole mythology that uses large the ship and the chariot as a symbol of death, evidence provided to indicate the transport of the souls of the dead in the afterlife. In particular, the water is said to travel in the ancient myths of origin disparate, but the idea still persists in the accounts of older fishermen who in some lakes of northern Italy, for which, as noted by the Lanternari, is the usual 'relevance between the "other side" el'aldilà. The traveling carnival tradition of iconographic and literary renaissance, but demonstrated medieval ship of fools, for example, is in fact a journey of the dead: mad folly comes from , bellows, everything to full of wind, empty. Fool "from late Latin Matus, drunk, similar to the greek mate, vain, empty, to Sican mattabus , dejected, to the Provencal mat, sad, dejected, to the mat the French ... Catalan mat ... to English - Portuguese mate, Romanian amet, stun.. " In the game of etymologies recall the world of the dead is, in terms as madness, as in the word carnival evident. But the etymology itself, known as the Saba Sardi, has nothing to do with archeology, but rather with the poetry. Though it is precisely for this witness of some hidden truth, but there seems a limit to trust "Isidorian" dell'etimo embroidery maybe baroque conjectures: the name hints at a rather indicative track, a possible way forward, but is not in itself sufficient for a comprehensive interpretation of the phenomenon that the name represents. In our case, the etymology of Carnival proposal converges attention to the fundamental model of the carnival ritual: the passage in which, with the dynamics of liminal spaces, this represents the socio-institutional symbol of the overthrow. To define the Carnival this point of view we must explore its historical origins and its timing: it is a party, heir of the Roman Saturnalia and the Lupercalia, connected, as is also the most famous comprede etymology (from Carnival carnem raise ), the period of Lent. Easter and the timetable for the meaning of the feast of Easter Carnival is, as we shall see, closely connected for centuries Christians of the Middle Ages. It is, as noted V. Turner, a movable feast that is part of an cosmological calendar separate from ordinary historical time. " Each party, in fact, there is the category of time in the fundamental relationship. The carnival, "sort of temporary liberation from the dominant regime of truth exists, the temporary abolition of all hierarchical relationships ... it was authentic Time of becoming the party, and the movements of renewal. "The medieval carnival is like all those parties that" in all stages of historical development have been linked to periods of crisis, a turning point in the life of nature, society and the 'man. The die, revive, and renew the succession has always been the dominant elements in the festive perception of the world. "

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the extraordinary success of EMMA

Elisa Ferrari

outskirts of Milan, near the Gratosoglio, here thirty years ago the show hosted the largest in the theater, to Grotowskij Kantor. Years in which people pour in the suburbs to see the theater, with capital T, years in which you jump over the gates to have a place in the auditorium.

During this season the atmosphere of 'party' and, in a sense of 'community' has been recreated at the staging of the feast Emma Dante. Long lines at the box office, waiting lists, places added in the form of pillows that invade the stage, sold out for every night of the show.

With The party has closed the exhibition dedicated to the CRT's shows Emma Dante. Mishelle of Sant'Oliva, Carnezzeria, The monkey, Mpalermu, my life, these titles the shows that from 20 November to 6 December showed a full house at the box office of Teatro dell'Arte. The party , tragic, brilliant monologue performed by a well-trained and Gaetano Bruno might be called 'little drama partying for men and scope', is about a simple story of how deep. A father who for years has gone and he wants to return to take the child's disability pension. Two brothers, identical twins, Paris and James, "a aggrippato most of the other, an idiot and the other handicapped," living in symbiosis. One eats the other is satisfied, the other a sleeping dream. They are exchanging jokes names managed to fool everyone but the mother who punishes only Paris, forcing him to close the closet in the dark, in company with the scope. Paris wants to teach James to walk "because all Christians standing, and then she picks her up and taught him the rhythm, then James ... sinistradestrasinistradestra falls, and dies. Paris then you create a world of his own, in the closet with the brooms. It 's the day of his thirty-ninth birthday, blue lights flashing to light up a sort of altar a little' tacky: a huge red parcel which is the tabernacle Paris draws six colored brooms. Everything is ready, the feast can begin. Paris after a wild dance with Sammi, Gwendolyn and the other is ready for the cake with ketchup, but before the magic ... ... talitakum and brooms stand alone ...

With this show Dante does not lose interest in the family dramas, and perhaps in a more intimate approach to the drama of the facts. The film perfectly recreates quell'oblio of loneliness and insanity in Paris where he took refuge, allowing the public to enter on tiptoe in the dark closet to see Paris than with a talitakum does the magic broom. The people in the room struggling to get out of the closet, would make a night, and it shows with endless applause.

applause that together with all the other shows in which the public has watched with great interest and enthusiasm, and turnout figures prove it: 898 admissions per Carnezzeria , 590 for the Scimia , 934 for mPalermu, 360 Mishelle for and 483 for my life. A total of 3265 appearances in just over a fortnight. An important goal for the CRT that requires more and more as a point of reference in the theatrical culture.

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coffins DANTE AND THE DEATH OF THE ARTIST PORTRAIT SHOW

Elisa Ferrari

Death is everywhere. We are inundated with images of lifeless bodies: news, current affairs programs, billboards and posters. Figures of twisted corpses, abandoned, decayed, piled up, settle on the lens and are revised by neural circuits.

No response, no turmoil. Death no longer belongs to us, is no longer ours, it is no longer part of life, is just death. We must show more and more detail, to be able to distance. Death has become a taboo, something to criticize, dismiss, forget, to pretend does not exist. The dead are far from us on TV, death can strike us, death media does not stink, does not hurt, curious, but do not understand, because they become inhuman. Newscast: "Some boys take over the phone with their friend dying on the sidewalk." No one does, the mind is already well on the internet, on youtube, where the movie can be loaded, clicked, saw him again.

telephone conversation with Gianfelice Facchetti, author / actor de The number of +, the expose these my mental meanderings ... "It 's a double-masked," he says, "we are victims of a repressive power that forces you to find alternative ways ... But if you know where the enemy, you also know the language to defend yourself. " From the conversation dense and shows that there is fierce in today's society, the incessant desire to replace the private and public, to make all events, the power to make you perform, we are in a society representation. The number of + is much inspired by two facts about precisely the theme of death in Vancouver, British Columbia was built around a nine-storey building dedicated to the celebration of 'funeral theme', exotic settings, rather than futuristic . Mortyland for short.

cofanifunebri.com On the other hand, death is offered as a sexual object of pleasure or semivestite half-naked women posing in provocative attitudes pseudo- leaning languidly of coffins in various models. A calendar, here. Then one - the future or a family member died? - Order the coffin of June because Clarissa is so vivid that it seems to sort a trinket on e-bay.

allusion to sex is better than death.

And then the game is all there: the censor death and aspire to eternal youth. In an age which denies reality to old age and disease on the vibrator and Botox become the one and only way to try and stretch as much as possible the farce.

Facchetti Then I ask what you guys think of that photograph the earth to mate with a cell phone: "It 's perception of the game: the game ended the game starts again, there is a sentimental and emotional illiteracy, playing on the edge because there is no limit."

But who is to teach what is the limit? Perhaps because it is no longer something that relates exclusively to adolescents: the spectacle of death becomes voyeuristic exhibition-in-autopsy shows the German artist Gunther von Hagens, better known as Dr. Death , pathologist cinquantottenne creator of plastination . The process, which is a real 'mummy-plasticizing' of human limbs, can make human bodies perfectly stiff and odorless.

It takes a body, preferably dead, even better if a pregnant woman or a man with physical deformities, it is immersed in a solution of acetone at -25 to ensure that drains fluids, replaced followed by injections in plastic fluid, which will solidify the exposure of ultraviolet rays. That's it, the subject is served, the matter ready to be sculpted, manipulated, sacrificed, or desecrated. At this point, Dr. Death will give vent to his artistic talent by acting directly on the meat, if they still can be called. So Dr. Death saw arms and legs and Hanging Nylon line giving 'life' to a grotesque puppet lanky and fluctuating, gutted the belly of a woman five months pregnant, highlighting the fetus, also plastination. Perhaps the process of plastination has been created for this very reason, to make their bodies less than human, to make more materials mere objects, mannequins. To have perhaps a less direct involvement, less intimate. Now the rest of the meat to a large extent has become plastic, inorganic matter, no decomposition, no liquids, smells, moods. The site reads Hagens Body Worlds, The Original Exhibition of Real Human Bodies. Even if your real are not. This man is a monster? Certainly not a murderess, he takes them bodies in the morgues, it is entirely lawful, were signed statements before death.

Moral or immoral?

You might even think that, in view of a challenge to the death, a phenomenon of fashion in contemporary society, the work of Dr. Death fits perfectly in the race to immortality.

The fact is that the Hagens are exhibitions around the world and also oversubscribed.

What drives people to go see a show like that? Curiosity, morbidity? Once again, the death is being marketed, disclosed ... light, fresh, easy.

But once there was the Black Death ? Not now, we capture other colors: purple - which is dead, but going well so fashionable - it refers to purple flowers with the award which recognizes the 'best treatment to the dead and the family', then new colors for fabrics that will furnish the mortuary, new nuances, as the last shades of champagne ... tanatoestetica question.

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SALTIMBANCO

The mask in the light of Starobinski

Alessio Ramerino

The theater, like any other art, is a world in which use readily identifiable symbols, able to relate to the gradient chronological and artistic in different ways, almost paradoxically masks are capable of acting roles, one of these masks is the acrobat . Topos archetypal representative of the art, the jester has entered the collective imagination with a capacity of Interest endemic and, as always, the sublimation of his task was different meanings of artists: painters, writers, poets. If, hidden behind the function before the fun, make-up look clownish charm, joy, melancholy, sadness and sometimes even anxiety, that it must be a substratum of artistic reworkings that have bothered as constant intermittence our cultural growth.

The route that led to the "substitution of the Gods by the clowns" was superbly drawn by Jean Starobinski in his Portrait of the Artist as acrobat , in which the pen of the critic Geneva emphasizes the stages of artistic a literary-aesthetic seemingly tortuous path and heterogeneous, that passing the instance primitivistic-style romantic come to enucleate stratified and deeper meanings in our reception of the readers and viewers. From Shakespearean fool the twentieth century the artistic imagination has repeatedly revised the meaning of the terrible mask circus artist, of the acrobat and, more generally, the clown, who is freed from its primordial twilight size and tied to the border with world of the dead and has become an ironic reversal of reality body, saving the character and tragic passing figure.

L 'exploits of interest in the circus finds himself in the nineteenth century, evo permeated bourgeois hypocrisy and cruel forms that it imposes, and the first half-century short stories from the early chroniclers and poets - Gautier, Banville - who played fairs and circuses as colorful land between the East and a gray reality bourgeois fairy-tale, the myth of the clown comes to permeate the supreme examples of writing Baudlaire and painting of Picasso, the acrobat becomes ethereal figure in the balance between the gulf and the sky, life and death, able to dream and become his public alter ego liberating for artists dedicated to him their interest in poetry. As the inhabitants of the border, the acrobat and the clown in question is suffering from a strong domestic dichotomy: the poetic moment of their engagement in physical exercise makes them poetic figures and ethereal, while the normal Mortality is made from heavy weight of reality, of a body of flesh and vulgar, although aware of such a nature it escapes the double form, because only sublimated in the transfiguration of poetry or in the "mental effort of the spectator" (p. 87) .

clownish The multiplication constant of appearance in the examples quoted by Starobinski, all Baudelaire - the mask dandy reveals an incredible proximity - and Piccasso but also Flaubert, Verlaine, Lautrec, Seurat, Klee, and continued its appearance in literature and dramatic literature, Poe, Hugo - and then Verdi - Böll, however, to interpret in relation to "an organically structured society" (p. 154) as the post-bourgeois and bourgeois, in which the multiple functions played by the clown is objectified in interference mockery of the myth, the concept of heroism, which models the same company stands out as winners. This is a key to motivating the continuation of the meaning carried by clowns in art and culture: the uneasy feeling created by a multiple role and multisignificante. "The entry of some clown blows up the net, and suffocating in the fullness of meanings allowed to open a gap which will breathe a breath of anxiety and life" (p. 150), this is the function that the clown, as a bearer of disturbing questions, and will always make art.

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I CLOWN AND THE CITY 'critical

Alessandro Serena

There are two images that come to mind about Clown Festival in Milan, created by Maurice begged. This is the opening and closing of The Clown, a masterpiece by Federico Fellini. Rimini is the director of the Italian artist who has linked to a greater extent than their own imagination of the circus, until re-establish it. The Clown begins with the scene in Federico child, facing the window and a gray morning (surprise!) instead of a barren desolate square, discover a world of color, music, humanity has arrived at night in the city a circus! It's a bit 'what's going on with the Festival of begged. In a metropolis, often engaged in frenetic races, get up one morning and discover that came the clown is a great feeling. Moreover it is more than that clown to make people laugh are proposed to reflect, work in the social, some are trying to understand their application, they invade the city trying to change some habits, are proposed as a clown in some ways revolutionary. But the image that closes The Clown Fellini's is different and more melancholy. The Mosquito clown (whose Fumagalli son, on the other, is one of the greatest artists of the comic relief) to the director explains: "You know Mr. Fellini once did a number with a friend of mine called Fru Fru. He pretended he was dead. I walked into the scene and say, where Fru Fru? But do not know, I said the director, is dead! But how he died, I said! I must return the ten sausages and the candle that I paid last year! Well he's dead, I said the director. Where can I find it, I say? But stupid, I tell you that he's dead! Then I took for that I won, I used to call it: Fru Fru! Fru Fru! Nothing. She did not answer. What is really dead, I tell you? And if I died as find it? One can not just not disappear like that. Somewhere to stay. Fru Fru! As long as I have an idea. I'll call him when he worked as a trumpet with me. And so I start with the trumpet call. Sound the first notes ... I feel ... nothing. Please try again. It was a very nice song that made her cry. It was so ... "and started a poignant trumpet solo. The clown dies. It is not enough for a festival or to raise him up to find it hidden somewhere, as he had hoped mosquito. The clown is a serious figure, master of the ancient techniques but innovative. To this must feel, work, do not leave anything to improvisation. Should brush their teeth every day. The work of the clown and the clown should last forever, sometimes a lifetime. Otherwise the risk is to make reference to another symbolic figure who arrives on the other great master of cinema, Charlie Chaplin, which closes its beautiful Circus with Charlot sad sitting in the middle of the melancholy trace of a circle of sawdust. One of the most common clichés of the twentieth century: the circus part and leaves only a memory. The clown part, but must leave something more.

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sheet produced by the participants at the workshop for theater at the CRT about Twins Giorgio Marini

Valentina Ciardi

During the presentation meeting that preceded the first night of The Twins, held Monday 25 February at the theater CRT, the director Giorgio Marini said the work with this new interest in the text by author Fleur Jaeggy. True to every word, every punctuation to the story - said Marini - the director wanted to play with language by developing a kind of musical score which could be reflected in the theme of the double spread around which the entire representation.

The twins seem inextricably linked, as by the words in their sentences in half to stop one of the other terms or overlapping of lines spoken in unison tones evoking the singsong prosody of some nursery rhymes. However, this goal is lost, at times, a score in verbal contemporary syncopated, with the speech, struggling to find its own rhythmic and meaning, loses vigor and poetry, dying in a kind of lament broken, broken.

The choice of the two female performers for the Twins invokes the theme of the ambiguity, the duality through the form of disguise, but the difficult subject of ambivalence and double intimately belongs to human nature, hard to find a coherent development.

The first association to the term "double" is the other ego-I, the uncanny as Freud called it, that aspect of us that upsets us because it corresponds to our objectivity, because in him we see ourselves outside of ourselves and why in the perception of "double" start to think we themselves. The double
this is like a shadow or double, twin or not. In any case, is a way to start thinking about themselves. The representation of Marini does not always allow the viewer to participate in the reconstruction of the story dialectically, thus denying the possibility of triggering the mechanism of recognition and, therefore, of critical reflection.

paroxysmal The interplay of two lives incapable of subjectivity to the inevitable conclusion of a perverse incestuous relationship just mentioned, you might lose in the difficult adaptation of the text of Fleur Jaeggy for the theater. The feeling is that they have been touched on several issues but could not develop. In the end even the center of the dyad seems to get lost constantly in the presence of a third party that may prevent its presence with the clarification of this issue.

The use of light cutting, sharp, with the changing atmosphere of indistinct in the gloom have created a place without any indication of time and space, characterized by the mere presence of a blanket of snow white to cover the entire stage and two masts vaguely reminiscent of Beckett. The staging was so very impressive, even if self-complacent at a certain stage where it is hard to see the urgency of artistic expression.

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STANDINGS: Speedway - Round One

TEAM POINTS		PartiteGiocate	Games won	Games lost	sets won	September Lost	P. Without	P. Suffered
Phoenix Isernia volley	30	10	10	-	30	0	-	-
Free Volleyball Camp	19	11	6	5	22	10	-	-
Opera Venafro Volleyball	20	12	7	4	26	16	-	-
New Volleyball Camp	22	10	7	3	23	10	-	-
NEW VOLLEY SON'S	15	12	6	4	20	18	-	-
Volleyball Agnone	4	12	1	11	7	35	-	-
POL Frosolone	4	11	1	10	8	32	-	-

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RANKING THE CALENDAR

CALENDAR TOUR GAME 1DM - Speedway - Round One and U/18 1 Day

Day 1,
21/01/2008 - 19:00 Agnone	As Volleyball Agnone	0-3	Asd New Volleyball Camp
20/01/2008 - 10:00 Frosolone	POL Frosolone	0-3	Phoenix Volleyball Isernia
19/01/2008 - 17:30 Venafro	Opera Venafro Volleyball	3-2	Free Volleyball Camp
Round rest NEW SON'S VOLLEYBALL

Day 2
11/02/2008 - 18: 30 Isernia Isernia	Phoenix Volleyball	3-0	As Volleyball Agnone
21/01/2008 - 16:15 Campobasso	Free Volleyball Camp	3-0	POL Frosolone
26/01/2008 - 18:00 S. Paolo di Civitate	NEW VOLLEY SON'S	3-2	Opera Venafro Volleyball
Round rest Asd New Volleyball Camp

day 3
03/02/2008 - 11:30 Ferrazzano	Free Volleyball Camp	3-0	As Volleyball Agnone
06/02/2008 - 16:15 Campobasso	Asd New Volleyball Camp	0-3	Phoenix Volleyball Isernia
03/02/2008 - 11:00 Frosolone	POL Frosolone	0-3	NEW SON'S VOLLEYBALL
Round rest Opera Venafro Volleyball

4 th Day
09/02/2008 - 18:00 S. Paolo di Civitate	NEW SON'S VOLLEYBALL	3-0	As Volleyball Agnone
10/02/2008 - 11:30 Ferrazzano	Free Volleyball Camp	3-2	Asd New Volleyball Camp
09/02/2008 - 18:00 Venafro	Opera Venafro Volleyball	3-1	POL Frosolone
Round Phoenix Volleyball rest Isernia

Day 5
18/02/2008 - 19:00 Agnone	As Volleyball Agnone	2-3	Opera Venafro Volleyball
16/02/2008 - 16:30 Campobasso	Asd New Volleyball Camp	3-1	NEW SON'S VOLLEYBALL
16/02/2008 - 21:00 Isernia	Phoenix Volleyball Isernia	3-0	Free Volleyball Camp
Round rest POL Frosolone

Day 6
24/02/2008 - 11:00 Frosolone	POL Frost	2-3	As Volleyball Agnone
23/02/2008 - 18:00 Venafro	Opera Venafro Volleyball	3-0	Asd New Volleyball Camp
23/02/2008 - 18:00 S. Paolo di Civitate	NEW SON'S VOLLEYBALL	0-3	Phoenix Volleyball Isernia
Round rest for Free Volleyball Camp

Day 7
05/03/2008 - 16:15 Campobasso	Asd New Volleyball Camp	3-0	POL Frosolone
01/03 / 2008 - 21:00 Isernia Isernia	Phoenix Volleyball	post	Opera Venafro Volleyball
20/04/2008 - 11:30 Ferrazzano	Free Volleyball Camp	2-3	NEW SON'S VOLLEYBALL
Round rest As Volleyball Agnone

Day 8
12/03/2008 - 16:15 Campobasso	Asd New Volleyball Camp	3-0	As Volleyball Agnone
08/03/2008 - 21:00 Isernia Isernia	Phoenix Volleyball	3-0	POL Frosolone
09/03/2008 - 11:30 Ferrazzano	Free Volleyball Camp	3-1	Opera Venafro Volleyball
Round rest NEW SON'S VOLLEYBALL

Day 9
17/03/2008 - 19:00 Agnone	As Volleyball Agnone	0-3	Phoenix Volleyball Isernia
16/03/2008 - 11:00 Frosolone	POL Frosolone	post.	Free Volleyball Camp
15/03/2008 - 18:00 Venafro	Opera Venafro Volleyball	3-1	NEW SON'S VOLLEYBALL
Turn off for New Asd Volleyball Camp

Day 10
31/03/2008 - 19:00 Agnone	As Volleyball Agnone	0-3	Free Volleyball Camp
29/03/2008 - 21:00 Isernia	Phoenix Volleyball Isernia	3-0	Asd New Volleyball Camp
29/03/2008 - 18:00 S. Paolo di Civitate	NEW SON'S VOLLEYBALL	3-2	POL Frosolone
Round rest Opera Venafro Volleyball

Day 11
06/04/2008 - 18:00 Agnone	As Volleyball Agnone	0-3	NEW SON'S VOLLEYBALL
09/04/2008 - 16:15 Campobasso	Asd New Volleyball Camp	3-0	Free Volleyball Camp
06/04/2008 - 11:00 Frosolone	POL Frosolone	0-3	Opera Venafro Volleyball
Turn off for Phoenix Volleyball Isernia

Day 12
12/04/2008 - 18:00 Venafro	Opera Venafro Volleyball	3-0	As Volleyball Agnone
12/04/2008 - 18:00 S. Paolo di Civitate	NEW SON'S VOLLEYBALL	0-3	Asd New Volleyball Camp
13/04/2008 - 11:30 Ferrazzano	Free Volleyball Camp	0-3	Phoenix Volleyball Isernia
Round rest POL Frosolone

13th Day
21/04/2008 - 19:00 Agnone	As Volleyball Agnone	2-3	POL Frosolone
23/04/2008 - 16:15 Campobasso	Asd New Volleyball Camp	3-0	Opera Venafro Volleyball
19/04/2008 - 21: 00 Isernia	Phoenix Volleyball Isernia	3-0	NEW SON'S VOLLEYBALL
Round rest for Free Volleyball Camp

Day 14
27/04/2008 - 11:00 Frosolone	POL Frosolone	0-3	Asd New Volleyball Camp
26/04/2008 - 18:00 Venafro	Opera Venafro Volleyball	0-3	Phoenix Volleyball Isernia
26/04/2008 - 18:00 S. Paolo di Civitate	NEW SON'S VOLLEYBALL	0-3	Free Volleyball Camp
Round rest As Volleyball Agnone

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Team players

NUMBER NAME		ROLE
9	FRISE PETER	Spiker
	VINCENZO LA MOLA	OPPOSITE
	ALTIERI PASQUALE	Spiker
	Gianfrancesco MICHELE	Palleggio
	JAMES GRILLO	CENTRAL
	PERNA GENEROUS	Palleggio
	GRILLO SALVATORE	CENTRAL
	SALVATORE	FREE
	ALTIERI ANDREA	Spiker
	ALTIERI PAUL	Spiker

Company

Coach	THE WHEEL MICHELE
President	VINCENZO LA MOLA
ESCORTS	Gianfrancesco VINCENZO LUIGI -------------- ALTIERI

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The language of provocation between cinema and theater, in conversation with Sergio Germani Grmek

Roberto Caielli

The etymology of obscene and provocative explores border areas between the public and the scene that marked the recent history of the theater, he stressed the limits and potential. The provocation and the obscene is a threshold that the artist want to try and cross, in obedience to a principle sometimes instinctive sometimes just stupid sometimes philosophical, sometimes for the sake of the scandal that is sublime in art most extraordinary stone (Baudelaire docet), but ready to become dangerous boomerang in the trite and desolation, when not adequately supported in genius. Cenalora deals in this space-time early years of a delicate subject and necessary ritual rooted in anthropology, daughter of disturbing reports on the cannibals of the Pacific or the horrors of tribal-eating corpses, and rooted in the theater, which has taken since the beginning language of provocation, to express something very close to the ancestral soul of each. Novecentro in the cinema with his deep bond mediation of the assembly and the screen is appropriate of this language, turning it into emotional subject in some cases very powerful, paradoxically more powerful than the scene alive. The famous film critic Grmek Sergio Germani, director of the festival in Trieste of a Thousand Eyes, hath been paid to a comment jurisdiction with regard to the ratio of absolute scene-picture film, with a strong open and courageous vision never hidden the means of expression and communication. Moreover, the recent edition of the Festival has presented an exceptional program on these issues. "It's hard to decide which of the two mediums including, for the viewer the greatest degree of physicality - says Germans - ironically play the body, alive and present, will make it easier on the brackets scene. This is not a movie, where the body can not or will not need to escape the gaze of the camera, so the cinema is now the art of real bodies. In our review we tried a parallel, alternating moments of the film in which the living body is present. But the film, in our experience, allows the living body and its emotions to be explored in more detail and to endure. Has been memorable, for example, the projection of the incredible film - a documentary filmed by Japanese sculptor and video artist S. Tajiri and Ole Ege to the Danish Bodil Joensen porn in 1970, "A Summer Day", a classic of European pornography, and we presented the first window Italian Festival 2007. Compulsively provocative image in its raw subject. The audience at the end of the vision was still room for more than five minutes, noting the silence and stillness with the strong emotion that persisted embarrassing. "The living body to the theater we saw it but a couple of years ago to Crt during the performance of the Greek choreographer Apostolia Papadamaki. Who was this was testament to the strong emotion in this room, in front of the naked body and offered to the audience without mediation, overwhelmingly 'himself'. adjourn welcomes these reflections, which repeats constantly, some obscene that the issue represents a cornerstone of the current interpretation of the theater and -involutions its future developments, and its strong and difficult but obligatory relationship with the medium of film.

Caielli Roberto - Director of Cenalora