Recovery From Piriformis Syndrome

GREAT NEW SON'S VOLLEYBALL

Astral Projection Cut Silver Cord

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.