Last week I went to see state of anger, of Cyrus Zorzoli, the Teatro Sarmiento (last week of the season). Friday, December 17, 2010
Saidapet To Stella Maris
Last week I went to see state of anger, of Cyrus Zorzoli, the Teatro Sarmiento (last week of the season). States
Since multiple Rough talented , a typical job of Gobernori (take this opportunity to salute the brave defenders Bravard the adoption of the law that recognizes), and small and does not function Last reviewed Iturbe, Milone and Torres, as Dream A Midsummer Night , as the works of Pirandello, as a bout of improvisation, as the whole baroque theater, Ira State is a play about the ways of presentation and representation of the theater.
Since multiple Rough talented , a typical job of Gobernori (take this opportunity to salute the brave defenders Bravard the adoption of the law that recognizes), and small and does not function Last reviewed Iturbe, Milone and Torres, as Dream A Midsummer Night , as the works of Pirandello, as a bout of improvisation, as the whole baroque theater, Ira State is a play about the ways of presentation and representation of the theater.
is, at the opposite end of the first, its consummation.
plot summary
In the mythical room adjacent to the official Zoo de Buenos Aires, a hearty group of actors represents a group of actors whose official task is to hold municipal rehearsal for Hedda Gabler for a famous actress called the replacement of the protagonist to release tomorrow.
In the mythical room adjacent to the official Zoo de Buenos Aires, a hearty group of actors represents a group of actors whose official task is to hold municipal rehearsal for Hedda Gabler for a famous actress called the replacement of the protagonist to release tomorrow.
Life is trial
Reincarnations, valley of tears, promises of better lives, future, eternal, many belief systems and thought agree on the precariousness of the short unit chains of events between birth and death call life. Fragility to expand the category of preparation, learning, path whose meaning lies elsewhere. And meanwhile ... is life.
Reincarnations, valley of tears, promises of better lives, future, eternal, many belief systems and thought agree on the precariousness of the short unit chains of events between birth and death call life. Fragility to expand the category of preparation, learning, path whose meaning lies elsewhere. And meanwhile ... is life.
Ira State is a test. With a skill rarely seen address and thanks to a remarkably large set-acting that supports the inalienable capacity theater governance, we can finally offer is also vital and full thickness aesthetic that simultaneously occurs while he lives.
Comment Most notably, what makes my opinion in a contemporary bead is the lack of comments. The work runs in its own way, an adjusted version, and for those who remember the gist of his argument, enjoyable to Hedda Gabler, in a world yes, that produces their mode of existence outside theatrical representation: is there as a state, as a possibility.
Representation is the commentary. Hedda Gabler , assumed the only way that the theory of action that holds this show conceived a theatrical text (or what we call "a play") is the text of the background that "says" action, not occurs.
The "work" as an ideal entity is marginal. The great Ricardo Bartis, mentor and with reference to the hyper-productive performance by "states", whose greatest exponent, Carlos Defeo, of unforgettable performances, spits his juxtapositions of real states in a pure state of Ira , says it better than me, of course. Let's read it live. Frequent
Bartolo
"My resistance to the publication of the texts in which work, including adaptations, as the case of a I did Hamlet from Shakespeare, or Doll on a text Armando namesake Discepolo is because they believe in the value of the texts come out of those events and developments taking place on stage [...] The most important thing that happens there is the strength and energy to serving the text, but the action is not nor will ever be in the text, can never be that energy, that decision, that will I seek there when I run a show. I feel the text so alien to me as if separately, for example, the element of light, as if I propose to transmit the lighting design of a show, because someone might be interested in the treatment of light. [...] I think the text has always been an ideological supremacy in relation to the form and body, and has been crystallized the belief that the textual narrative is the story of theatrical events, and theatrical events have nothing to do with the story text, is at stake because a situation of another order. First, a situation that is organic. There are bodies, body organs, blood, muscle, chemical, contact energies are going to get moving. The other, the text is an excuse for that. "
Ricardo Bartis. Court fog. Buenos Aires: Atuel, 2003
depth
Ciro Zorzoli achieved, in his poetics of space (the geometric depth is perfect), and in this very lack of feedback, in which the flag is hoisted thickness an event, to bring into the main event that is Bartis further comment. The work in Zorzoli arises where Bartolo says. And it raises. More than that legendary Hamlet, the war theaters of BartÃs here Hedda Gabler structure, supports and said creatures that do not belong, without saying a word about them. The theater is imposed, in a plane of simultaneity.
Ciro Zorzoli achieved, in his poetics of space (the geometric depth is perfect), and in this very lack of feedback, in which the flag is hoisted thickness an event, to bring into the main event that is Bartis further comment. The work in Zorzoli arises where Bartolo says. And it raises. More than that legendary Hamlet, the war theaters of BartÃs here Hedda Gabler structure, supports and said creatures that do not belong, without saying a word about them. The theater is imposed, in a plane of simultaneity.
The old life of Hedda Gabler
We said Ira state is the consummation of the intelligent Rough . This, with a simple procedure, in a bold corner of Centennial Park, the main procedures theatrical shows "typical" of a decade. Ira State takes a solo, exposes and multiplies to produce something nameless and speechless, which is very little, but not so little: in a mythical official room next to the Zoo of Buenos Aires, a group of ...
What is not true , of that Hedda empty and meaningless (whose legacy if not murder is suicide), in the sad and lonely actress, stripped of role, in hose and the side of a ordinance that will stay there as long as you need it, to lose, lose, lose?
Saturday, December 4, 2010
Phat Azz Brazilian Orgy 2 Cd2
About All My Sons
On Sunday I went to see the last performance of All My Sons, Arthur Miller, dir. Claudio Tolcachir-the Apollo Theater (Corrientes 1372 -Tel. 4371 9454)-revival in January.
Scale
The function began at 20.30. At 20.15 we were still the Andrea our (the Postpartum ), the Andrea of \u200b\u200b"them" (the DG Media and Entertainment), technicians and I stood on the grass artificial covering that side of "backyard" of the great scenery for the play, trying descular how it could be embedded in a corner of three meters between the first wooden platform and onstage, the three chairs and three panels expressive of our work.
The proposal (even virtual): replace Postpartum in January at the Apollo Theatre, from a room of 140 to 490 seats and a stage-mouth-foot deep by four one five times larger.
The paradox of such a proscenium, of such depth, we just might be used a minimum, center, in front (to share the stage with the play "big"), ie even less stage space in the knot.
This book is an embedding.
monumental structure
Miller's works and are "monuments" historic. It is not the full house in August (read my review of this work, click here ), three-level bare, where they weave the stories of the diversity of a decadent family: August is not a monument. It is, in All My Sons, a piece of home: the back door steps of the patio, fence, park chairs, the tree broken by the wind. The metonymic shift value of the huge American prosperity (re) built on the machinery of war, no matter who are the children who fall in battle. The piece is huge and full, a display of power. In contrast to the attitude and thinking August also directed tolca, this work stands serious cultural. Nothing will weaken. His sound is muffled. Try to see why.
plot summary
(unsuspecting readers who do not know the plot of this classic: skip this paragraph.) The eldest of the Keller remains missing in action for over three years, during which time, the factory's father, benefited from the huge sales of military equipment, has boosted its profits. The youngest son, a war veteran, plans to marry his dead brother's girlfriend. The mother, a refugee, still waiting. If that shelter yield, the real responsibility of the great father of the deaths at the front saw the light.
The construction of the innocent
This first success of the young Miller has, like all first great exponents of a renewal of genres, all the elements of what would later be produced in series. " In the social realism of Miller, shines the thesis: the real reason / responsibility capitalist over death of youth in the front, seamless presentation of the "incarnation" of capital in the inner cell of the great American society, the family . The enormous sin, the blood with which it is built and the future prosperity: the death of children. It is to the facts that a parent accepts and commits suicide, is at the unveiling. Say, expose, make it public, would be to put in the hands of a gun charge, and encourage them (as in the beautiful idea of \u200b\u200bmy dear Pablo Ottonello, playwriting workshops in 2010) to commit suicide.
To do this, check Miller hands to various (and virtuous) procedures that the master sustains and endure (and this is extremely difficult, since the whole style realism and proposal and thesis, you know, it easily remains his contemporaries .) However, the construction of the innocent ...
need Chris Miller, the youngest son, is naive. And Larry, the eldest, is a voluntary sacrificial lamb (the suicide letter he wrote Larry because his father had sent parts failed, killing in the name of the father, is the letter from Lamb of God, make no mistake). Miller also needs to kill the father, needs a third act that resists our contemporary ...
Kate knows. Kate leak and leak it to the whole family to that point actually vacuo and fascinating narrative. At the end of the second act we all know, Kate, children, parents, spectators, that the family is that fiction needed that allows a horror (the death of youth / children in the hands of the capitalist machinery / paternal to extend these concepts in Argentine history and theater in this blog, click here and report here ) is buried and untouched as the foundation work of a (the) institution.
At the end of the first decade of the century, this high speech inviting the silence that invites betrayal, which makes accomplices and wrinkles all the viscera, would be the end of work. Equivalent, of course, the legendary light that falls on the Marito Failure Coleman family, which now covers Europe from the hands of their creators, the director is the same in all the works referred. But 2010 is not 1947, the story of that war brings echoes of honor in the mouth of Chris (the community of youth who gave his life for his mates) is not the same as the stories of the Gulf, Afghanistan, Iraq. Sixty years ago ...
God's punishment
God punishes. God puts in the hands of father a gun and is fired. God, who allowed the factory owner failed to send aircraft parts, which allowed American prosperity built on war machinery, which allowed the suicide of his absent son and stupidity of the survivor, God is corrected, prompted by the author outside on the Great Miller, to finish his work justice: the personification of sin must die.
In modern stories, such as group The Coleman, like the old Beckett or peripheral dramas Gobernori, Chaud, the foreign author is none, the authors are, at most, characters, God is a desert. Kate is the great author submitted by his father Arthur. Dubatti told me: "In Mystic Rose is the eternal character spokeswoman for the author's ideology." Halak Ricardo told us: "did not arise in the new drama of Argentina, a great author." Adhere to it.
Bonus track: Ana Maria and Lito
Two complementary sides, I think. While the great Lito does not transmit, no moves, no hits, is rescued from second to second best that can be seen in female performance wide format. 
On Sunday I went to see the last performance of All My Sons, Arthur Miller, dir. Claudio Tolcachir-the Apollo Theater (Corrientes 1372 -Tel. 4371 9454)-revival in January. Scale
The function began at 20.30. At 20.15 we were still the Andrea our (the Postpartum ), the Andrea of \u200b\u200b"them" (the DG Media and Entertainment), technicians and I stood on the grass artificial covering that side of "backyard" of the great scenery for the play, trying descular how it could be embedded in a corner of three meters between the first wooden platform and onstage, the three chairs and three panels expressive of our work.
The proposal (even virtual): replace Postpartum in January at the Apollo Theatre, from a room of 140 to 490 seats and a stage-mouth-foot deep by four one five times larger.
The paradox of such a proscenium, of such depth, we just might be used a minimum, center, in front (to share the stage with the play "big"), ie even less stage space in the knot.
This book is an embedding.
monumental structure
Miller's works and are "monuments" historic. It is not the full house in August (read my review of this work, click here ), three-level bare, where they weave the stories of the diversity of a decadent family: August is not a monument. It is, in All My Sons, a piece of home: the back door steps of the patio, fence, park chairs, the tree broken by the wind. The metonymic shift value of the huge American prosperity (re) built on the machinery of war, no matter who are the children who fall in battle. The piece is huge and full, a display of power. In contrast to the attitude and thinking August also directed tolca, this work stands serious cultural. Nothing will weaken. His sound is muffled. Try to see why.
plot summary
(unsuspecting readers who do not know the plot of this classic: skip this paragraph.) The eldest of the Keller remains missing in action for over three years, during which time, the factory's father, benefited from the huge sales of military equipment, has boosted its profits. The youngest son, a war veteran, plans to marry his dead brother's girlfriend. The mother, a refugee, still waiting. If that shelter yield, the real responsibility of the great father of the deaths at the front saw the light.
The construction of the innocent
This first success of the young Miller has, like all first great exponents of a renewal of genres, all the elements of what would later be produced in series. " In the social realism of Miller, shines the thesis: the real reason / responsibility capitalist over death of youth in the front, seamless presentation of the "incarnation" of capital in the inner cell of the great American society, the family . The enormous sin, the blood with which it is built and the future prosperity: the death of children. It is to the facts that a parent accepts and commits suicide, is at the unveiling. Say, expose, make it public, would be to put in the hands of a gun charge, and encourage them (as in the beautiful idea of \u200b\u200bmy dear Pablo Ottonello, playwriting workshops in 2010) to commit suicide.
To do this, check Miller hands to various (and virtuous) procedures that the master sustains and endure (and this is extremely difficult, since the whole style realism and proposal and thesis, you know, it easily remains his contemporaries .) However, the construction of the innocent ...
need Chris Miller, the youngest son, is naive. And Larry, the eldest, is a voluntary sacrificial lamb (the suicide letter he wrote Larry because his father had sent parts failed, killing in the name of the father, is the letter from Lamb of God, make no mistake). Miller also needs to kill the father, needs a third act that resists our contemporary ...
Glow resistance
voice, high image where Tolcachir the location wise, perfect intonation (a fantastic work) to Kate Ana Maria Picchio at the end of act two, where the thesis that still remains (and probably last forever) is enacted, it is necessary Larry is not dead, because if he were, he would have killed his own father, and God does not allow these things happen.
voice, high image where Tolcachir the location wise, perfect intonation (a fantastic work) to Kate Ana Maria Picchio at the end of act two, where the thesis that still remains (and probably last forever) is enacted, it is necessary Larry is not dead, because if he were, he would have killed his own father, and God does not allow these things happen.
Kate knows. Kate leak and leak it to the whole family to that point actually vacuo and fascinating narrative. At the end of the second act we all know, Kate, children, parents, spectators, that the family is that fiction needed that allows a horror (the death of youth / children in the hands of the capitalist machinery / paternal to extend these concepts in Argentine history and theater in this blog, click here and report here ) is buried and untouched as the foundation work of a (the) institution.
At the end of the first decade of the century, this high speech inviting the silence that invites betrayal, which makes accomplices and wrinkles all the viscera, would be the end of work. Equivalent, of course, the legendary light that falls on the Marito Failure Coleman family, which now covers Europe from the hands of their creators, the director is the same in all the works referred. But 2010 is not 1947, the story of that war brings echoes of honor in the mouth of Chris (the community of youth who gave his life for his mates) is not the same as the stories of the Gulf, Afghanistan, Iraq. Sixty years ago ...
God's punishment
God punishes. God puts in the hands of father a gun and is fired. God, who allowed the factory owner failed to send aircraft parts, which allowed American prosperity built on war machinery, which allowed the suicide of his absent son and stupidity of the survivor, God is corrected, prompted by the author outside on the Great Miller, to finish his work justice: the personification of sin must die.
In modern stories, such as group The Coleman, like the old Beckett or peripheral dramas Gobernori, Chaud, the foreign author is none, the authors are, at most, characters, God is a desert. Kate is the great author submitted by his father Arthur. Dubatti told me: "In Mystic Rose is the eternal character spokeswoman for the author's ideology." Halak Ricardo told us: "did not arise in the new drama of Argentina, a great author." Adhere to it.
Bonus track: Ana Maria and Lito
Two complementary sides, I think. While the great Lito does not transmit, no moves, no hits, is rescued from second to second best that can be seen in female performance wide format.
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