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HOLY LAUGHTER

TITLE: Dora Pronobis
WITH: Antonella This
DIRECTOR: Virginia Martini
Playwright: The Antonella Martini and Virginia
MOVEMENTS: Antonio Bertusi
ASSISTANT DIRECTOR: Sabine Bordigoni
SCENIC AREA: Virginia Martini, and Antonio R. Bertusi Del Prete
IN COLLABORATION WITH Blanca Teatro
PRODUCTION: Q - Prod
RATING: 3 stars ***

A day without laughter is a day wasted. The Departments of Culture and the Equal Opportunities Collecchio see it that way of life. And it seems the way they live, organized by four years of Consonanza Voices, a series of comedy to the Theatre at the Court of Giarola, in collaboration with Theater Projects &. A tribute to the people, the opportunity to meet people of humor has made its scenic art, an existential condition. To exercise the right to first and the duty to laugh Antonella This was the Tuscan, with its successful catholic alter-ego Dora Ricci. Dora Pronobis is a monologue devoted to holiness, bigoted and surreal as only some manage to be perpetually frustrated, cynical and intelligent way granted by reflection on the role of women in the Catholic Church. The dramatic texture weaves the serious and the humorous, the stage with the real paradox, bringing out the size comic, contradiction, and therefore the humor behind some dogmas and ecclesiastical canons. Principles and rules that mark the lives of the faithful, a function of social control rather than spiritual guidance. The life of aspiring young altar boys Dora, the amusing incidents of his teenage years, clashes with the pastor, his work at Radio Pagnana True, his unrequited love for Pine, his calling to the bishopric are interspersed with parts of the last two encyclicals written by popes. With lightness and irony, caustic jokes but determined. You ride with Dora, not only when it is owned by the Antichrist that makes you dance lapdance, especially when the Beguine, immersed up to the starch in the collar character, confesses his thoughts to impart lessons of tolerance or pseudo para sex education to their faithful listeners. And the pubis (de oro) acquires new dignity language, as well as the point g (oung) and auto-eroticism as sexual practice by machine. Make full use of vocal timbres, the dialect and a remarkable ability to interpret, dealing with a little 'less agile the scene and its furnishings, while maintaining a comic rhythm almost always supported the work done by the character on this has found an effective way to strike the system from within.

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impossible interview

Odd stories of those Casanova, Francesca da Polenta, the Neanderthal Man, Oscar Wilde, Freud. Odd stories brought to the scene and music by some artists Parma Theatre of Time, a precious reality of the city where the arts are an intimate space and intimate admixture. A small still for experiments, alchemical potions from the results unknown. Among percussion, piano, singing and acting, interviews impossible 30 years ago, the historic radio program written by intellectuals such as Rai Eco, Calvino, and Sanguineti, which took players like Carmelo Well, I'm back "on air" directed by Paolo Rossini and interpreted either in the roles of interviewers and interviewees from Cristiano Bonassera, Rocco Antonio Buccarello, Nicole Rich, David and Natalia Robuschi Vaccari. Duets surreal and ironic that the speaker has engaged in dialogue and offstage skirmishes with a famous character from the past, emerged from the centuries through a time frame, an old door that opens up other, indeed impossible, dimensions. The musical interludes, of charm and atmosphere thanks to the original compositions of Maestro Luca Gavazzi, accompanied by the rhythm of Flavio Spottiswoode, have been enhanced by the lucid voice of gladness Brugnoli, intense performer of two songs written by Maestro Marco Caronna. At a time when those who try to bring radio and television who does want to bring it in tv radio, the theater also lends itself to accommodate trials between different media languages, performing and writing genres versatile. In recent months the Impossible Interviews Live will go up to the stage of the Auditorium Parco della Musica in Rome, directed by Gabriele Vacis, except as interpreted by the voices of Emma Dante, Alessandro Baricco, Piergiorgio Oddifreddi.

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FAILURE RESULTS FROM FOUR LAUGHS TO ANYONE YOU DO NOT DENY

TITLE: tottering biped
WRITTEN BY: Paolo Hendel,
COLLABORATION WITH: Piero and Sergio Staino Metelli
PRODUCTION: Agis Ltd
RATING: 3 stars ***

ethologist Desmond Morris in the 70s saw a man " Naked Ape ", noting that animal features thousands of years of cultural evolution and natural hair removal have failed to erase. Paolo Hendel, Tuscan comedian host the season of the Teatro Magnani in Bicester on Wednesday with his latest one-man-show, ride the wave and watch the Darwinian animal man from a perspective a bit 'unusual: dall'inpiedi. Starting from the definition of "tottering biped," Hendel unfolds on stage, with only the imaginative power of words and his ways by strolling player, an imaginative reconstruction of the prehistory of mankind, accompanied by notes of electrical Giorgio Vicini. Even when they proceeded to crawl on four supports; when he had not yet unleashed the crazy variable in the evolution that would lead to the monkey standing position and then to Homo Semipiegatus (including a well-known television journalist is a Rai representative sample). If it takes all Hendel, mocking the powerful, the immortal Italian politicians, present and future, always the same even in 3010 (royal dynasty would say), questioning and ridicule their absurd behavior and mocking even the man in the street, staggering on his feet two poor, defenseless, slow, timid and aggressive for that. The comedy Hendel has the strength of daily life, fools tics and attitudes that we all share, dall'ipocondria widespread embarrassment to their physical or medical needs, hatred for the camera as for the infernal instrument par excellence, the alarm. The show flies, light and fun, but paying a considerable price television, theater stripped the size and sacrificing part of the relationship with the public. An audience that there is not a given auditel: is present, willing to be fooled and especially pretty disgusted by the ways and people of Italian politics to succeed even after decades, to laugh Berlusconi height and line of Ferrara. When even the masculinity of De Filippi will make the audience laugh more, then we know that it's over.