Rocca Grimalda STOLEN RIVER, Sunday, July 22, 2007, 21:30 EPIC THEATER REVIEW II edition
Press
The City of Rock Grimalda is pleased to present the second edition of the Review of epic theater, four epic texts that speak of men and society, four shows, on stage for four Sundays from July 8 to August 5, chosen this year by the Artistic Director Charles Orlando.
The event was born last year (along with the organizer and Fausto Paravidino Lisa Raffaghello) by a desire to join a theater audience or not, has this year been supported by the Compagnia di San Paolo, who has selected the initiative in the 2007 contract the Company in performing arts, in addition to the contribution by the Culture of the Province of Alessandria.
"It's not so much a series of shows that we would like to propose this summer," says Charles Orlando (who was acting director co-writer and actor in Texas by Fausto Paravidino) "as a journey, hopefully a long and pleasant journey time in history. "And remember that" the theater is nothing but an attempt to bring together a community around the stories. Inwardly, this is the reason that drives us to offer these shows. Get together with you, around this bonfire made of ancient myths, adventures, and resistance, to rediscover our need to do is go to the theater. "
will open the festival Sunday, July 8 Traveling with Berlinguer written and played by Fabrizio Rabbit and Matthew Taranto Music Cosma Damiano Orlando. The portrait of a man of our times through three aspects of his "Public Man" "The Private Man," "The modern man."
will begin Sunday, July 15 instead shows narramondo with Sophocles' Antigone directed by Charles and Nicola Orlando panels, show co-produced the show, the stage will involve, in addition to Eva Cambiale in the title role and Charles Orlando in the chorus, Raffaella Tagliabue, Nicola panels, Maurizio Pavement, Paul Li turned, Andrea Pierdicca, Elena Dragonetti, Matteo Cremona. The scenes are from Laura Benzi.
Sunday, July 22 will continue with a story that features the nearby River Valley Bormida Stolen taken from One Hundred Years of Poison Alessandro Hellmann (who also signed the music along with Yo Yo Mundi) by Andrea Pierdicca for the first Once it tells the whole story of the ACNA factory since it opened, as dynamite to the 800 to its closure in 1999 and the struggles of the inhabitants of the valley of the river to protect the environment and Bormida.
It concludes Sunday, August 5th with a show dedicated to the mothers of Plaza de Mayo Por la vida written and performed by Elena Dragonetti Raffaella Tagliabue and live music with Max De Aloe. The shape is that the story of a journey, actually happened in Argentina today. A match away to allow for two voices to tell the double face of this country: Argentina still strongly marked by its recent past and Argentina, as awakened from a long slumber, come back to bite. A fight. A "reaparecer.
The shows, with free admission, will begin at 21.30 and will be held Aug. 2 at Castle Square in Grimalda.
Organization and press office: Lisa
Raffaghello
cell. 333 6132594 fax 0143 468014
www.narramondo.it Info: City of Rocca Grimalda
Tel 0143 873121
City of Rocca II epic theater Grimalda CALENDAR REVIEW Sunday, July 8, 2007 edition
Traveling with Berlinguer Written and performed by
Fabrizio Coniglio and Music by Matthew Taranto
Cosma Damiano Orlando
narramondo presents: Sunday, July 15, 2007
Sophocles' Antigone with Eva
bill, Raffaella Tagliabue, Carlo Orlando, Nicola panels, Pavement
Maurizio, Paolo Volsi Li, Andrea Pierdicca, Elena Dragonetti, Matthew Cremon
Director Carlo Orlando Lights
panels and Nicola Di Vittorio Giovancosimo
Set and costume designer Laura Benzi
Sunday, July 22, 2007 The Stolen River
taken from One Hundred Years of Poison Alessandro Hellmann
with Andrea Pierdicca
Music by Alessandro Hellmann and Yo Yo Mundi
Lights Canibus Federico Salvatore Magro
Directed by Nicholas Panels
Sunday, August 5, 2007
Por la vida
Written and performed by Elena Dragonetti
and music by Raffaella Tagliabue
Max De Aloe live
lights Andrea Torazza
The shows will begin at 21.30 in Piazza August 2, 1980 in Rocca Grimalda
- FREE ADMISSION -
Artistic Director Charles Orlando Lisa Raffaghello
Organization with the support of
with the assistance of the Culture of the Province of Alessandria
The organizer
The City of Rock Grimalda working for years on the qualifying tour the territory through the creation of high-level cultural collaborating, directly or through associations that are located within its territory, with universities, national newspapers, associations and European professionals. This activity already established
addition, in the winter of 2005, were filmed in its territory scenes from the movie Texas (Fandango, presented in the horizons of the 62nd edition of the Venice Film Festival) as the director, co-writer (with Iris and Charles Fuselier Orlando) and Fausto Paravidino actor chose his hometown as the location for the story. The design of a theater festival stems from the desire of the Culture of Rocca and the young author Grimalda Paravidino do not miss opportunity to continue to collaborate to offer events to the area of \u200b\u200bhigh artistic quality and I would point out nationally. The second edition of the Review of epic theater is under the artistic direction of Charles Orlando.
EPIC THEATRE REVIEW - II edition
Artistic Programme
not so much a series of shows this summer that we would propose to the kind of audience Rocca Grimalda area, as a journey, a long and hopefully enjoyable journey through time in history. The history of theater and history, forgive me this ugly expression, with the capital "S".
Let's start this story with a show host, traveling with Berlinguer written directed and starring Matthew Taranto Fabrizio Coniglio and a portrait of a man of our time addressing three aspects of his "Public Man" "Man Private "" The modern man. "
then start all events narramondo with a classic, with what has been called 'the most perfect work of art ever conceived by the human spirit "of Sophocles' Antigone. The ancient tragedy, the imitation of actions, such as defined Aristol, through pity and fear produce the purification of these feelings. To stage the wounds of our time. This is the goal of our association. Until now we did it through the contemporary drama and narrative theater. Now we have decided to confront the myth and the classic tragedy. Talking about the present time with the ancient poetry of two thousand years. We will try to do a show with simple, straightforward and spare, avoiding trivial update or cold imitation of a "model" classic. A great opportunity for us actors to confront what they fear so we call sacred theater, and for viewers to watch a classic scene of all time without big names and repeated without seeing double of some avant-garde. A show not directing, but actors who constantly question the texts and their need to bear witness to the tragedy today.
The journey continues with the river stolen Alessandro Hellmann. Let us return to the scene of the narrative, epic theater. It 's the story of a hundred years of poison and struggle: the struggle of the workers and inhabitants of the Val Bormida against Acna. It 'a faithful and rigorous historical reconstruction of one of the greatest environmental disasters of our century, still no one can say over.
last leg of our journey is Argentina, today and yesterday, with the show Por la vida, a tale of two voices of a trip actually took place in a country still terribly traumatized by the recent military dictatorship and economic collapse that slowly, trying to "reappear to life." A narrative moved to tango step dedicated to the mothers of plaza de Mayo, their endurance and their struggle.
I once read somewhere that the theater is nothing but an attempt to bring together a community around the stories. Inwardly, this is the reason that drives us to offer these shows.
to come together, with you around this bonfire made of ancient myths, adventures, and resistance, to rediscover our need to do is go to the theater.
The Artistic Director, Charles Orlando Charles Orlando
was born in Novi Ligure (AL) in 1978, is one of the founders narramondo. She attended the acting school of the building in Genoa and completed his training by participating in various workshops including a seminar on the method taught by Stanislavskji Geraldine Baron.
Work with several theaters: Teatro Stabile di Genova, Teatro Stabile di Bolzano, and with various directors including Valerio Binasco (The Seagull, 2002), Fausto Paravidino (Still Life in a ditch, 2003), Giampiero Rappa (Gabriel, 2002 ). For the radio (the third ear on the radio theaters by Mario Martone, Rai Radio3) Fausto Paravidino messages.
to the cinema with Cristina Comencini in Carlo Giuliani boy with G. They were the church, 48 hours in Novi Ligure, wrote and starred in, along with Iris and Fausto Paravidino Fusetti Texas, directed by F. Fandango Paravidino 2005 presented in the Horizons section at the 62nd edition of the Venice Film Festival.
In 2006 he was assistant director in Richard III Filippo Dini. As the author made his debut at the Genoa with a stable of heroes, spies and other ghosts (Season 05/06). With Narramondo is The Hyena's den (the sixth year of touring) Four hours of Chatila J. Genet and made his directorial debut in Cry baby Julius Salierno with Eva Cambiale reported premium tuttoteatro.com Dante Cappelletti 05. Travels with Henry
written directed and starring Matthew Taranto
and Fabrizio Coniglio
live music performed by
Cosma Damiano Orlando
"I did not follow, and I consider this the greatest fortune of my life, that famous law that
was revolutionary to eighteen / twenty
and then gradually becomes liberal, conservative, reactionary;
I keep my ideals of the time. " Enrico Berlinguer
The show
Two players face each other in their thirties form of entertainment one of the most significant and popular of our recent history. Enrico Berlinguer they have known only the stories and chronicles, but it is odd that this character so far from confused and opportunistic politics of today, raises the "wish" of a later generation, of a meeting for a period not to know and understand so far.
Fabrizio Coniglio and Matthew Taranto, fellow of the Academy, went to retrieve materials, speeches, actions, memories and even deprived of Berlinguer have put together a great side trip to a man's consistent and authentic. Almost a search for roots in a path of analysis, but above all feelings. Among the texts and documents were also recovered items that today no longer use, which brings us back to a world near, just the other day, but at the same time away like an old folk song.
The show is the memory of Roberto Benigni a man called "the poet of politics". Taranto
Rabbit and say, "Berlinguer, in his last words before he died, said that" doing politics "means to go" house to house, street by street, company by company, talking, listening and working for the people ": that's why we decided to start a journey, a journey with Enrico Berlinguer.
FABRIZIO RABBIT graduated in 1999 in the drama school of the Teatro Stabile of Genoa, he continued working for the Teatro Stabile of Genoa M. Mesciulam, J. Ferrini, B. Besson, M. Scaccia, N. Gazzolom, E. Jordan, N. The Customs (Tartuffe, Richard III). Produced by the Teatro Stabile of Bolzano in 2003 on stage in "Still Life in a ditch," written and directed by Fausto. Paravidino. In 2006, directed by E. Jordan (Via Tarquinia and 20 in Alice in Wonderland). The Cinema in 2001, directed by G. Maderna imperfect love. On TV since 2001 has worked in various fiction (including the 2007Nebbia and delitti2; General Practice, in 2006 Team 6, live in 2005 in District Police, The Wrong Man, Heart to heart carabinieri 4, 2004 in A Pope in 2001 and almost perfect in Cropping is a 'murderess.
Matthew Taranto Graduated from the acting school of the Teatro Stabile of Genoa in 2000, continues with a workshop c / o Association Arteatro on "Method" by Lee Strasberg. He works for the Teatro Stabile of Genoa: AL Messeri, G. Vasily, Judith Malina, M. Sciaccaluga (Moliere's Don Giovanni, 2000) B. Besson (The nose of Moliere, 2000). In 2006 he worked with Eniio Coltorti (The Sunshine), with Rodolphe Sand and the Theatre of the Servants of Rome Singlesregia and I love what you do and Othello V. Gentili with Teatro Brancaccio. For the cinema in 2001, "Paz", directed by De Maria and in 2005 was in the short film "The deep sadism of God" production. Fandango. He has worked in television for several TV: "," Love and Secrets "series 1 and 2 in the role Brigadier Moretti, "The beauty of women" and 3 serie2 Role: Cesare Turati, "Sunstroke", "RIS imperfect crimes," "Police District 5" Grande Torino "," Heart to heart "," Double trap "," A near-perfect dad ", 2001
... our intention is to create emotionally what has conquered most of the personality of Enrico Berlinguer, not having had the opportunity to know him by addressing three aspects of his" The Public Man "" The Private Man, "" The modern man Fabrizio Coniglio
I Matteo Taranto I'm almost thirty years and have graduated at the Teatro Stabile of Genoa. I wrote it by putting together historical records with my friend and fellow Academy Fabrizio Coniglio, a journey of discovery of a man, we had only heard the stories of our parents. Matteo Taranto
Antigone of Sophocles with Eva
bill, Raffaella Tagliabue, Carlo Orlando, Nicola panels, Maurizio Pavement, Andrea Pierdicca, Paul Volsi Li, Elena Dragonetti, Matthew Cremon
Director Carlo Orlando Lights Giovancosimo
panels and Nicola Di Vittorio Sets and costumes Laura Benzi
"All cities are overwhelmed by hatred
because the human remains are buried
by dogs and birds and fairs they carry the stench
up in the heart of the city "
Tiresias, 1080-1082prodotto Armunia Festival in collaboration with the Etruscan Coast, with the contribution of Fondazione Cassa di Risparmio di Volterra. We thank the sisters of the Teatro Comunale di Dardano Ovada (AL )
"The vision of Tiresias (Sophocles) inversion of the world of the living and the dead, has acquired for us today, an extraordinary news. And 'the lucid description of a world where massacres and nuclear wars have left countless dead unburied, where the living wait for the end of underground shelters in the dark ... "The Antigoni, George Stainer
During the Second World War in Russia, a soldier arrives at the village destroyed. You see a woman kneeling next to a corpse that is tearing his hair, weeping and sprinkled the body with dust.
asks her why she does. She says "It 's my brother. Not that enough?"
again. Also during the Second World War, Greece, the village of Kalavrita, is obliterated by the Nazis and murdered the male population.
Women flee from the village school where they had been locked, and violating the directives of the German command and risking ending up hanged, they run en masse to mourn and bury the dead comrades. Will be remembered as "A Thousand Antigoni.
Antigone returns. To return, even today, to this day. Back in our city \u200b\u200bstill shaken by hate.
Back when, in the name of unwritten laws, we rebel against a deaf and ferocious power that tramples on our compassion, our sense of humanity and justice.
Antigone or "disobedience."
So, the unfortunate daughter of Oedipus came to us. That
irresolvable conflict between the negotiable and not 'I' and the state, between the individual and society, as told by Sophocles, tells us very clearly in our present and of those places, only geographically distant, where power is manifested in its most oppressive. To stage the wounds of our time. This is the goal of our association.
Until now we did it through contemporary drama and storytelling, pure and simple, without artifice. Now we have decided to confront the myth and the classic tragedy, to speak of today through the myth and tragedy. We will do trying to reinvent our art, without proposing or cold trivial update citations to a classical model. The ancient tragedy poses enormous problems of interpretation and direction. Calls for continued research and tireless. Starting from this premise to create a show simple, direct, bare-bones. A show of direction but not the actors who continually question text, question their art and their need to bear witness to the tragedy today. A great opportunity for us actors to come closer, at least a little ', to what we call sacred theater with so much fear, and for viewers to watch, at least we hope, a performance that, without big names, and without seeing double of some avant-garde, is simply pure and bright as a filter of a myth and a ' work that has been called "the most perfect work of art conceived by the human spirit."
we could do "only" this would be a lot.
Carlo Orlando
STOLEN RIVER
taken from One Hundred Years of Poison Alessandro Hellmann
with Andrea Pierdicca
music by Alessandro Hellmann and Yo Yo Mundi
lights and Federico Salvatore Magro Canibus
director Nicola
panels manufactured by narramondo in collaboration with the City Cortemilia (CN)
"Have you ever seen Bormida? It has the color of dried blood water, because it takes away the waste from the factories along its banks Cengio and not a blade of grass grows. More nasty and poisoned water, which makes you cold in the bone, especially to see it at night under the moon. "
Beppe Fenoglio,
A day of fire
the show. The incredible and turbulent history of Val Bormida Cengio and acne: the birth of the factory, the struggles of the inhabitants of the Valley against pollution, the relationship with the Ligurian side, her inevitable union with the history of chemistry National, its closure. Between childhood memories and situations in the balance between the dramatic and the grotesque, it rattles off an epic story of battles and poignant, mobilization, conflicts between the peasantry and the industrial world, interest and political expediency, in areas split up into an illogical, of collusion between branches more or less hidden. To rediscover the ability to understand and indignant.
The author says: "That acne and Val Bormida pollution is a story of savage nature of humanity and trampled, but also a wonderful testimony of civil mobilization (and later institutional) for the Rebirth of a whole second the idea of \u200b\u200balternative development, to be built on the exploitation of culture, resources and local traditions. The work offers a comprehensive and objective view on a recent story in the history of our country (and socio-economic evolution of Piedmont and Liguria in particular) and at the same time is proposed as a commemoration of the characters - and especially the people - who have been involved over more than a century. "
The text being written has already affected many newspapers and has already collected major awards, as tracks extracted from it have won the prize" III Millennium " established by Fara Editore and received a special mention at the prize " Les Nouvelles "bandit Perspective Publishing. The wording has been achieved through a meticulous documentation (books, articles, journals, unpublished reports, crime alerts, documents, audio-visual archive footage ...), analysis and insights on the field lasted more than a year. A valuable support was provided by the Viva Valbormida and Documentation Centre Patrick Fadden, Association for the Rebirth of Bormida Valley, Montana Langa delle Valli Community, by the Workers Acna and all persons who through their testimony have allowed a precise reconstruction of the events and passions that animated them.
History. The Acna was founded in 1882 as dynamite to Cengio in the province of Savona, a few meters from the border with Piedmont. On the localization industry - strategic policy - affect the availability of water (the river Bormida) and low-cost labor, access from the port of Savona through a communication route guarded by fortifications and the hard practicalities of the Piedmont side. In short, the Acna became the main industry in the area, coming to occupy up to 6,000 people and creating a deep rift between rural and new business. Water pollution in the valley extends well beyond Alexandria, more than 100 km away from the factory. In 1929 the company converted to the production of dyes, while the inhabitants of the valley are starting to raise tremendous outrage, denouncing the impossibility of using water from wells. The wine is undrinkable and vegetables knows of phenol, so the fields and vineyards and returned Gerbido farmers are forced to leave the countryside. The 50s saw in the provinces of Cuneo and Alessandria a massive popular mobilization against the factory, which will not have any effect, however, mainly because of conflict of competence and responsibility at the institutional level. In 1970 a ministerial committee declares that the river is now Bormida "biologically dead". In 1987, the valley is declared an "area of \u200b\u200bhigh environmental risk", while research shows that in the cases of cancer, especially bladder, affects the population with a much greater proportion than the national average. The workers are forced to choose between right to work and right to health. In those years, there are committees in the Piedmont region of protest, including the Association for the Rebirth of the Valley Bormida, organizing events and propose alternative development projects: thanks to this massive and at times epic popular mobilization, supported by local institutions and from several environmental organizations, is set aside the idea of \u200b\u200bdrawing up a waste incinerator in and the establishment in 1999 Acna is finally closed. There is currently reclaiming land underlying the site, which was highlighted in the presence of highly carcinogenic substances such as dioxins and phenols.
Andrea Pierdicca. Born on 05/12/75 in Osimo (AN), in 2000 he attended a preparatory course in acting school Galante Garrone of Bologna in 2003 he graduated from the acting school of the Teatro Stabile of Genoa, where he worked with Massimo Mesciulam, Anna Laura and Marco Messeri Sciaccaluga. Since 2003 he has been with the company URT Juri Ferrini, with Bologna's Teatro delle Moline. In 2004 the festival Lunezia working with Amy Grant, Antonello Venditti, Carmen Consoli, Caparezza, in the same year he collaborated with the orchestra conducted by the Kiev Trasimeni. In 2005, directed by Gabriele Vacis is Friar Laurence in "Romeo and Juliet" produced by the Teatro Stabile di Torino. Since 2004 he Narramondo.
Nicola panels. Born in Como, May 26, 1966. Graduated from the acting school of the Teatro Stabile of Genoa in 1991. Three years of singing at the Conservatory "Niccolò Paganini" in Genoa. In theater she has worked mainly with Valerio and Cristina Pezzoli Binasco has collaborated with, among others for the Teatro Stabile of Genoa with Benno Besson, Massimo Mesciulam, Sciaccaluga Marco, Guido De Ponticelli, Vittorio Gassman, Center for the theater with Brescia Massimo Castri, for the Teatro Stabile del Veneto and Joseph J. Lassalle Emiliani. He has also worked for the cinema (among others Fandango 1999 The partisan Jonnhy director Guido Chiesa) and television (among other 2000 Love and War in the Apennines-JK Harrison).
Alessandro Hellmann. Born in Genoa in 1971. Writer, poet and songwriter, has won numerous awards (including the Prize Fabrizio De Andrè, given by Dori Ghezzi, Kult Underground Prize, the Prize "FITe.L." Prize "Review Changes" and the award of critical in a variety of shows dedicated to songwriting and indie music). He published the poetry collection "The Persistence of Things" (Perspective Publishing, 2004), award-winning and well received by critics, "History of none" (Perspective Publishing, 2005) and the novel-investigation "One hundred years of poison - The case Acna: the last civil war Italian" (Alternative Press , 2005). His stories and his poems are about the most important Italian literary magazines. Also appears as an author or songwriter in several albums and compilations. For more information
www.alessandrohellmann.com Narramondo is an association of people who have decided to bring in theater the wounds of our time. E 'was born in July 2001 in Genoa. Since then he has followed paths of research in various directions with the aim of bringing to the public - in the theater and elsewhere-the "inadmissible" for oppressed people under occupation, people "hanging" and their beauty. Recount in under tragic - so distant from our melodrama - the resistance in Iraq, Palestine, Chechnya, in short, the peoples in conflict, the guerrilla resistance - our origins forgotten - the Nazi-Fascism. Dwell in the contemporary tragedy and we do it because half of the tourists and the other half witnessed the horror of pain and struggle. The fight should be repeated! We love those who resist and fight. Despite the stolen life, the pain and sores, the defendants unsheathe merry insolence that challenge the systems, the men responsible for the misery.
why the encounter with the history of the river stolen Bormida of people that are there, we lived and who live there. That's where the line comes with Hellmann and Pierdicca. (... ...). It 's a killer story. It is part of a genre that has almost become a school of industry leaders with a smile and casual idiocy, CEOs blockbusters phenol, trade unionists suffered, and aligned, and the cynical connivance stock market speculation on the skin of the other men, women, elderly, children, countries. We do not to generalize but fans of the genre understand on the fly. There is talk of death as a product and trademark, as the ideology of power. You know and feel it - you've got it forever and still facing the example! - Sick of trivia that some idiots, they bring death. Having said that to make us understand that it can not be summarily celebrate, albeit quietly closing ACN - considering that the ENI has just exported - and ultimately be moved by the tenacity, from the estate, the continuity, the beauty of "resistant" to the valley of the province of Cuneo. This is their story. Nicola
Panels - Artistic Director narramondo - (appendix to the book One Hundred Years of Poison A. Hellmann)
Extracts of the book press
"A small masterpiece of narrative technique .... that there is to be hoped that in future there is some other author, and some other publishing house, who is a constant in historical research, the political will and the capacity (this is the last but not least) to write something like this on many, too many black mark in history that cross our horizon now. "(Mark Giorgini, Kult Virtual Press
www .kultvirtualpress.com / articoli.asp? date = 222)
"A book that is read in one breath, written in a straightforward style, with time pressing, peppered with sarcasm and bitter irony" (Lucia Barlocco, La Stampa)
"Recounting a century of pollution and of collusion between the political and industrial history of the case Acna tells a story forgotten in oblivion Information disposable."
(Simona Balestri, Mescalina
/ www.mescalina.it/libri/recensioni-libri.php?id )
"They should really read it from beginning students to find unsuspected connections between two chemical giants Italians who at first glance you'd never have had anything to do between them. "
(The Acna and IG Farben - The Sardis again Julius
www.lancora.com/monografie/saggi/acna_shoah_2006.html )
"extraordinary example of social fiction, as well living far from the spotlight and accompanying the Baricchi as ticks and Melisse and so close, however, the great fiction of social '900 '
(Marcello Baraghini
www.stampalternativa.it/lettera22.php?categoria=13&id = 623)
"Hellmann puts his finger on runs in his chronicle facts, events, episodes, without undue processes, riots, investigations ..." (Alberto Parodi, Il Secolo XIX)
Por la vida e
with Elena Dragonetti and Raffaella Tagliabue
Live Music Max De Aloe
Lights Andrea Torazza
"... ... we know that this is the right way and, although no of us will come to see the result, we will continue to sow ideals so that others collect dreams and hopes of a more just and united "
Las Madres de Plaza de Mayo
Argentina, in November 1975.
face of popular struggles raging in front of an urban guerrilla, new examples of self-management and working of the district, General Videla said: "... It 's clear that Argentina will have to die all the people that will be needed in order to ensure the security of the country. "
A few days later by 'the government an ultimatum of ninety days. The
respect to rule: at the dawn of 24 March 1976 a military junta seized power and announced the beginning of the process of national reorganization.
From now until 1983 thirty-five thousand people were made to disappear in a void filled with kidnapping and torture. Desaparecidos. Thousands of people at the end of suffering, but unimaginable conceived, planned and imposed by a State proclamatasi human scum, are crammed into the holds of cargo planes at night and thrown, still alive, in clusters, in the waters of the Rio de la Plata or loaded onto trucks and on the verge of firing makeshift graves.
A real mass murder, with the tacit consent of the Western democracies and with serious responsibility on the part of the Vatican.
This is not just a historical account but the account of state violence.
an abuse of power to stifle voices uncomfortable. In an attempt to establish a clear political-economic system. Of a present that comes back with new masks but means very, very similar. Of torture, as the method preferred by those who convinces you that you can be above party, above men, above God One way to talk about Abu Ghraib, Guantanamo, the Americas, the fight to terrorists . To reflect on the term "terrorism", its meaning, controversial and contradictory. On what should be included under a definition that refers to "the use of terror, in any form is present, in order to obtain a political outcome, whatever it is. "
The show is in the form of narrative, the story of a journey, actually happened in Argentina today. A correspondence
distance allows two voices to tell the double face of this land. The
Argentina still strongly marked by its recent past. And Argentina, as awakened from a long slumber, once again makes itself felt. A fight. A "reaparecer"
E 'the Mothers of Plaza de Mayo, which is dedicated to the telling of this story, strong women who braved the horror of their struggle, their courage, their tenacity, the thought that sooner or later it will touch others pick up the baton from their hands, to keep alive the anger and pain of this memory, and can still hope for a world of greater justice and solidarity. "
The authors and performers
Elena Dragonetti
Born in Minto (It) on 16/11/1974 she graduated from the School of Performing Arts of the Teatro Stabile of Genoa.
lives and works for six months with the Living Theatre, directed by Judith Malina and H. Reznikov.
works with several companies and theaters: Teatro Stabile di Genova, Teatro Stabile Umbria, Torino Shows. Collaborate with directors: Judith Malina, Ninni Bruschetta, Isabelle Magnin, Adriana Innocenti, AL Messeri, John Dagnall and G. D'Avigo, Valerio Binasco. From 2000 he worked with the company of the Teatro di Genova in dell'Archivolto performances under the direction of G. Gallio, G. Scaramuzzino.
Raffaella Tagliabue was born in Busto Arsizio (Va) on 28/09/1973 Diploma of Acting at the School of the Teatro Stabile of Genoa. Co-founder and actress of "The Fellowship of the Ants" born under the artistic direction of Park Juraj Alschitz, Gianpiero Borgia and Christian Sunday. Work with other companies and theaters: Teatro Stabile di Genova, nurturing Earth, Teatro Stabile di Torino, Theatre Contradiction in Milan, Teatro Also, the Society of Ants, Italian Society of Prose. collaborates with directors: Ninni Bruschetta, Park Juraj Alschitz, Gianpiero Borgia, Park Juraj Ferrini, Carmelo Rifici, Corrado D'Elia, Marco Maria Linzi, Saverio Soldani. Actress and assistant director for AL Messeri.
Live music, chromatic harmonica: Max De Aloe
was born in Busto Arsizio, 18 March 1968 and with classical piano and later dedicated to the study of jazz piano, chromatic harmonica. It 'been a pupil of harmonicity classic Willi Burger, followed seminars jazz (with Paolo Fresu, Kenny Wheeler and John Taylor to name a few). He has collaborated in concerts and / or in the recording studio with some musicians of international fame as Mike Melillo (Fiorentina Summer 2000), Don Friedman, Shirley Bunnie Foy (Stars and Bars in Monaco) Thilo Wagner, Gilbert "Bibi" Rover, Sebastien Chaumont, Adi Souza, and with some of the most important Italian jazz musicians like Franco Cerri, Renato Sellani, Gianni Coscia, Nicholas Arigliano, Bruno De Filippi, Gianni Basso, Massimo Moriconi, Barbara Casini, Ares Tavolazzi, Bebo Ferra, Umberto Petrin, Laura Fedele, Giovanni Falzone, Simone Guiducci, Nando de Luca, Marco said, Gege Munari, Antonio Zambrini, Alberto Marsico, Giampaolo Ascolese, Michele Ascolese, Raffaello Pareti, Francesco Petreni, Sandro Gibellini, Paolo Brioschi , Riccardo Fioravanti, Stefano Bagnoli, Wally Allifranchini, Marco Ricci, Eddy Palermo, Lorenzo Petrocca, Tito Mangialajo Rantzer, Raimondo Campisi, Stefano gold, Nicola Muresu, etc..
Her CD "Tales Controvento" was voted among the best jazz CD of the year 2,001th Dario Beretta Max De Aloe voted as the best new talent in 2001, Chris Rock in 2003 and 2004, the critic Luciano Federighi have voted "Max De Aloe Quartet as the best training year. He graduated in 1993 from the State University of Milan with a thesis on the sociology of music entitled "Music as a lightweight aggregate consumption and youth" and inizaiato to cooperate in some newspapers. Collaborated on projects of union of poetry and theater-arts-music, as evidenced by the show "Jazz, poetry and other sailors" completed in 2002 with actress Claudia Donadoni on the life of Chet Baker. In 2003 he collaborated with Joseph Conte to the creation of so-called "the spirit of things." He recently collaborated with the show Aether Arcus Pulcher Umberto Petrin and the painter Marco cybernetic hinges and wrote and produced the show "a counter-history of music in your pocket kind, poets and lovers crazy inventors of musical instruments." Divide that his career between performing and teaching. E 'founder and director of the musical expression of Gallarate, where he teaches music theory, modern piano and harmonica and is a professor of the Academy of Performing Arts and Crafts Teatro alla Scala in Milan for courses funded by the European Social Fund.
Press
Mothers of Plaza de Mayo Buenos Aires is a
, and with her the whole Argentina, suspended between the melodies of the tango and the vacuum left by a whole generation massacred in body and spirit during the dark years of the dictatorship, and that Elena Dragonetti Raffaella Tagliabue took the stage, Nov. 23, at the Youth Theater of Genoa. Not any one generation, but that generation is thinking that the richness of a society and a nation which has left all victims and survivors, witnesses and murderers, and just hanging in the balance on the slender thread that always afraid to break, launched into the void of memory that still haunts the soul and life of that nation away but so close to culture, sensitivity and even blood ties.
The drama then choose the difficult path of evidence, historically founded and supported by the sources, but embodying it in a series of dramaturgical clots that happen on the stage, alternating between the story of a hero of the past, these adventures of a visitor to search of the soul of a country that still comes across in the tracks of that painful past. It is a thread that unravels the melancholic emotions and sensuality on the outskirts of Milongas bairense to tangle in the dark depths of the ESMA, the notorious Navy Mechanics School, which continue to emerge tireless cries of the persecuted looking for a full justice. This continually reminds his path names and events in the light of that past which is also present in one of our injustice and persecution that still cause bloodshed in this world and appear a kind of modern archetype. It is once again the banality of evil that the complicity of intimidated by the powerful desire for freedom (the United States and its multinational joint, the church, the army and the armies) encourage and nourish the young torturers, victims of their peers often , deceived by the false heroism and hypocritical acquittals. Everything seemed so
hopeless in the face of that generation broken, but not the voice of those who did not want revenge but justice was trying, she just wanted answers to questions before which even the sadism of the coup leaders could only stammer and turn his head. So the drama takes us gradually, with the delicacy and modesty that deserves its goal, and followed his gaze to the Plaza de Mayo has become synonymous with justice required, and indeed demand unavoidable now.
there are mothers who begin to gather that weave the wire cast into the void in which Videla and company were driven out of Argentina and the wire which, perhaps, by the emptiness of Argentina will be able to go out and save themselves. Born with their leading role that declined that the two women to lead successful playwrights on the scene, claiming the life of this protagonist, familiar as a value no longer negotiable. Those young people in the photos hoist silently against everything and everyone could not be so dead, they could not continue to die so that something would change and rimettese running. And in fact something has changed in the first place in people's minds, and the shameful pardons and amnesties have been removed, and the first trials begin. That thread on the scene that the two actresses brave playwrights can re-weave wire so naturally that lost generation, but alive in mothers who claim, with the new social and political conscience of Argentina revolts against poverty and exploitation, the factories of Argentina privatized and now unfortunately sold and occupied and self-managed by those who want to work again.
If there is still hope, I believe this sense of adventure in our memory that is POR LA VIDA, this is thanks to those tireless weavers, whose words cry out against injustice and oblivion, or rather close to the crown piece. Suggestive of the contribution of live music by Max de Aloe with melancholic and a little 'dark as the lights and the sets of Andrea Torrazza Roberta Agostini, Valentina and Francesca Marsella Albino accompany and emphasize simplicity in their figurative writing Live Stage, which is to avoid unnecessary losses rhetoric toward easy sentimentality. The production of "Narramondo" was conceived in the context of the "1976/1983 Argentina's disappeared developed with input from the Departments of Culture and the Equal Opportunities of the Province of Genoa. Warm and firm public support in this very large room, which has well understood the contribution that can and wants to give the shared memory to avoid even here among us now and a repeat of the tragedies of history.
Maria Dolores Pesce
www.dramma.it R. Tagliabue, E. Dragonetti, M. De Aloe
armed Angels and the Army of the mothers. Narramondo, a theater political era of globalization
's strange, but the delicacy that innervates Por la vida, the spectacle of Narramondo dedicated to the Mothers of Plaza de Mayo, in fact, a biography of Peron in Argentina Kirchner, is largely delegated to the writing stage, as if the gentle surrealism of white umbrellas, lanterns, green colored balloon rectum with a finger, would soar to a text that is prepared with patience, but with dogged determination, to explode crudely political invective that seals the 'whole final.
The Accordion Max De Aloe and slender tango steps that shine in the dark on the stage of Milonga seem to be oriented to divert much of the show parable attention of the audience as to place it in an evocative atmosphere, and is not the only "brechtismo" set in motion by this unique group of novelists who made the encroachment of globalization, the conflicts in the figure (one could say the hard figure) of his theatrical work.
The other is the symmetry between the voices that tell their estranged answered, never touching, never dodge the diversity of narrative registers: the tone of letters, recollection, more subdued and the crescendo of a scanned document to present as a desperate commentary of the night that soon engulfs every light in the darkness of Baires down death squads, abductions, of torture in the infamous Esma naval school (subject to a process in Italy). Until it merges in unison a chorus that is not tragic - political theater than ever - but what marks the resolution of the drama in political lesson recited out loud: being, with maternal stubbornness, por la vida against resignation to death and removal of memory desaparecida enabled the mothers of the Plaza de Mayo to resurrect their children realize their dreams of justice and broken by the military to open a gap, a difference in the history of unresolved post-war Argentina.
In a sense, Narramondo not say anything new compared to what is said by others in films like Hijos or Garage Olimpo (or even in the recent Chronicle of an escape by Adrian Caetano), the novelty is that instead of a contour episode, Por la vida able to invest the public with pouring boiling of a story told in full, going to and fro by its white spots, and being able to illuminate even the most remote areas and contradictory of the tragedy of Argentina (for example, the ambiguous political identity of Peronism and Peron, two-headed father, like all populist caudillos, a left and a Montonera fascist right). Merit, on paper, a studium meticulous, rigorous. On stage, a drama that marked the search for clarity and mobilizes the passion to communicate a narrative climax growing constantly and did not retreat even when his main quality becomes his most glaring limitation: a militant tone of declamation that leaves only forgive because he has the courage to hoist on the wings of his cry lucid analysis on the responsibilities of the United States , angels, armed with human rights, crimes against humanity perpetrated by the various fascist who were at their service in Latin America.
And the circle closes: supported by the tireless dedication and Raffaella Tagliabue Elena Dragonetti who are writers and actresses, Por la vida is a dove with claws that combines the narrative in educational theater of Brecht. Was slightly less complex, less drawn in its scenic paths, would fit beautifully in the marches and parades as the performances of the Teatro Campesino of Living or Valdes back in the '60s. That same day when the University was complaining a lack of "political consciousness" by the new theater ....
Attilio Scalpellini
www.lettera22.it a budget of € 15 000 in the City of LA ROCCA Grimaldi II edition of "epic theater"
The Compagnia di San Paolo continues in 2007 the support of the Performing Arts in Piedmont, Liguria and Valle d'Aosta, via the notice "Performing Arts in Society," strongly oriented to the diversity of the performing arts, with an increasing contamination of artistic expression. In the three sections of the call, dedicated to Music, Dance and Theatre, were selected from a total of 109 initiatives festivals and seasons, for which funds were authorized to € 3,920,000. In addition to artistic quality and originality, among the criteria for priority assessment particular attention is devoted to efficient management, territorial distribution, the choice of sites with great value and already the subject of operations of the Company, the enlargement of the usability artistic experience, which is an essential enrichment of individual and social life.
A foundation for the development of society
The Compagnia di San Paolo, founded January 25, 1563 as a charitable brotherhood, is now a private foundation, among the largest in Europe, with assets of more than 9 billion € . Pursues the public interest and social utility, in order to promote the civil, cultural and economic communities in which it operates and is active in the fields of scientific, economic and legal, education, art, conservation and enhancement of property and cultural and environmental assets, health, assistance to vulnerable social groups weak. In 2006, the Company has made appropriations for 880 initiatives in the areas of institutional assets totaling € 148.5 million, in the Cultural Heritage, the initiatives supported were 240 for a total of 15.2 million euro.
commitment for 2007 in the field of Cultural Heritage eAttività
Music, Dance, Theater, Film and Photography, Archives and Libraries, humanities, historical and philosophical disciplines. These issues constitute the perimeter within which the Company develops its intervention policy in the field of Heritage and Culture. In addition to the enhancement of activities throughout the area, special efforts is dedicated to the three cultural institutions participated in Turin: Fondazione Teatro Regio in Turin, the Museo Nazionale del Cinema Foundation and the Fondazione Teatro Stabile di Torino, as he confirms the interest for opera companies and the Teatro Stabile of Genoa and Naples. The commitment of the Company is also aimed at enhancing the rich historical and literary-documentary of the relevant territory and to support innovative projects that promote the highly recognizable.
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