February 2009

Saturday, February 21, 2009 TARANTO
Vanna Bonivento
If the collective theater
is mostly seen as a place
public stage e ribalta per
rappresentare “spettacoli” (trame,
testi, drammi, opere, operette, recitals,
concerti) da cui gli “spettatori” ricavino
emozioni, spesso liberatorie, sulla
vita personale o riflessioni, anche di
denuncia, sulle problematiche e
difficoltà dell’umana esistenza nella
collettività, si può ben comprendere
l’importanza del teatro e la necessità
di avere in ogni città , degna di questo
nome, un proprio teatro pubblico,
inteso come spazio di appartenenza
sociale, struttura per la crescita civile
quindi culturale degli stessi cittadini.
Taranto nel passato più old (Magna
Greece) and more recently had
public theaters, today it is free.
I do not think you can not share
the concept that a city without a
"his" theater is a city turned off. Off
because the lights that light up the stage of a theater

public authority that is established by the institutions
industry that represent citizens
are a means to enlighten the minds and thoughts of course

along with text, sets and music but all
in order to improve the city.
A theater audience is a civic
essential for expression, then
policy (in the sense of
polis = city), democracy (in the sense of
Government of the demos, the people
citizens), including the didactic function

for the younger generations.
Therefore I will not be difficult
complaint accordingly: Taranto is a city

undemocratic when deprived of its theater,
as important as having a museum, a library or a hospital ...
, because we are carefully
body, mind ì.
Someone will say, but there are
Taranto cinema / theater, auditorium
parishes, school theaters, salt
private. Not enough? No, not enough.
It takes the city theater, with a
its value and continuity in both
shows that in business, a place
"in charge" when the administration of a billboard

you comply with the rules of collective interest, highly
cultural and professionalism. Yet the people

tarantino loves theater, it's in his DNA!
But he is forced to chase the many seasonal
billboards proposed by
theater groups and associations where
not always the mere dilettantism
of those in the business of show for
passion, hobbies, leisure
is distinguished by professionalism, when often, as
appears, is the same institution
to diminish his duty
of choice rather than by sound and to make cash
resonance occasional billboards, on stages as proposed

occasional. Missing in Taranto,
short, a true political, democratic and culturally

careful and on the theater and maybe even for this
that the city still can not
to have its own theater. For
absurd (absurd and illogical in the absence of a public theater

tarantino) is gaining momentum while
a new way of doing community theater, the
teatrodelmare, using not only
monuments and cultural spaces opened
but also private places: lounges,
lounges, dining outlets.
struggle between difficulties economic
(how much the rent of a
stage?) the teatrodelmare
is highly motivated (despite the current privacy
spaces
acting but with the hope of a public place
) to affect the reality
Tarantino Theatre
Civil or Civic if you prefer, the same as strong
director Maria Elena
Lion of experience and expertise already gained

in Milan at the European School of Theater and Cinema
Comuna Baires with Renzo Casali, director of the
1999
of theater workshops in 2003 and founder of the Festival of theater and dance theater
Dionysia.
ilteatrodelmare (for informazioni
T e a t r o d e l M a r e :
3488978472;ilteatrodelmare@gmail
.com;via Carlo Magno, 35 Lama)
curato e fondato a Sesto San
Giovanni dalla stessa Maria Elena
Leone regista,drammaturga che oggi
vive ed opera a Taranto ( già da noi
incontrata col suo spettacolo Dionisie
tenuto la scorsa estate sui ruderi
romani presso la Torre di Saturo ) ha
un suo palcoscenico in via Carlo
Magno 35 a Lama, dove nei giorni si
è tenuta l’anteprima privata di Reality
Showah, rivolta a venti spettatori
scelti dalla stessa regista Maria Elena
Leone, affinché la prova di spettacolo
come work in progress venisse
completata da un dibattito culturale
incisivo relativo ai bisogni culturali
della nostra città e del territorio.
Tra i presenti invitati l’assessore Lucio
Pierri e Signora, il docente di
pianoforte prof. Perrotta, la
rappresentante dell’associazione
QUAMI per l’autismo signora Maria
Pia Vernile e consorte, il Presidente
dell’Associazione Kerameion scultore
prof. Aldo Pupino, Marcello Galati
(Radio Popolare), la Presidente della
Pro Loco di Lama/TA Giovanna
Bonivento, il noto cantautore salentino
Tonino Zurlo molto apprezzato con
le sue canzoni di denuncia sociale.
Dopo l’anteprima Reality-Showah
inizierà short his tour in the territory of the province and outside the region
with a billboard in
its construction. But we can live in interesting

and strong play by Showah
that can be a cool shower
to awaken minds and critical thinking
too dormant in our Sleeping Beauty
Taranto.
pregnant with symbolism, even the crowd Showah

wake of the so-called "theater of the absurd" (Esslin)
said that in Europe since World War
in years 50 and 60 on the philosophical basis of Sartre and Existentialism

concept the absurdity of existence. Reality
Showah (text e regia
Maria Elena Leone, musiche Angelo
Losasso , suono e luci tecnico
Gaetano Vestita, produzione Aldo
Petruzzi con le attrici Maria Elena
Leone e Alessandra Capriglia )fa parte
del più ampio Progetto R-Esistere in
cui il teatro è visto soprattutto come
impegno politico ed umano senza
dimenticare la radicale riforma del
teatro d’avanguardia operata da
Stanislawskij, Dullin, Mejerchold,
Artaud .
Dal teatro dell’assurdo ( in generale
in Ionesco, Adamov, Beckett , Genet,
Albee e Pinter predomina il tema
d e l l ' a s s u r d i t à d e l v i v e r e
contemporaneo) proviene infatti nel
testo Reality Showah
close the dialog, the sequence of seemingly inconsistent
scenes where the two characters perform actions

detached from the logic of causal-effectual
narrative, the 'use of objects that have the same dignity

if not higher
symbolic of the same characters.
Minimalist, therefore, in Showah
scene (in which about a
case, photos of ideologues, a rope,
a fish bowl, veils) but provocative
on the condition of human existence,
private and collective, in the balance between
freedom of thought and influences of historical and philosophical ideologies
who
segnatol ' And uropafino
imprisonment of intellectual and political thought
free and creative
of our times
they see as never before, thanks to the ideology
economic profit, the exploitation of man

on another human being, deprivation law (
still denied women in particular to the world
) the freedom to think and express
free opinion, to create,
live, to exist without having to fight against
mystification, management
unequal power, the moral degradation, violence
. For the few essential items, such as
said, is conferred on the Showah
strong symbolic of the text: a
old suitcase open showing photos
giants of Karl Marx and Nietzsche, philosophical and ideological context
to
logorroide illogical blah blah freedom
of two women, Bi and Bo,
interned in the asylum as it can be feminine or human existence

trapped in the prison of
conditioning, without dreams,
hope, imagination, freedom of expression as

happened and it happens under any "regime"
public or private so that the suitcase
will be open for one of two crazy girls

attractive container for a "baggage" human, the body's own
one of the two "crazy" che spasima a
tal punto la libertà da rifugiarsi quasi
in simbiosi nello stesso simbolo della
fuga, la valigia appunto, che, in virtù
delle foto che mostrano i due
personaggi simboli di passate
ideologie, si carica di significazione
e l’oggetto si fa anche simbolo di
spazio angusto e soffocante di
“pensieri pensati da altri”(le ideologie
appunto), di contenitore di somata
o corpi inerti e senza vita perché
acritici.
Occorre r-esistere come progetto non
solo di questo teatrodelmare ma di
ogni intellettuale o cittadino critico che
sogna ancora il cambiamento quando
vede il mondo lontano o vicino
sottoposto still the dictatorship of other ideologies
:
unjust economy which aims to profit,
a culture of indoctrination, a corrupt political

in the game of the division of power, positions, jobs, links to many
unfortunately hands
and feet (even the same people) for
survival.
is the fool who dresses as a fairy
or wedding or beautiful woman
(personifies the imagination? Dream?
the freedom?), But with feet and hands tied
inside the suitcase of a past history which has conditioned heavily

the freedom of peoples and individuals
is the character who most inspires
bitterness and smile together for its
camouflage, according to the canons of
theater of the absurd, for it is
personification allegory, and then the crowds will
same creative
(which is art) and when he finally expresses himself in a world

political climate or historical context that instead
stifles freedom of the individual imagination.
How to react and r-exist? In
not logic the gestures and actions of the various sequences
scenic
Show / A are, in my
reading of the text, the proposal or the message
: the ability not to submit to
noose (rope it hangs
physically on the scene) a reality
uncivilized (because civic) does not
characterized (may be here, there, in every
time and space) where a number of powerful
defined idiots, take the submissive
intelligent people in the world, in a country
rimbecillito and bruised by
liabilities.
that remains is the utopia of crazy
an escape from the prison-asylum
in which the mad were confined to
their diversity, maybe. Or to be
free thinkers? The suitcase is at hand

but there are other means of escape from ideology: the
silence, crying, very imaginative fantasy
women who can transform the loop of convicted

to death in a swing to play and fantasize
(
many tales to have been born under such harsh regimes?
teach Aesop and Phaedrus).
So, imagine the crowds interned
attractive fish dressed in voile,
but the fish that bite,
just seeing the shadow of a
worm, are themselves a metaphor for how much bite as

naive fish hook
ideology and the shadow of power. And how many fish, whole
masses and crowds were
captured by the worm of dictatorship? How
r-exist? Veils floating
a face on the scene as diaphanous
ancient Sibyl whispers l’oracolo
risolutivo e si brucia sul palco stesso
l’ideologia che impedisce di pensare
con propri pensieri: un piccolo falò
arde con le foto degli ideologi e, sulle
ceneri del rogo catartico, si accende
subito il dibattito liberatorio
dell’attentissimo pubblico coinvolto in
basso nella performance.
“E’stata-ha detto la regista Maria
Elena Leone-una prova aperta per un
pubblico amichevole; è necessario il
dibattito e non solo sul teatro in una
città che ci vede sempre più soli,
senza un futuro; da qui l’idea di
aggregarci in spazi non convenzionali
per dare spazio all’utopia”.
E'emersa strong and the current value of this text
Showah Maria Elena
Leone "transgressive-stressed
prof. Perrotta, ideology and the need to think more
free
in a society that lives in a way not
truthful. " It serves instead to focus
meet the many social problems
of this city (children at risk,
disabilities, particularly autism
as pointed out by Maria Pia
Vernon), but also
redevelopment of the area.
"An opera has to Mary Leone-
said Marc Gal-definable
absurd, but instructive, almost
Brechtian and lucid analysis of today
although the site is not characterized.
of relief, last but not least, even the thought expressed the Councillor

Lucio Pierri: "A real snazzy
this show for the few, the scenery
essential symbolic
to reflect on freedom in a country where the reality of

vote has less and less important. As for the theater
Taranto I can give the news that the City is taking steps to

have a theater audience with Paul VI, so call the theater
Mignon ilteatrodel sea
to participate. " And on the Square Theatre

Blanket? Plainchant and
buried ruins.
Una carenza dal sapore di penalizzazione
L’assurdità di una città in passato capitale
del teatro ed il teatro dell’assurdo
La performance Reality Showah proposta da ilteatrodelmare, occasione per riflettere sulla funzione civica
e democratica di un pubblico teatro e non solo. L’anteprima dello spettacolo si è tenuta nei giorni scorsi a Lama

Teatro Rasi - via di Roma 39 - Ravenna
dal 27 febbraio al 27 marzo 2009

La mostra è visitabile in occasione degli spettacoli del Nobodaddy
e negli orari di apertura degli uffici di Ravenna Teatro (lunedì 15-18 , martedì - venerdì 10-12 e15-18).

Inaugurazione venerdì 27 febbraio 2009 ore 18.00

Casa di Cose è un gioco pittorico a due mani nato fra Mauro Bendandi e Roberto Pagnani dedicato alla rappresentazione degli oggetti. La mostra presenta alcuni studi pittorici a tecnica mista a tema domestico: elementi d'uso quotidiano come lampadari, prese elettriche, pomelli di rubinetti, caffettiere, lampadine, zuccheriere, bicchieri, bottiglie e tazzine. Di queste semplici presenze si è indagato il loro carattere formale, come le loro capacità narrative, dando luogo a una ventina di opere in cui ogni pezzo appartiene a una serie e invita a compiere un'opera di collage. Arrivando a risultati anche opposti, i due autori offrono un gruppo di immagini che testimoniano il desiderio di raccontare tutto ciò che capita sott'occhio, tutto ciò che nella profusione e nella moltitudine di oggetti con cui si entra in contatto viene scelto per diventare motivo di sguardo e sospensione poetica.

In occasione viene presentato il catalogo Minime (edito Libri Aparte) , una raccolta di dodici cartoline dedicate alle opere in mostra, presentate dal testo di Viola Giacometti . Segna il passaggio dalle immagini di Mauro Bendandi a quelle di Roberto Pagnani un particolare intermezzo poetico composto per l'edizione dal poeta Valerio Fabbri .

Siti web:
www.ravennateatro.com – www.maurobendandi.com – www.robertopagnani.org - www.libriaparte.com

CAV (Coordination Of Voluntary Associations)

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