Aveeno Body Lotion On Tattoos

"Sillabari" and starring with Paul Poli


Theatre
God help me because I've never seen anything like it (and I hope I do not recapitalization). This "Sillabari" is the worst show I've seen so far, and frankly I do not understand some enthusiastic comments that are around.


First, it is boring, hard to follow, with a monotonous recitation so that even a priest would be able to be more attractive.
actors on the public firing a volley of words almost full speed were reading aloud a shopping list. Never seen anything like it in a theater in general and I heard a few speakers talk in a monotonous way. Negative
also the choreography. A staggering banality, and yet can not be said to have been executed flawlessly, even more than once I noticed the imperfections (with a dance troupe of four elements, it is clear, not 40).
I will say that we must go beyond the form to understand the irony of representation. Now this type of license can be granted to the Kubrick and Tarantino but maybe they work very differently. They apparently serious and clean slates, they play with the audience by throwing the clues to understand the underlying irony.
But here we see a joke, a spectacle that would be funny and profound at the same time but actually manages to be just a parody rather sloppy.
In short, seeing these poles can not help but think of Leo Gullotta Bagaglino and this says it all.

What's more the vocals were all in playback and do not know if intentionally, the volume of the amplification was very low. I was sitting in the fourth row and felt good but I do not know what we could understand from the back of the room. If I go to a show I expect the sound fills the room, not this shy at low tide.

Speech and physical gestures. Once and for all, you can not go on stage and pose as if you were waiting for their turn at the butcher. This is not to be determined for alleged rules of stage presence. Simply, if people want to see me in their daily lives is enough to leave home and watch the world market but that is not theater, is just the banal everyday life of the real (and not tell me that here we wanted to stage because the daily if so, at least, the costumer was terribly out of place, not to mention the dialogue). When the good
De Marinis (1988) speaks of "techniques of dramatic presence" or when we see a Branciaroli on stage, here we are in the presence of Actors that make the real theater, who are conscious of their physicality and use it for the show. Too bad that is not the case.

text. Sillabari Goffredo Parise is a text of the '50s, that a recent text when compared with the history of literature. The point is that there are ancient texts that have become classics, old texts that are still surprisingly current (see Havel) who know their own old texts and old. As in our case. Rapaccioni rightly says: "The result is a portrait of the real, from the Twenties to the Sixties." Too bad this picture does not lead anywhere. It has no relevance to the twenty-first century if not a purely historical interest. More than a portrait looks like a faded photograph and démodé.

What can save this Sillabari? The costumes, eye-catching and appropriate to the tone of the show and part of the scenery, or rather, I found that are nothing more than reproductions of famous works of art.