Converting Washers For Coin Operation

Finish. Technical

Fine

monologo teatrale

Compagnia Ragli

Regia: Rosario Mastrota

Interpreti: Luigi Iacuzio

In questi giorni va in scena Fine, monologo teatrale della Compagnia Ragli scritto e diretto da Rosario Mastrota  e interpretato da Luigi Iacuzio. Finalista nel 2010 di numerosi premi teatrali (Dante Cappelletti, Cantieri Opera Prima del Metateatro, Controscene), lo spettacolo ha inaugurato la sua turnè il 26 Gennaio al Teatro Castrovillari and the siren will continue on 29 and 30 at the Teatro del Grillo Soverato, and 4 to 6 February at the Teatro San Carluccio of Naples. Guests of Kollatino Undergound, chill in the heart of Rome, we witnessed the dress rehearsal before the "Great Escape" on tour to the south. Check this out!

thunderous applause and hot shower. Just a moment to stifle the last cigarette and go back to reality: "My name is Gino and I'm an actor" - and there are cheers that support. It's been 30 years since Gino imitated the legendary Clint wearing the blanket as a poncho grandmother. Nothing has changed. There are stars, there is his father and he says in front of a screen. Rosario Mastrota and Luigi Yakut enact the tragicomic requiem craft-actor. They do so brilliant, Fagot pictures, collecting jokes and unmark the grumbling made in Italy. The generation of Gino is not to the past, but to those who are still waiting to leave, and never leave. To enjoy the "end" of Mastrota Yakut and we need imagination, the same one that fills the gap between art and craft, between past and present, between space and the scene. Yes, because the actor is confronted primarily with a immginario: it is thanks to the films of Clint in the passion Gino of acting and for life will try to break, enter quell'olimpo mythological where only 1-in-1000 "worth a look. Sooner or later, sooner or later we will fail to succeed because he has studied, and not suddenly like the others. The skin of Louis Yakut expands, contracts, and materializes the triangle between perverse person, company and Lacanian imaginary memory.

why Fine is brutally realistic. You will not find the obvious social critique of appearance (now a cliché double-edged sword that ends up supporting the ideology of force). Here the moral is that "between saying and Gino do ...". The drama is that the actor does, and for this reason, it feels not to be. To do this, you leave the illusion of meta-theater, and we turn instead to the Brechtian alienation and "performative discourse" (throughout the first scene, the actor says what he is about to do). Even in form, End is consistent with the content: since we can not just get us out of the system-sight (nor from that theater), the protagonist describes in detail what he prepares. On the same floor is placed a similar ideological criticism: instead of indignant and say "I do not belong to this world" bisognorebbe accept the fact that we are all part (perhaps with the role of "Nemesis") and from there, a move that critics look for a moment "from outside".

Gino's generation is not that of "never work", but the work "sooner or later" and this place forever in a non-existential. To exorcise sometimes just a laugh, sometimes not. "My name is Gino and I'm an actor" - and there are cheers that support.

Council the show to all the supporters of the blog and culture lovers underground. Powerful and never boring, End is a story to swallow like an old whiskey kenthucky. Even for those who are not accustomed stages of (or saloon).