tag:blogger.com,1999:blog-370296052024-03-13T20:12:48.065+01:00PAROLAZIONEdi Adolfo Milani. Gruppo di lettura e teatroPAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-37029605.post-39866370656431063202019-03-27T19:29:00.000+01:002019-03-26T19:58:05.296+01:00CORSO DI DIZIONE A TREZZO SULL'ADDA<div align="center">
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<strong><span style="font-size: x-large;"> <span style="color: red;">DIZIONE, L'ARTE ORALE DELLE PAROLE</span></span></strong></div>
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<b><span style="color: red; font-size: x-large;">L'inizio del corso </span></b><br />
<b><span style="color: red; font-size: x-large;">è previsto</span></b><br />
<b><span style="color: red; font-size: x-large;">appena raggiunto il numero</span></b><br />
<strong><span style="color: red; font-size: x-large;">indispensabile di 9/10.</span></strong><br />
<strong><span style="color: red; font-size: x-large;">A Trezzo sull'Adda</span></strong><br />
<b><span style="color: red;"></span></b> </div>
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<span style="color: red;">Lo studio della DIZIONE rimuove gli ostacoli che inceppano la comunicazione, </span><br />
<span style="color: red;">recupera l’aristocrazia perduta della parola </span><br />
<span style="color: red;">e ci consente di ottenere il grande effetto, </span><br />
<span style="color: red;">non solo di farci <b>CAPIRE</b> ma di essere <b>ASCOLTATI</b> sul serio. </span><br />
<span style="color: red;">‘Sedurre con le parole’ vuol dire ‘condurre a sé l’altro’, </span><br />
<b><span style="color: red;">VUOL DIRE </span></b><br />
<b><span style="color: red;">dominare</span></b><br />
<span style="color: red;"><b>il PALCOSCENICO DELLA VITA.</b> </span><br />
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<span style="color: red;">L'insegnante è Adolfo Milani, responsabile unico e regista di Parolazione. </span></div>
<span style="color: red;">L'iscrizione è aperta tutto l'anno.</span><br />
<span style="color: red;">Il corso dura 40 ore: due ore settimanali dalle 21 alle 23 </span><br />
<span style="color: red;">di </span><br />
<span style="color: red;"><strong><span style="font-size: large;">giovedì</span></strong> </span><br />
<b><span style="color: red; font-size: large;"></span></b><br />
<span style="color: red;"> Per ulteriori informazioni rivolgersi all'Ufficio Cultura di Trezzo sull'Adda </span><br />
<span style="color: red;">o lasciando un commento.</span><br />
<span style="color: red; font-family: "bell mt";"><span style="font-size: large;"><span style="color: red; font-family: "bell mt";"><span style="color: red; font-family: "bell mt";"><span style="mso-spacerun: yes;"> </span></span></span></span></span><br />
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<span style="color: red;">-o-</span></div>
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PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com520056 Trezzo sull'Adda MI, Italia45.6070272 9.521314299999971845.5812452 9.4926427999999721 45.6328092 9.5499857999999715tag:blogger.com,1999:blog-37029605.post-1162505343597543242019-03-27T19:24:00.000+01:002019-03-26T19:59:19.140+01:00Prossimamente...anche sul più alto trono del mondo non siamo seduti che sul nostro culo.<div style="text-align: center;">
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<span style="color: red;">Adolfo Milani, il regista</span> </div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red; font-size: large;"></span><strong><span style="color: red; font-size: x-large;">La lezione di Ionesco</span></strong></div>
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<strong><span style="color: red;">adattamento e regia di Adolfo Milani</span></strong> </div>
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<strong><span style="color: #e69138; font-size: x-large;">Un digiunatore</span></strong></div>
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<strong><span style="color: #e69138; font-size: x-large;">di Kafka</span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">Adolfo Milani </span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">ha ridotto e interpretato</span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">il 28 aprile 2018, ore 21</span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">Vecchia Filanda</span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">Grezzago</span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">al sassofono</span></strong></div>
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<strong><span style="color: #e69138; font-size: large;">Alessandro Albani</span></strong><br />
<strong><span style="color: #e69138; font-size: large;">-o-</span></strong></div>
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<b><span style="color: #993300; font-size: 16pt;"><span style="color: red; font-size: x-large;">"Una domanda<span style="mso-spacerun: yes;"> </span>di matrimonio"</span></span></b></div>
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<b><span style="color: #993300; font-size: 16pt;"></span></b><span style="font-size: x-large;"><b><span style="color: #993300; font-size: 16pt;"><span style="color: red;"><span style="mso-spacerun: yes;"> </span>di Anton Cechov<o:p></o:p></span></span></b><span style="color: red;"> </span></span><br />
<span style="font-size: x-large;"><span style="color: red;"></span><span style="color: #993300; font-family: MyriadPro-Bold; mso-bidi-font-family: MyriadPro-Bold;"><span style="color: red;"><span style="mso-spacerun: yes;"><span style="font-size: 10pt;"><span style="color: red; font-size: medium;"><strong><span style="font-size: large;">...dove piccoli personaggi borghesi si mostrano vittime di<span style="mso-spacerun: yes;"> </span>insignificanti, mediocri, vanesie pulsioni. <span class="_4n-j fsl"><span style="color: red;">E’ il tipo di disordine russo interiore, inconsapevole di fine ottocento, connotato dal peso della mediocrità di esistenze senza ideali o torturati da troppi ideali irraggiungibili.</span></span></span></strong></span></span></span></span></span></span><br />
<span style="font-size: x-large;"><span style="color: #993300; font-family: MyriadPro-Bold; mso-bidi-font-family: MyriadPro-Bold;"><span style="color: red;"><span style="mso-spacerun: yes;"><span style="font-size: 10pt;"><span style="color: red; font-size: large;"><strong>Cechov ha un’opinione<span style="mso-spacerun: yes;"> </span>tutta personale del<span style="mso-spacerun: yes;"> </span>matrimonio : se ami la solitudine, sposati!</strong></span></span><strong> </strong></span></span></span></span></div>
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<b><span style="color: #993300; font-family: MyriadPro-Bold; mso-bidi-font-family: MyriadPro-Bold;"><span style="color: red;"><span style="font-size: x-large;">Adattamento, riduzione e regia</span></span></span></b></div>
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<span style="color: red;"><span style="font-size: x-large;"><b><span style="color: #993300; font-family: MyriadPro-Bold; mso-bidi-font-family: MyriadPro-Bold;">di </span></b><b><span style="color: #993300; font-family: MyriadPro-Bold; mso-bidi-font-family: MyriadPro-Bold;"><span style="mso-spacerun: yes;"> </span>Adolfo Milani</span></b><b><i><span style="color: #993300; font-family: MyriadPro-BoldIt; mso-bidi-font-family: MyriadPro-BoldIt;"><o:p></o:p></span></i></b> </span></span></div>
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<span style="font-size: x-large;"><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;">con<o:p></o:p></span></span></i></b><span style="color: red;"> </span></span></div>
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<span style="font-size: x-large;"><span style="color: red;"></span><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;">Enrica Enzler:<span style="mso-spacerun: yes;"> </span>la moglie Olga<o:p></o:p></span></span></i></b></span></div>
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<span style="font-size: x-large;"><span style="color: red;"></span><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;">Adolfo Milani:<span style="mso-spacerun: yes;"> </span>il marito Stefano<o:p></o:p></span></span></i></b></span></div>
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<span style="font-size: x-large;"><span style="color: red;"></span><span style="color: red;"><b><i><span style="color: red; font-size: 11pt;">Emanuela Toccagni: la figlia Natalia</span></i></b><b><span style="font-family: MyriadPro-Bold; mso-bidi-font-family: MyriadPro-Bold;"><o:p></o:p></span></b></span></span></div>
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<span style="font-size: x-large;"><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;">:<span style="mso-spacerun: yes;"> </span>il pretendente Ivano<o:p></o:p></span></span></i></b></span></div>
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<span style="font-size: x-large;"><span style="color: red;"></span><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;"> Francesca Bassis.:<span style="mso-spacerun: yes;"> </span>Sonia la domestica<o:p></o:p></span></span></i></b></span></div>
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<span style="font-size: x-large;"><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;"><o:p></o:p></span></span></i></b></span> </div>
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<b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red; font-size: x-large;">Costumi e trovarobe: Patrizia Mele.</span></span></i></b><br />
<strong><em><span style="color: red; font-size: x-large;">Data da stabilire</span></em></strong><br />
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</span><span style="color: red; font-size: large;"> </span><b><span style="color: red; font-size: large;">"L<span style="font-size: x-large;">a tana</span>"</span></b></div>
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<strong><span style="color: red; font-size: large;">di Kafka</span></strong></div>
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<span style="color: red; font-size: large;"><b>e</b></span><br />
<span style="color: red; font-size: x-large;"><b>"Syntesis"</b></span></div>
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<b><span style="font-size: large;"><span style="color: red;">testo e regia di</span><span style="color: red;"> </span></span></b><br />
<span style="color: red; font-size: large;"><b>Adolfo Milani</b></span><br />
<span style="color: red; font-size: large;"><b>Chi dice in 10 parole ciò che si può dire in 8</b></span><br />
<span style="color: red; font-size: large;"><b>è capace di tutto...anche di uccidere il padre </b></span><br />
<span style="color: red; font-size: large;"><b>(G. Pascoli)</b></span><br />
<span style="color: red; font-size: large;"><strong>data da stabilire.</strong></span><br />
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<b><span style="color: red;">-O-</span></b><br />
<b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red; font-size: x-large;"></span></span></i></b> </div>
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<b><i><span style="color: #993300; font-size: 11pt;"></span></i></b><b><i><span style="color: #993300; font-size: 11pt;"><span style="color: red;"></span></span></i></b><br />
<span style="color: #993300; font-size: 11pt;"><span style="color: red;">-o-<br />
<span style="color: black;"></span></span></span><span style="color: red;"><span style="color: red;"><span style="font-size: large;"><b>Prossimamente, </b><b>non necessariamente in quest'ordine</b></span> </span></span></div>
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<b><span style="color: red;"></span></b><br />
<span style="color: red;"><strong>-</strong><strong>"</strong><b>EletalelatelE" di Adolfo Milani</b><strong> </strong></span><br />
<b><span style="color: red;">- La domanda di matrimonio di Cechov</span></b><br />
<b><span style="color: red;">- La tana di Kafka</span></b><br />
<span style="color: red;"><b>- 'Synthesis' di A. Milani</b></span><br />
<strong><span style="color: red;">- 'L'ultimo addio' di Arthur Schnitzler</span></strong></div>
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<span style="color: red;"><b>- " La mandragola " di N. Machiavelli</b> <b> </b></span></div>
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<span style="color: red;"><b>- "Le donne del Manzoni" a cura di Adolfo Milani</b> </span><span style="color: red;"><b> </b></span></div>
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<span style="color: red;"><b>- Lettura dei libretti d'opera</b> </span></div>
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<b><span style="color: red;"> - "Memorie dal sottosuolo" di Dostoevskij</span></b></div>
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<b><span style="color: red;">- Diari</span></b></div>
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<b><span style="color: red;">- "Il taccuino di un vecchio sporcaccione" di Boukoski</span></b></div>
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<b><span style="color: red;">-o-</span></b></div>
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PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com2320056 Trezzo sull'Adda MI, Italia45.6070272 9.521314299999971845.5784142 9.4926427999999721 45.6356402 9.5499857999999715tag:blogger.com,1999:blog-37029605.post-38515324124030070122019-03-27T19:21:00.000+01:002019-03-26T20:00:32.228+01:00Ultimo spettacolo: l'arte è la bugia meno disonesta di tutte.<div class="separator" style="clear: both; text-align: center;">
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<span style="color: red;"><strong>Adolfo Milani, regista e autore del testo, </strong></span></div>
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<span style="color: red;"><strong>Barbara del Prato </strong></span></div>
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<span style="color: red;"><strong>e Alessandro Albani al sax tenore</strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: x-large;">ELETALELATELE</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">di Adolfo Milani</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">è andato in scena</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;"> 2 dicembre 2016</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">Auditorium G. Verdi di via Curiel</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">Trezzo sull'Adda </span></strong></span></div>
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<strong><span style="color: red; font-size: large;">e il 18 febbraio 2017</span></strong></div>
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<strong><span style="color: red; font-size: large;">alla Vecchia Filanda di Grazzago</span></strong></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">con Barbara del Prato</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">al sex tenore Alessandro Albani</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">pannello di Giorgio D'Anneo</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;">Storia credibile e palindroma di una manipolazione dal niente al niente</span></strong></span></div>
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<span style="color: red;"><strong><span style="color: red; font-size: large;"></span></strong> <span style="color: red;"><strong>La composizione grafica nella scena nuda è di GIORGIO D'ANNEO, che ha colto in pieno lo spirito del racconto.<br /> Ascolterete l' Adagio di Albinoni in affascinanti variazioni al sax tenore di ALESSANDRO ALBANI. <br /> L'azione si svolge oggi, sotto lo sguardo ingordo della televisione; in forma di lettura e come sfogliando le pagine di un diario. <br /> BARBARA DEL PRATO, attrice di forte temperamento, è Serena una figura inquietante della vicenda. La storia credibile di una manipol</strong></span><span class="text_exposed_show"><span style="color: red;"><strong>azione. Non c'è il lieto fine. </strong></span></span></span></div>
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<span style="color: red;"><span class="text_exposed_show"><span style="color: red;"><strong>Il vecchio protagonista è un piatto da cui si nutrono donne e destini. </strong></span></span></span></div>
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<span style="color: red;"><span class="text_exposed_show"><span style="color: red;"><strong>Ha costruito senza accorgersi la propria rovina, vittima delle sue intossicazioni.<br /> Il testo di Adolfo Milani scava l'ostinato complesso edipico di un pittore, somatizzato in ogni possibile declinazione del bianco, </strong></span></span></span><span style="color: red;"><span class="text_exposed_show"><span style="color: red;"><strong>il colore nel quale precipita se stesso. <br /> Alienazione diffusa, pericolosa. Erotismo senza sesso.</strong></span></span></span></div>
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<span style="color: red;"><strong><span style="color: red;">Il testo di Milani scava l'ostinato complesso edipico di un pittore, somatizzato in ogni possibile declinazione del bianco, il colore nel quale precipita se stesso. <br /> Alienazione diffusa, pericolosa. Erotismo senza sesso.<br /> Registicamente Milani ha impostato la vicenda per evocare dal gesto la parola che deve salire, arrampicarsi sulla gente in sala. Pubblico che ama il teatro, trovandosi, cercando la cultura, gente che coglie ogni sfumatura e alla fine applaude con calore.</span></strong></span></div>
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<strong><span style="color: red;"> Grazie all'amministrazione Comunale che ha reso possibile la serata e Grazie a Francesco Fava, l'assessore alla Cultura, che ha anche quest'anno invitato Parolazione alla manifestazione teatrale che ha dato lustro alla città e grazie all'Amministrazione Comunale di Grezzago.</span></strong></span><br />
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<strong><span style="color: red;">è andato in scena </span></strong></div>
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<strong><span style="color: red;">il </span><span style="font-size: large;"><span style="color: red;">16 OTTOBRE</span> <span style="color: red;">2016</span></span></strong></div>
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<span style="color: red;"></span> <span style="color: red;"><span style="color: red; font-size: large;"><strong>'PADRE TUROLDO</strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>SERVO DI MARIA'</strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>NEL CENTENARIO DELLA NASCITA</strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>PRESSO IL LIBRO APERTO DI TREZZO SULL'ADDA</strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong></strong></span> </span><span style="color: red;"><span style="color: red; font-size: large;"><strong>TESTO E REGIA A CURA DI </strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>ADOLFO MILANI</strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>CON </strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>BARBARA DEL PRATO</strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>AL FLAUTO TRAVERSO </strong></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><strong>SABRINA CORTI</strong></span></span></div>
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<span style="color: red;">Ringrazio gli amici presenti ieri al Libro Aperto che hanno appaludito Parolazione, premiando l'impegno di un'ottima Barbara del Prato e la sensibile scelta delle musiche di Sabrina Corti. Un grazie ai responsabili del Libro Aperto che hanno reso possibile lo spettacolo ospitandoci</span><br />
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<span style="color: red;">Con il patrocinio del Comune di Trezzo sull'Adda </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSwi38QIlVRBBpi622nXowO07W0Nm8mJ7REBRwcYX3tvb7UiQwm4B5R_c8ReHnY5T7acSmB-Ji-BUwIreuRIvEM6u6ATE86KWNzb9aRsS85Emx5XGKbJwWQul9LuPXBtgFhAt/s1600/1-LogoComuneCol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSwi38QIlVRBBpi622nXowO07W0Nm8mJ7REBRwcYX3tvb7UiQwm4B5R_c8ReHnY5T7acSmB-Ji-BUwIreuRIvEM6u6ATE86KWNzb9aRsS85Emx5XGKbJwWQul9LuPXBtgFhAt/s200/1-LogoComuneCol.jpg" width="147" /></a></div>
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<span style="color: red;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSwi38QIlVRBBpi622nXowO07W0Nm8mJ7REBRwcYX3tvb7UiQwm4B5R_c8ReHnY5T7acSmB-Ji-BUwIreuRIvEM6u6ATE86KWNzb9aRsS85Emx5XGKbJwWQul9LuPXBtgFhAt/s1600/1-LogoComuneCol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: red;"></span></a><span style="color: red; font-size: large;"> Per </span><span style="font-size: large;"><span style="color: red;"><st1:personname productid="la Giornata" w:st="on"><b style="mso-bidi-font-weight: normal;">la Giornata</b></st1:personname><b style="mso-bidi-font-weight: normal;"> del Ricordo</b><o:p></o:p></span><span style="color: red;"></span></span><span style="color: red; font-size: large;"><span style="color: red;"><b style="mso-bidi-font-weight: normal;"> PAROLAZIONE</b></span></span><br />
<span style="color: red; font-size: large;"><span style="color: red;"> ha presentato</span></span></span></div>
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<span style="color: red; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt;"><span style="color: red; font-size: x-large;">‘Foibe: l’ultimo testimone’ </span></span></b></span></div>
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<span style="color: red; font-size: large;"></span><span style="color: red; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt;"><span style="font-size: x-large;"><span style="color: red;">di <span style="color: black;"><span style="mso-spacerun: yes;"> </span><span style="color: red;">Graziano Udovisi<o:p></o:p></span></span></span></span></span></b></span></div>
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<span style="color: red; font-size: large;"><span style="color: black; font-size: small;"></span></span><span style="color: red; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 14pt;"><span style="color: red;">Adattamento e riduzione a cura di Adolfo Milani.<o:p></o:p></span></span></b></span></div>
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<span style="color: red; font-size: large;"><span style="color: orange;"><span style="font-size: small;"></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"></span></b></span> <b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 14pt;"><span style="color: red;">Allestimento scenico di Francesco Fava<o:p></o:p></span></span></b><br /><span style="color: red; font-size: small;"></span></span><span style="color: red; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 20pt;"><span style="color: red;">Auditorium G. Verdi di Trezzo sull’Adda<o:p></o:p></span></span></b></span></div>
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<span style="color: red; font-size: large;"><span style="color: red; font-size: small;"></span></span><span style="color: red; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 18pt;"><span style="color: red;">10 febbraio 2016.</span></span></b></span></div>
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<span style="color: red; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 18pt;"><span style="color: red;"> Immobile e attento il pubblico in sala, ha gradito la rievocazione di una pagina della nostra storia spesso trascurata, mai abbastanza ricordata.</span></span></b></span></div>
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<strong><span style="color: red; font-size: large;">Intenso il testo di Milani nel suggestivo ambiente allestito da Francesco Fava.</span></strong></div>
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<strong><span style="color: red; font-size: x-large;"></span></strong> <span style="color: red;"><strong><span style="font-size: x-large;"><span style="color: red;">2 </span><span style="color: red;"> monologhi di Kafka:</span></span></strong></span></div>
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<span style="color: red;"><b><span style="color: red; font-size: x-large;">'Il digiunatore'</span></b></span></div>
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<span style="color: red;"><b><span style="color: red; font-size: x-large;">'Lettera al padre'</span></b> </span></div>
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<span style="color: red;"><b><span style="color: red; font-size: large;">già eseguiti</span></b></span></div>
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<span style="color: red;">-O- </span></div>
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<span style="color: red;"><span style="font-size: large;"><span style="font-size: small;">Su richiesta dell'Acot, </span></span></span></div>
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<span style="color: red;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: red;"><span style="color: red; font-size: small;">il 24 gennaio 2016<br /> a Trezzo sull'Adda</span></span></span></span></span></div>
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</span></span><span style="color: red;"><span style="font-size: large;"><span style="font-size: large;"><span style="color: red;"><span style="color: red; font-size: large;"><span style="font-size: small;">è andato in scena<br /> " <strong>Voglio una vita di cioccolata..."<br /> a cura di Adolfo Milani</strong> con Barbara del Prato, Emanuela Toccagni, </span><a aria-describedby="js_2o" aria-haspopup="true" aria-owns="js_2n" class="profileLink" data-hovercard="/ajax/hovercard/user.php?id=1652994562&extragetparams=%7B%22directed_target_id%22%3A817396624982665%7D" href="https://www.facebook.com/enrica.enzler" id="js_2p"><span style="color: red; font-size: small;">Enrica Enzler</span></a></span></span></span></span></span></div>
<span style="color: red;"><span style="font-size: large;"><span style="font-size: small;"> Un viaggio nella cioccolata </span></span></span><span style="color: red;"><span style="font-size: large;"><span style="font-size: small;">attraverso il tempo e lo spazio</span></span></span><br />
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<span style="color: red;"><strong><span style="font-size: large;"></span></strong></span> <span style="color: red;"><strong><span style="font-size: large;">'lettera al padre'</span></strong> </span></div>
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<span style="color: red;">di Kafka</span></div>
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<span style="color: red;">nell'ambito di</span></div>
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<strong><span style="color: red; font-size: large;">'Libriamoci'</span></strong></div>
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<span style="color: red;">Itis Eistein di Vimercate.</span></div>
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<span style="color: red;">Adattamento riduzione e regia di Adolfo Milani</span></div>
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<b><span style="color: red; font-size: x-large;">La malattia del destino</span></b></div>
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<b><span style="color: red; font-size: large;"> da 'Sette piani' di Buzzati</span></b></div>
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<b><span style="color: red; font-size: large;">adattamento, riduzione e regia</span></b><br />
<b><span style="color: red; font-size: large;"> di A.Milani</span></b></div>
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<b><span style="color: red; font-size: large;">con</span></b></div>
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<b><span style="color: red; font-size: large;">Antonella Boisio e Adolfo Milani</span></b></div>
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<span style="color: red;">alla tromba: Giuseppe DICEGLIE</span></h4>
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<span style="color: red;">in sala : Immagini di Lorenzo Barzaghi</span></h4>
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<b><span style="color: red; font-size: large;">per il giugno culturale trezzese 2015 </span></b><br />
<b><span style="color: red; font-size: large;">Auditorium 'G. Verdi '</span></b></div>
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<b><span style="color: red; font-size: large;">via Nenni, Trezzo sull'Adda</span></b></div>
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<span style="color: olive;"><span style="color: red;">Lottiamo per il meglio ma<span style="mso-spacerun: yes;">
</span>viviamo immersi<span style="mso-spacerun: yes;"> </span>in uno<span style="mso-spacerun: yes;"> </span>stupefacente adattamento al peggio,
inesorabile il viaggio dai piani alti alle cantine e intanto il destino anzi <i style="mso-bidi-font-style: normal;">la malattia del destino</i> fa il suo corso.
Il declino comincia già all’alba, la storia precipita, si abbassa<span style="mso-spacerun: yes;"> </span>come di sera le palpebre di un vecchio. Cerchiamo la cura ma poi la guarigione ci sfugge, rassegnarsi alla mediocrità è quasi impossibile: da qui le illusioni. Francesco Fava, raffinato padrone di casa, ha presentato la serata ad un pubblico mai così attento e pronto all'applauso.</span></span></div>
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<span style="color: olive;"><span style="color: red;">(A.
Milani)<o:p></o:p></span></span></div>
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<span style="color: red; font-size: large;"><strong>Questo testo è stato replicato presso il teatro di Crespi d'Adda il giorno 14 novembre, presso il Libro Aperto di Trezzo sull'Adda il 15 novembre 2015 e presso la Vecchia Filanda di Grezzago il 7 gennaio 2016.</strong></span></div>
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<span style="color: red; font-size: large;"><strong>Con Milani che ha diretto e interpretato questo monologo di Buzzati, ha letto Antonella Boisio. </strong></span></div>
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<span style="color: red; font-size: large;"><strong>Al sax tenore Alessandro Albani </strong></span></div>
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<span style="color: red;">Gli attori e il regista di Parolazione</span></div>
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<span style="color: red;">impegnati con Pirandello</span></div>
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<span style="color: red; font-size: large;"><b>il 1° marzo 2O15</b></span> </div>
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<b><span style="color: red; font-size: large;">'Pronunci, sentirà che dolcezza'</span></b></div>
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<b><span style="color: red; font-size: large;">da </span></b></div>
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<b><span style="color: red; font-size: large;">"l'uomo dal fiore in bocca"</span></b></div>
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<b><span style="color: red; font-size: large;">di Pirandello</span></b></div>
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<b><span style="color: red; font-size: large;">riduzione, adattamento e regia di</span></b></div>
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<b><span style="color: red; font-size: large;">Adolfo Milani</span></b></div>
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<b><span style="color: red; font-size: x-large;">Libro Aperto</span></b></div>
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<b><span style="color: red; font-size: x-large;">di Trezzo sull'Adda</span></b></div>
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</div>
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<b><span style="color: red; font-size: large;">con </span></b></div>
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<b><span style="color: red; font-size: large;">Marco Cereda, Barbara del Prato, Patrizia Mele,</span></b></div>
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<b><span style="color: red; font-size: large;">Alessandro Pisoni e Adolfo Milani</span></b></div>
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<i style="mso-bidi-font-style: normal;">‘<span style="color: red;"><b>La regia di Milani ha voluto immergere<span style="mso-spacerun: yes;"> </span>il più breve atto unico di Pirandello, scritto
nel ’22, in uno strato soffuso, evanescente, rallentato, anzi immobile.<span style="mso-spacerun: yes;"> </span>Persone/personaggio, perse in una bolla
temporale, dove il divenire si ferma e, come maschere nude, galleggiano sospese
all’affascinante seduzione della notte che sembra perpetua. Vuole sembrare una
tregua al dolore di esistere, è invece uno spostamento di piani. Nel naufragio
delle parole, i vagabondi che accettano i frantumi della storia di sé, <span style="mso-spacerun: yes;"> </span>se ne vanno alla deriva con la loro crisi, la
loro follia, per assumere<span style="mso-spacerun: yes;"> </span>diafane trasparenze
di anime perse e sdoppiate. Poi il tempo, purtroppo o chissà, riprenderà il suo
corso e i<span style="mso-spacerun: yes;"> </span>personaggi, a malincuore,
torneranno maschere vittime del destino ’ . Gli attori, pure metafore, molto applauditi</b></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: red;"><b>da un pubblico caldo e attentissimo.</b></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: red;"><b>-o-<o:p></o:p></b></span></i></div>
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<span style="color: red;"> <b><span style="color: red; font-size: large;">Per la 17 settimana biblica</span></b><br /><b><span style="color: red; font-size: large;">'Il buio e la luce'</span></b><br /><b><span style="color: red; font-size: large;">"lettera al padre"</span></b><br /><b><span style="color: red; font-size: large;">di Kafka</span></b><br /><b><span style="color: red; font-size: large;">riduzione, adattamento e regia di Adolfo Milani</span></b><br /><b><span style="color: red; font-size: large;">in scena il 19 febbraio 2015</span></b><br /><b><span style="color: red; font-size: large;"></span></b><br /><b><span style="color: red; font-size: large;">Società OPERAIA</span></b><br /><b><span style="color: red; font-size: large;">DI TREZZO SULL'ADDA</span></b><br /><br /><b><span style="color: red; font-size: large;">alla tastiera</span></b><br /><b><span style="color: red; font-size: large;">Giorgio Barzaghi</span></b><br /><span style="color: red;"></span><br /><span style="font-size: large;"><span style="color: red;"><span style="font-size: small;"></span><br /></span></span></span></div>
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<span style="color: red;"><span style="color: red; font-size: large;"><b>Questa “<i style="mso-bidi-font-style: normal;">lettera al padre</i>”, che Milani ha ridotto e adattato per l’incontro,<span style="mso-spacerun: yes;"> </span>sembra scritta oggi: gli angoli oscuri sono vasti come l’immenso trasporto che<span style="mso-spacerun: yes;"> </span>l’uomo<span style="mso-spacerun: yes;"> </span>prova verso la luce. Franz, che morirà 7 anni prima del padre, affidò lo scritto a sua madre perché lo consegnasse al destinatario. Hermann Kafka non ricevette mai la lettera di suo figlio. </b></span></span><span style="color: red;"><span style="color: red; font-size: large;"><b>Il 2015 è Anno Internazionale della Luce”.</b></span><br /><b><span style="color: red; font-size: large;"></span></b><br /><span style="font-size: large;"><b></b></span></span></div>
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<span style="color: red; font-size: large;"><b> Gli attori hanno scavato i labirinti</b></span></div>
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<b><span style="color: red; font-size: large;">del Praghese, cercando nei tortuosi chiaroscuri uno spiraglio di luce. </span></b></div>
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<b><span style="color: red; font-size: large;">Adolfo Milani ha aperto fessure insolite nei tormenti di Kafka, </span></b></div>
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<span style="color: red;"><b><span style="font-size: large;">lavorando in profondità negli anni dello smarrimento.</span></b> </span></div>
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<span style="color: red; font-size: large;"><b>In sala, non gremita, padri e figli hanno scoperto l'eterno conflitto, immutabile nel tempo.</b></span></div>
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<b><span style="color: red; font-size: large;">Di grande sensibilità gli stacchi musicali di Giorgio Barzaghi.</span></b><br />
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<b><span style="color: red;">-O-</span></b></div>
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<b><span style="color: red; font-size: large;">13 dicembre, 2014</span></b> </div>
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<span style="color: red; font-size: x-large;"></span><b><span style="color: red; font-size: large;">Con il patrocinio del Comune di Trezzo sull'Adda</span></b></div>
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<b><span style="color: red; font-size: large;">adattamento, riduzione e regia di</span></b></div>
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<b><span style="color: red; font-size: large;">Adolfo Milani</span></b></div>
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<b><span style="color: red; font-size: large;">in scena</span></b></div>
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<b><span style="color: red; font-size: large;">"Il digiunatore"</span></b></div>
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<b><span style="color: red; font-size: large;">di Kafka</span></b></div>
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<b><span style="color: red;">Società Operaia</span></b></div>
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<span style="color: red;">di Trezzo sull'Adda</span></div>
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<span style="color: red;"><b>ha letto </b></span></div>
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<span style="color: red; font-size: large;"><b> Adolfo Milani</b></span></div>
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<b><span style="color: red;"></span></b><br />
<b><span style="color: red;">alla tastiera il maestro</span></b></div>
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<b><span style="color: red; font-size: large;">Giorgio Barzaghi</span></b></div>
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<span style="color: red;"><b>Pochi i presenti ma attenti,</b></span></div>
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<span style="color: red;"><b>calati negli stati allucinatori creati </b></span></div>
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<span style="color: red;"><b>dalla voce di Adolfo Milani </b></span></div>
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<span style="color: red;"><b>e dalle note di </b></span></div>
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<span style="color: red;"><b>Giorgio Barzaghi alla tastiera.</b></span><br />
<b><span style="color: red;"></span></b><br />
<span style="color: red;"><b><i>Milani ci ha condotti nel realismo magico di Kafka </i></b></span><br />
<span style="color: red;"><b><i>e nei suoi abissi, eppure qualcuno in sala</i></b></span><br />
<span style="color: red;"><b><i>ha nominato Pannella che, dal digiunatore del praghese,</i></b></span><br />
<span style="color: red;"><b><i>dista mille chilometri.</i></b> </span></div>
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<b><span style="color: red; font-size: large;">-o-</span></b></div>
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<span style="color: red;"><span style="color: orange;"> </span></span><b><span style="color: red; font-size: large;">IL 22 GIUGNO 2014</span></b></div>
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<b><span style="color: red;">NELL'AMBITO DELLE </span></b></div>
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<b><span style="color: red; font-size: large;">CENTRALI ENEL APERTE</span></b></div>
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<b><span style="color: red;">MARIO DONADONI </span></b></div>
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<b><span style="color: red;">CON PAROLAZIONE</span></b></div>
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<b><span style="color: red;"> di Adolfo Milani</span></b></div>
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<b><span style="color: red;">hanno </span></b></div>
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<b><span style="color: red;">PRESENTATO</span></b></div>
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<span style="color: red; font-size: large;"><b>'NUVOLE, ACQUE, VENTI'</b></span></div>
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<b><span style="color: red;">IMMAGINI E POESIA</span></b></div>
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<b><span style="color: red;">alla </span></b></div>
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<b><span style="color: red;">Centrale Taccani di Trezzo sull'Adda</span></b></div>
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<b><span style="color: red;">con Antonella Boisio.</span></b></div>
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<b><span style="color: red;">-o-</span></b></div>
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<b><span style="color: red;"></span></b> <img class="irc_mut" height="240" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTk2gfZJlGmmahc6CeG9U74h8QdZyICq56CeGFd5F9BRIYKf2DK" style="margin-top: 160px;" width="320" /></div>
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<span style="color: red; font-size: x-large;"><b>"Le antiche porte del sorriso"</b></span></div>
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<b><span style="color: red; font-size: large;">monologo di</span></b></div>
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<b><span style="color: red; font-size: large;">Adolfo Milani</span></b></div>
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<br /></div>
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<b><span style="color: red; font-size: x-large;">per la festa del sorriso</span></b></div>
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<b><span style="color: red; font-size: x-large;">Palazzetto dello Sport di Trezzo sull'Adda</span></b></div>
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<b><span style="color: red; font-size: x-large;">13 aprile, 2014</span></b></div>
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<b><span style="color: red; font-size: x-large;"></span></b> <span style="color: red;"><b>-o-</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPiX_vL04_ta6f3Qr8AdezzqvC5SqrH8I4-DynQ41nAoO6mGenZt2hp5Sl4O2OagIpqgzjUfGudZfNX6cZwAsuRCFmphRQeLP1BrTYDW_iR8WdbYRZkCOZ24HmHEojhD0buua8/s1600/1-piero+2010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPiX_vL04_ta6f3Qr8AdezzqvC5SqrH8I4-DynQ41nAoO6mGenZt2hp5Sl4O2OagIpqgzjUfGudZfNX6cZwAsuRCFmphRQeLP1BrTYDW_iR8WdbYRZkCOZ24HmHEojhD0buua8/s1600/1-piero+2010.jpg" width="218" /></a></div>
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<span style="color: red;">Con la collaborazione del Comune di Trezzo sull'Adda</span></div>
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<span style="color: #c00000;"><b>per il Carnevale 2014</b></span></div>
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<span style="color: #c00000;"><span style="color: red;"></span></span><br />
<span style="color: #c00000;"><span style="color: red;"><b>Sabato 29 marzo, 2014, in Società Operaia: </b></span></span><br />
<span style="color: #c00000;"><span style="color: red; font-size: large;"><b>ParolAzione </b></span></span><br />
<span style="color: #c00000;"><span style="color: red;"><b>ha presentato </b></span></span><br />
<span style="color: #c00000;"><span style="color: red;"><b><span style="font-size: large;">"Lo strano caso del Povero Piero"</span></b> </span></span><br />
<span style="color: red;"><b>di </b></span><br />
<span style="color: red; font-size: large;"><b>Adolfo Milani</b></span></div>
<b><span style="color: red;"></span></b><br />
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<span style="color: red;"><b> fondale di </b></span><br />
<span style="color: red;"><b>Rino Tinelli</b></span><br />
<b><span style="color: red;"></span></b><br />
<b><span style="color: red;">alla chitarra </span></b><br />
<b><span style="color: red;">Carlo Corti</span></b></div>
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<b><span style="color: red;"></span></b><br />
<span style="color: red;"><span style="color: navy; font-family: "batang";"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><b>Piero che povero non è affatto ma eroe contemporaneo capace di uscire dal pierume di fondo: lucciole d’acqua sull’abito scuro del fiume… </b></span></span></span><span style="color: red;"><span style="color: navy; font-family: "batang";"><span style="color: #003366; font-family: "bell mt";"><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="color: red;">In un paese dove tutti si chiamavano Piero, lui vuole cambiare nome. C’è qualcosa di più sovversivo !? Vuole cambiare nome per assumersi la responsabilità di essere libero,<span style="mso-spacerun: yes;"> </span>ed essere libero di assumersi le sue responsabilità. </span></b></span></span></span></span><br />
<span style="color: red;"><span style="color: navy; font-family: "batang";"><span style="color: #003366; font-family: "bell mt";"><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="color: red;"></span></b></span></span></span></span><br />
<span style="color: red;"><span style="color: navy; font-family: "batang";"><span style="color: #003366; font-family: "bell mt";"><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="color: red;">Milani con il suo testo ha scardinato dall'interno il perbenismo </span></b></span></span></span></span><br />
<b><span style="color: red; font-family: "georgia";">astuto di una società aggrappata al mimetismo che si nasconde e si maschera per sopravvivere morente.</span></b><br />
<b><span style="color: red; font-family: "georgia";"></span></b><br />
<b><span style="color: red; font-family: "georgia";">Carlo Corti, eccellente nella versione per chitarra di alcuni notissimi motivi, dosati gli accordi sulla voce di Milani che ha curato anche la regia dello spettacolo.</span></b><br />
<b><span style="color: red; font-family: "georgia";">Bellissimo il fondale di Rino Tinelli tratto da uno dei suoi famosi</span></b><br />
<b><span style="color: red; font-family: "georgia";">scatti intorno al <i>mondo passato</i> della Trezzo antica.</span></b></div>
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<span style="color: red;"><span style="color: navy; font-family: "batang";"></span></span><br />
<span style="color: navy; font-family: "batang";"></span><br />
<span style="color: red;">-o-</span> </div>
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<span style="color: red;"><b><i>Il 6 marzo 2014 presso l'Auditorium</i></b></span></div>
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<span style="color: red;"><b><i>delle Scuole Elementari </i></b></span></div>
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<span style="color: red;"><b><i>di Trezzo sull'Adda</i></b></span></div>
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<span style="color: red;"><b><i>per la 16° Settimana Biblica </i></b></span></div>
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<span style="color: red;"><b><i>è andato in scena lo spettacolo</i></b></span></div>
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<span style="color: red;"><b><span style="font-size: large;">"Uomini massa"</span></b> </span></div>
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<span style="color: red;">di</span></div>
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<span style="color: red;"><b>Adolfo Milani</b></span></div>
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<b><span style="color: red;">Il pubblico in sala ha manifestato con applausi calorosi l'affezione con la quale ha sempre seguito le Settimane Bibliche </span></b></div>
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<b><span style="color: red;">di don Peppino Ghezzi, ex parroco della città.</span></b> </div>
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<span style="color: red;">Notevole la gamma di voci di Marco Cereda, giuste le sfumature.
Antonella Boisio mai così brava: intensa, assorta, a tratti magica. </span></h4>
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<span style="color: red;">Giorgio Barzaghi, alla tastiera elettronica, ha incantato la platea dando spessore emotivo al
testo notevole di Milani: quelle note hanno lasciato un accoramento indimenticabile. </span></h4>
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<span style="color: red;">Milani ha premesso di aver voluto scendere dal sacro al profano ma il suo racconto ha rasentato l'atto di fede dove ormai gli <i>uomini massa</i> l'hanno perduta. </span></h4>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: red;">Parolazione in scena </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzJaajgUfPq1oLJtYcCv6MJU-kjiiVRwmv9HRGZ6pQ4_u47tOsenczAlLIzRF5Pk8CPcRtzkVM5YSdrj_FU7sKvRmAxF1KagOZDT75jmaYVRQ6aZuagmZ2_VpHqXhrEsgRupGl/s1600/1-P4050001.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzJaajgUfPq1oLJtYcCv6MJU-kjiiVRwmv9HRGZ6pQ4_u47tOsenczAlLIzRF5Pk8CPcRtzkVM5YSdrj_FU7sKvRmAxF1KagOZDT75jmaYVRQ6aZuagmZ2_VpHqXhrEsgRupGl/s1600/1-P4050001.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: red;">marco cereda e adolfo milani</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjGxbEsYZV-P-XeA_Xz23EeRERRWkSIm8rs65lJjTrFQ4BOgOZasrIhUNeSxfukeKwhl_ycfGDmeQsTDH88c9dUstH_XIyoE83vx2VmX4VHH9xhbYB1lyMCYhURZ3aKHyUtebM/s1600/1-P1040008.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjGxbEsYZV-P-XeA_Xz23EeRERRWkSIm8rs65lJjTrFQ4BOgOZasrIhUNeSxfukeKwhl_ycfGDmeQsTDH88c9dUstH_XIyoE83vx2VmX4VHH9xhbYB1lyMCYhURZ3aKHyUtebM/s320/1-P1040008.JPG" width="320" /></a></div>
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<span style="color: red;">Barbara del Prato, Adolfo Milani, Marco Cereda</span></div>
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<span style="color: red;"></span> <span style="color: red;"><span style="color: red;"><b>Lo spettacolo del 4 gennaio, 2014, andato in scena alla Società Operaia di Trezzo, ha colpito al cuore i presenti. Fuori, la pioggia ha tenuto al riparo chi detesta bagnarsi. Coloro sui quali la noia ha il sopravvento. Sono liberi pensatori che consumano cultura isolandosi, con il dito nella nutella. Nelle librerie danno pareri al alta voce per farsi sentire. </b></span></span></div>
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<span style="color: red;"><span style="color: red;"><b>Barbara del Prato è stata affascinante: la sua voce ha reso il pathos notturno del male di
vivere. Marco Cereda, attonito e smemorato, ha reso un Avventore verissimo che regge il
confronto con Avventori di calibro professionale più pesante. Milani, <i>l'uomo dal fiore in bocca</i>, dolente e assorto ha diretto lasciandosi penetrare dalla magia di Pirandello. Piccole disperazioni senza remissione.</b></span></span></div>
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<b><span style="color: red;">- REPLICATO IN CRESPI D'ADDA</span></b></div>
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<b><span style="color: red;">il 15 febbraio 2014.</span></b></div>
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<b><span style="color: red;">- Presso l'oratorio San Luigi di Truccazzano</span></b></div>
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<b><span style="color: red;">il 22 marzo.</span></b></div>
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<b><span style="color: red;">- Presso La vecchia Filanda di Grezzago</span></b></div>
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<b><span style="color: red;">il 5 aprile.</span></b></div>
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<strong><span style="color: red;"> "</span><span style="font-size: x-large;"><span style="color: red;">la cantatrice calva'</span></span></strong></div>
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<b><span style="color: red; font-size: medium;"> dove </span></b></div>
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<span style="color: red;"><b><span style="color: red; font-size: large;">Ionesco mette in scena le forme dell'assurdo, <br />unica sostanza delle società obese e disperate,</span></b></span></div>
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<span style="color: red;"><b><span style="color: red; font-size: large;">racconta una incredibile storia senza trama,</span></b></span></div>
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<span style="color: red;"><b><span style="color: red; font-size: large;">descrive la morte grottesca dell'ascolto!</span></b></span></div>
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<span style="color: red;"></span><br /></div>
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<span style="color: red; font-size: medium;">Gli interpreti intensi, spigliati, sensibili hanno reso alla perfezione </span></div>
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<span style="color: red; font-size: medium;">il gioco </span><span style="color: red; font-size: medium;">delle parti, </span></div>
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<span style="color: red; font-size: medium;">alternando la poesia dell'assurdo </span></div>
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<span style="color: red; font-size: medium;"> alle piccole disperazioni,</span></div>
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<span style="color: red; font-size: medium;">superando i rovelli di una società senza progetti </span></div>
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<span style="color: red; font-size: medium;">con il garbo della regia colta di Milani </span></div>
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<span style="color: red;"><span style="font-size: medium;">che ha mescolato le nevrosi del non senso </span></span></div>
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<span style="color: red;"><span style="font-size: medium;">alla psicoanalisi pirandelliana.</span> </span> </div>
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<strong><span style="color: red;">Con Marco Cereda, Enrica Enzler, Emanuela Toccagni, </span></strong></div>
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<strong><span style="color: red;">Adolfo Milani, Elide Crippa</span></strong></div>
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<span style="font-family: "times new roman"; font-size: 12pt;"><span style="color: red; font-family: "times new roman"; font-size: 12pt;"><v:shapetype coordsize="21600,21600" filled="f" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f"><v:stroke joinstyle="miter"><v:path gradientshapeok="t" o:connecttype="rect" o:extrusionok="f"><b> l'11 maggio 2013</b></v:path></v:stroke></v:shapetype></span></span></div>
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<span style="font-family: "times new roman"; font-size: 12pt;"><span style="color: red; font-family: "times new roman"; font-size: 12pt;"><v:shapetype coordsize="21600,21600" filled="f" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f"><v:stroke joinstyle="miter"><v:path gradientshapeok="t" o:connecttype="rect" o:extrusionok="f"><b>nella sala Teatro di Crespi d'Adda,</b></v:path></v:stroke></v:shapetype></span></span></div>
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PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com320056 Trezzo sull'Adda MI, Italia45.6070272 9.521314299999971845.5784142 9.4926427999999721 45.6356402 9.5499857999999715tag:blogger.com,1999:blog-37029605.post-62552849364607074722019-03-27T19:02:00.000+01:002019-03-26T20:01:08.325+01:00SIAMO CONGIUNTIVI...di Adolfo Milani<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: red;"></span><br />
<b><span style="color: red; font-size: large;">Cerchiamo il meglio, ma abbiamo una stupefacente </span></b><br />
<b><span style="color: red; font-size: large;">adattabilità al peggio.</span></b><br />
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</span><br />
-o-</span><br />
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<span style="color: red;"><span style="color: black; font-family: "bell mt"; mso-bidi-font-family: Helvetica;"><b><span style="color: red; font-size: large;">Ci
arriva il linguaggio </span></b></span></span><br />
<span style="color: red;"><span style="color: black; font-family: "bell mt"; mso-bidi-font-family: Helvetica;"><b><span style="color: red; font-size: large;">ma non la competenza </span></b></span></span><span style="color: red;"><span style="color: black; font-family: "bell mt"; mso-bidi-font-family: Helvetica;"><b><span style="color: red; font-size: large;">per usarlo, </span></b></span></span><br />
<span style="color: red;"><span style="color: black; font-family: "bell mt"; mso-bidi-font-family: Helvetica;"><b><span style="color: red; font-size: large;">quella dipende da noi e
dai limiti </span></b></span></span><br />
<span style="color: red;"><span style="color: black; font-family: "bell mt"; mso-bidi-font-family: Helvetica;"><b><span style="color: red; font-size: large;">che siamo disposti a superare:</span></b></span></span></div>
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<span style="color: red;"><span style="color: black; font-family: "bell mt"; mso-bidi-font-family: Helvetica;"><b><span style="color: red;"><span style="font-size: large;">piegarci alle regole, vincere la cattive abitudini.<o:p></o:p></span></span></b></span></span></div>
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<span style="color: red;"><span style="font-family: "arial"; font-size: x-small;"><strong>Noi siamo</strong> come i congiuntivi: bisogna saperci usare e coniugare.</span> </span></div>
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<span style="color: red;"><span style="font-family: "arial"; font-size: x-small;">-o-</span> </span><br />
<span style="color: red;">Alcuni anziani e non pochi adulti soffrono di </span><br />
<span style="color: red;"><b>anedonìa</b>,</span><br />
<span style="color: red;"> cioè l'incapacità ostinata di provare gioia di fronte a qualsiasi evento positivo. </span><br />
<span style="color: red;">-o- </span><br />
<span style="color: orange;">Come faccio a spiegarti che mentre fisso il vuoto</span><br />
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<span style="color: red;"><span style="color: orange;">sto lavorando?</span> </span></div>
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<span style="color: red;">-o-</span><br />
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<span style="color: orange;">Forse che un pesce si darebbe da fare per costruire ami da pesca?</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">Alda Merini : ' scrivo per capire quello che scrivo '.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">Cannibali, noi? E' ovvio! Il 96% di ciò che respiriamo è...pelle umana!</span></div>
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<span style="color: red;"> -o-</span><br />
<span style="color: red;"> Ho sempre pensato che diventando vecchio io e le catene ci saremmo incontrati nello stesso punto. </span><br />
<span style="color: red;">-o-</span><br />
<span style="color: red;"> Ci sono parole come <i>legami, vincoli</i> che spariranno dal nostro linguaggio, non sapremo più quale significato ebbero e, infine, verranno chiuse nelle celle sgangherate del disuso. </span><br />
<span style="color: red;">-o- </span><br />
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<span style="color: red;">Aprirsi o non aprirsi agli altri...</span></div>
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<span style="color: red;">e in quale ora del giorno e in quale notte? </span><br />
<span style="color: red;">-o-</span></div>
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<span style="color: red;">Mi sto allenando ad esprimere due, tre concetti contemporaneamente</span></div>
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<span style="color: red;">per risultare il più astruso ed oscuro possibile. </span></div>
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<span style="color: red;">-o-</span><br />
<span style="color: red;"> </span><span style="color: red;"> Chi ride troppo è una persona triste, chi non ride mai non è una persona seria. </span><br />
<span style="color: red;">-o- </span><br />
<span style="color: red;">Il triangolo del degrado:frigo/tv/divano! Le parole si gonfiano, si ungono, ingrassano deformi e senza ritegno, intorpidite e spente. E noi diventiamo come loro. </span><br />
<span style="color: red;">-o- </span><br />
<span style="color: red;">Prestare ascolto all'altro significa farlo esistere. Negargli l'ascolto è cancellarlo. </span></div>
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<span style="color: red;">-o- </span><br />
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<span style="color: red;">Gli scienziati cognitivi assicurano che per essere esperti in una qualunque cosa occorrono circa 10.00 ore di applicazione, cioè 5 anni di lavoro a tempo pieno.</span></div>
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<span style="color: red;">Molti, dopo sei lustri di comunicazione obbligatoria, non sanno ancora parlare. </span></div>
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<span style="color: red;">Nessuno può aiutarli perché si credono eloquenti. </span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">I bambini imparano una decina di parole al giorno e credono che vi sia una realtà immateriale accanto a loro. Come sono fortunati i bambini! </span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">Ansie? Ossessioni ? Forse: più che altro gabbie. Malattie inguaribili </span></div>
<span style="color: red;">-o- </span><br />
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<span style="color: red;">Eristica: è l'arte di ottenere ragione anche quando si ha torto,</span></div>
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<span style="color: red;">incuranti dei più elementari principi di correttezza. </span><br />
<span style="color: red;">-o-</span></div>
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<b><span style="color: red;">I mediocri non hanno l'umiltà di pronunciare la parola più impegnativa </span></b></div>
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<b><span style="color: red;">e significante della nostra lingua : grazie!</span></b></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">E alcuni pensano: ma in fondo che cosa può succedere se parlo come mangio? Non succede niente! E’ vero anche questo, non succede niente e continuerà a non succedere niente e noi rimarremo sempre nel nostro brodo, stinti, amorfi nello stagno dell’appiattimento, compressi nella mediocrità che non è una condizione di inferiorità ma è tuttavia un immenso pascolo di bianche pecore intontite.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">Il punto e, di più, la virgola non sono soltano un segno grafico ma sonoro: facilitano il respiro, la pausa, il silenzio, il significato delle parole, le intenzioni. Neutralizzano, inoltre, le cadenze dialettali, donano il retrogusto o il retro pensiero, </span></div>
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<span style="color: red;">trasformano semplici parole in PAROLE CHIAVE. </span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">Comunicazione ha lo stesso etimo di comunione: andare uniti all’altro verso l’armonia, l’equilibrio, l’empatia, la libertà. Quando l’uomo cessa di parlare inizia lo scontro.</span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">Per la sua potente estrosità la dizione, che armonizza la fonazione, può essere considerata un vero e proprio percorso nella musica e, infatti, contiene miscele, commistioni, assonanze, consonanze, armonie, disarmonie e fruscii nei quali ogni parola diventa nota musicale e, unita alle altre parole, forma canzoni e sinfonie nel grande concerto della vita. </span><br />
<span style="color: red;">-0- </span><br />
<span style="color: red;">Ci sono linguaggi particolari che si sganciano dai legami della lingua e assumono una loro identità rimanendo liberi da regole e recinti. </span></div>
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<span style="color: red;">Il loro scopo è quello di connotare un personaggio con una precisa configurazione fonetica:</span></div>
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<span style="color: red;">Totò, Govi, Massimo Troisi, Benigni, Stanlio e Ollio, Paperino,</span></div>
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<span style="color: red;">il servo cinese, lo schiavo di colore, Vanna Marchi ecc…. </span></div>
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<span style="color: red;">La lingua di costoro è anche la loro maschera, il loro talento, il veicolo del loro successo. E' un trucco sapiente.</span></div>
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<span style="color: red;">Cosa sarebbe Troisi se parlasse l’italiano allo stato puro? Ma attenzione : questa meditata distorsione del loro linguaggio è voluta, studiata. </span></div>
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<span style="color: red;">E’ un espediente utile e cercato che viene sempre tenuto sotto controllo</span></div>
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<span style="color: red;">per assumere la dimensione di personaggio.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">Correre a piedi per me è il modo più libero e meno complicato di stare al mondo.</span></div>
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<span style="color: red;">Spesso immagino una città che corre a piedi</span></div>
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<span style="color: red;">e che si trova nella radura di un bosco e tutti si sorridono "senza parlare".</span></div>
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<span style="color: red;">-0- </span></div>
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<span style="color: red;">I muscoli della lingua sono 17. Quelli delle labbra 11:</span></div>
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<span style="color: red;">che sforzo baciare!</span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">Il significato di ogni parola è sempre un’altra parola.</span></div>
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<span style="color: red;">Ogni volta che domandiamo ‘che significa questa frase’?...ci viene risposto con un’altra frase.</span></div>
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<span style="color: red;">Nel dominio della poesia è diverso! Le parole perdono la loro mobilità.</span></div>
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<span style="color: red;">I significati generali del poema sono sì molteplici e cangianti,</span></div>
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<span style="color: red;">ma le parole sono uniche e restano insostituibili. </span></div>
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<span style="color: red;">Cambiarle significa distruggere la poesia, la personalità del verso, l’autenticità della creazione. </span></div>
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<span style="color: red;">E’ da qui che nasce la grande difficoltà di “ tradurre poesia”.</span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">La forma e la pronuncia delle parole organizzano il loro ordine o il loro disordine.</span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">La consapevolezza di sapersi ascoltati è ancora più importante di essere esauditi.</span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">Oggi il viaggio è una metafora finita perché tutte le vie sono state battute. </span></div>
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<span style="color: red;">E’ il termine della scoperta!</span></div>
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<span style="color: red;">Non resta che l’esplorazione delle parole, il viaggio nelle parole che produce emozioni all’infinito. </span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">La lingua determina la forma del pensiero dei parlanti che è indotto dall’esperienza. </span></div>
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<span style="color: red;">(<b>La cadenza dialettale o l’errata pronuncia modificano il pensiero?)</b> </span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">l'anagramma del mio nome, Adolfo Milani, è : follia d'animo.</span></div>
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<span style="color: red;">L'anagramma di sigaretta è strategia: dal 25 maggio del 2007 ho smesso di fumare.</span></div>
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<span style="color: red;">-0- </span></div>
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<span style="color: red;">La febbre e la passione di chi legge ad alta voce diventano efficaci se sono presenti anche in chi ascolta.</span></div>
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<span style="color: red;">-0- </span></div>
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<span style="color: red;">In eschimese, 'neve' si esprime in tanti modi :</span></div>
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<span style="color: red;">la neve al suolo, la neve che cade, la neve che stratifica, la neve ammucchiata, la neve che vortica, la neve che si imbratta... Ciò determina la specificità lessicale di una cultura per cui non tutto può essere tradotto.</span></div>
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<span style="color: red;">Esistono parole che esprimono significati esclusivi di una certa cultura, per esempio: </span></div>
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<b><span style="color: red;">trinità, incarnazione, peccato originale. </span></b></div>
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<span style="color: red;">Certi colori non trovano corrispettivo in alcune lingue ed è, quindi, come se non esistessero. </span></div>
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<span style="color: red;">In tedesco la parola <b>Gemut </b>è intraducibile: animo, spirito, temperamento?</span></div>
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<span style="color: red;"><b>Heimat</b>: terra della prima infanzia, patria perduta, esperienza di una nostalgia?</span></div>
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<span style="color: red;">Quanti misteri posso esprimere con la parola <i>tenebra...</i></span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">Le parole appartengono metà a chi le dice e metà a chi le ascolta.</span></div>
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<span style="color: red;">-0-</span></div>
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<span style="color: red;">C'è chi ama disperatamente essere trafitto dai chiodi delle parole dell'altro..</span></div>
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<span style="color: red;">--oo0oo-- </span><br />
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PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com13tag:blogger.com,1999:blog-37029605.post-1162940262433459712019-03-27T19:01:00.000+01:002019-03-26T20:01:34.728+01:00Rispondo a...<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: red;">...chi mi chiede quanto valgono</span></div>
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<span style="color: red;">i complimenti in teatro:</span></div>
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<span style="color: red;">zero! Credete solo al regista che di solito dice la verità </span></div>
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<span style="color: red;">ma gli attori più fragili</span></div>
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<span style="color: red;">vanno lasciati nella loro illusione.</span> </div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">...chi mi chiede se sia migliore</span></div>
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<span style="color: red;"> la strada delle parole o della regia:</span></div>
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<span style="color: red;"> non ci sono<span style="mso-spacerun: yes;"> </span>voci belle o brutte<span style="mso-spacerun: yes;"> </span>ma solo voci usate male. Conta<span style="mso-spacerun: yes;"> </span> rispettare la parola<span style="mso-spacerun: yes;"> </span>con le sue ombre, con i suoi riflessi, con la
sua personalità, con la sua pronuncia e senza cadenze. Né va dimenticata<span style="mso-spacerun: yes;"> </span>la forza della respirazione.</span></div>
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</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">... chi mi chiede come si diventa attori:</span></div>
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<span style="color: red;"> quando i miei compagni guardavano 'Carosello', </span><span style="color: red;">...io guardavo i miei compagni.... </span><br />
<span style="color: red;">-o-</span><br />
<span style="color: red;">...chi mi chiede come sono le attrici donna, rispondo</span><br />
<span style="color: red;">con una storiella di ambiente orientale :</span></div>
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<span style="color: red;">un emiro assilla il Genio e gli chiede di essere molto intelligente.</span></div>
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<span style="color: red;">Il Genio lo accontenta. Poi l' emiro si fa più esigente</span></div>
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<span style="color: red;">e chiede il cervello più lucido che ci sia.</span></div>
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<span style="color: red;">" L'avrai, risponde il Genio...ma ti verranno le mestruazioni "</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">...chi mi chiede se sono esigente con i miei attori: </span><br />
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<span style="color: red;">chiedo risultati, non simpatia! </span></div>
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<span style="color: red;"></span><br />
<span style="color: red;">... chi mi chiede se si può cambiare identità in scena:</span></div>
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<span style="color: red;">si può perfino rovesciare il cielo.</span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">... chi mi domanda come si fa a decollare:</span></div>
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<span style="color: red;">se lo sapessi! Comunque non quando </span></div>
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<span style="color: red;">hai le ali di marmo...</span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">...chi mi chiede che peso hanno le parole, come se io sapessi rispondere: </span><br />
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<span style="color: red;">gli angeli possono volare perché credono nelle diete</span></div>
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<span style="color: red;">e sono magri, sono profili !</span></div>
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<span style="color: red;">... chi mi chiede cosa leggere: chi non ha mai letto 'Le città invisibili ' di Calvino</span></div>
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<span style="color: red;">è come se avesse vissuto, dormito nel fondo di una cantina.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">... chi mi chiede che cosa è un paradosso:</span></div>
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<span style="color: red;">una volta Totò partecipò ad un concorso</span></div>
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<span style="color: red;">'per sosia di Totò' ed arrivò terzo! </span><br />
<span style="color: red;">-o-</span></div>
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<span style="color: red;">...chi mi chiede quanto dura l'effimero, dentro e fuori il teatro: le opere di B. Russel</span></div>
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<span style="color: red;">furono definite lascive, libidinose, sensuali, erotiche, afrodisiache,</span></div>
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<span style="color: red;">irriverenti, grette, false, prive di contenuto morale.</span></div>
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<span style="color: red;">Dieci anni dopo, nel '50, gli dettero il Nobel per la letteratura. </span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">...chi mi chiede quali siano le parole più ricorrenti nella nostra lingua: le voci italiane più ricche di varianti (sinonimi) sono ‘morire’ e ‘prostituta’.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">... chi mi chiede quanto vale come attore: chiedi il doppio della cifra che hai in mente: </span></div>
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<span style="color: red;">è la metà di quello che ti dovrebbero dare...e che meriti. Occhio però, </span></div>
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<span style="color: red;">questa è una società che non sa fare i conti.</span></div>
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<span style="color: red;">-o-</span><br />
<span style="color: red;"> ...chi mi chiede se c'è un legame tra persona/attore e personaggio: guardo, quando posso, i visi delle persone/attori, nella vita e in teatro concentrati nel ruolo e noto il malessere dell'attore/persona che subisce il personaggio e anzi gli permette di dominare. Errore. Così si perde il controllo: la persona diventa schiava del ruolo. Lo serve, si concede, gli delega l'iniziativa. Se in scena il personaggio prende il sopravvento, l'attore dimentica le battute, cade nella disperazione dei vuoti di memoria e soffre attacchi di panico. Perde il ruolo dominante e il controllo intellettuale. Sembra che si spacchi ed è qui che, di rinuncia in rinuncia, l'attore/persona si frantuma nel ruolo di pagliaccio, caricatura, macchietta.</span></div>
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<span style="color: red;">Se non stai attento...Amleto ti mangia in un boccone!</span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">...chi mi chiede fino a quando avremo bisogno delle parole:</span></div>
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<span style="color: red;">il cronoma è un frammento spaziotemporale,</span></div>
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<span style="color: red;">unico per ciascuno di noi come unico è il genoma.</span></div>
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<span style="color: red;">Si tratta di un frammento capace di portarci nel cuore della solitudine assoluta,</span></div>
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<span style="color: red;">dove non siamo noi a guardare l'anima ma è l'anima che osserva noi.</span></div>
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<span style="color: red;">Significa che il mio mondo di parole e il tuo si dissolveranno </span></div>
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<span style="color: red;">e non resterà che un linguaggio poco al di sotto del sublime.</span></div>
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<span style="color: red;">-o- </span></div>
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<span style="color: red;">...chi mi chiede quanto conta il talento sul palcoscenico.</span></div>
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<span style="color: red;">Rispondo con un paradosso di O.Wilde:</span></div>
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<span style="color: red;">in ogni creazione artistica conta per il 5%</span></div>
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<span style="color: red;">l'ispirazione e per l'altro 95% ci vuole la 'traspirazione' ( sudore).</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">...chi mi chiede quali sono le difficoltà di un attore: contro l’attore, sovente, c’è tutto: il teatro stesso come edificio, troppo grande, troppo piccolo, troppo freddo, troppo caldo, i fumi, le polveri, i rumori, le luci che accecano, i colleghi,</span></div>
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<span style="color: red;">il regista, spesso sgarbato, tiranno o, peggio, incompetente,</span></div>
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<span style="color: red;">il pubblico che, due volte su cinque ha le paturnie...</span></div>
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<span style="color: red;">L’attore dal palco riesce a vedere i visi di coloro che siedono sulle prime poltrone,</span></div>
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<span style="color: red;">illuminati dal riverbero del boccascena e quei visi sembrano dire: 'fammi ridere o fammi piangere...perché io ho pagato il biglietto...!’</span></div>
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<span style="color: red;">Inoltre, l’attore ha contro 'anche se stesso' e cioè i suoi propri umori, la sua vita privata, </span></div>
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<span style="color: red;">la difficoltà di ricordare la parte e, per sommi capi anche quella dei colleghi, gli abiti che indossa, le sue frustrazioni, le sue resistenze, i suoi pudori, la rabbia inesprimibile di soggiacere al potere intellettuale di un altro.</span></div>
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<span style="color: red;">Deve ricordare cosa dire, dove dirlo, quando dirlo, </span></div>
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<span style="color: red;">attento a non impallare i colleghi, né a farsi impallare... e se poi gli riesce deve anche essere più che bravo...elegante, geniale, seducente per meritarsi paga, stima, applausi...scavando, spesso dolorosamente, nella ricerca della perfezione possibile. Una sola cosa è a sua favore: l’Autore, specie quando è un Grande. </span></div>
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<span style="color: red;">E infatti l’Autore gli mette a disposizione tutto ciò che serve: </span></div>
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<span style="color: red;">la storia, i fiati, i respiri, i silenzi, l’azione, le magie del linguaggio;</span></div>
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<span style="color: red;">gli fornisce, insomma, la sintesi tra sostanza e forma, </span></div>
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<span style="color: red;">ovvero il fascino perfetto della parola scritta e la suggestione della parola detta. </span></div>
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<span style="color: red;">Questo è il vero potere dell’attore e nello stesso tempo la sua croce,</span></div>
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<span style="color: red;">che gli permette di portare la platea, in un grande abbraccio emozionale, </span></div>
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<span style="color: red;">dove si piange e si ride e dove si accetta la finzione come un regalo.</span></div>
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<span style="color: red;">Ma ciò avviene solo se l’attore e il suo regista, al quale deve abbandonarsi, rispettano l’Autore: </span></div>
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<span style="color: red;">in caso contrario anche l’Autore gli si rivolta indignato </span></div>
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<span style="color: red;">e ciò determina la frana, il fallimento.</span></div>
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<span style="color: red;">L'attore è un chirurgo, per lo più intimamente triste e solitario, che opera a cuore aperto:</span></div>
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<span style="color: red;">se non è delicato e sapiente... il paziente muore.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">... chi mi chiede di leggere le 'sue' poesie, o i 'suoi' diari, o la 'sua' autobiografia: ora che 'PAROLAZIONE' ha allargato il consenso e la considerazione , alcuni autori bussano alla mia porta .</span></div>
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<span style="color: red;">Il che mi lusinga e, in certi casi, mi stimola.</span></div>
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<span style="color: red;">Preparare un testo, però, complicato o semplice, firmato o anonimo, significa per me lavorare sodo per mesi, perché lo sforzo che cerco e che chiedo è assoluto.</span></div>
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<span style="color: red;">E' intuitivo che la motivazione deve essere necessariamente forte.</span></div>
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<span style="color: red;">Indifferente mi lasciano le proposte, spesso arroganti, che nascondono soltanto</span></div>
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<span style="color: red;">l'inelegante bisogno di nutrire un ego affamato. </span><br />
<span style="color: red;">-o-</span></div>
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<span style="color: red;">...chi mi chiede come si fa ad entrare nel mio gruppo : basta conoscere la dizione o volerla imparare. Basta arrendersi al regista prima ancora di stimarlo.</span></div>
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<span style="color: red;">-o-</span></div>
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<span style="color: red;">...chi mi chiede informazioni sui miei attori: per ricevere qualcosa dagli attori bisogna sempre chiedere. Io ai miei chiedo tutto, anche quello che pensano di non avere. E in cambio che cosa ottengo? Ciò che continuamente chiedo a me stesso: ' la perfezione possibile'. </span><br />
<span style="color: red;">-o- </span><br />
<span style="color: red;">...chi chiede informazioni sul mio corso di DIZIONE:</span><br />
<span style="color: red;">20 lezioni di due ore, una sera alla settimana, dalle 21 alle 23.</span></div>
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<span style="color: red;">(Adolfo Milani)</span></div>
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<span style="color: red;">-o- </span><br />
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PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com6tag:blogger.com,1999:blog-37029605.post-26601827902802666242019-03-27T19:00:00.000+01:002019-03-26T20:17:32.612+01:00VERBA VOLANT....<div class="separator" style="clear: both; text-align: center;">
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<b><span style="color: red; font-size: large;">SCRIPTA MANENT...</span></b></div>
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<span style="color: red;">Martino Lorenzini</span></div>
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<span style="color: red;">9 dicembre, Fabio Zaccaria, Gazzetta dell'Adda</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: orange;">Gazzetta della Martesana, 3 XI 2014 (Fabio Zaccaria)</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: red;">29 marzo 2014</span></td></tr>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: black; border: 0px currentColor; color: white; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; font-size: 14pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;"><b style="background-color: transparent; border: 0px currentColor; font-size: 19px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; font-size: 12pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">TEATRO * RECENSIONE REPORT di Nicola Riva </span> </b> </span></span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;"><span style="background-color: transparent; border: 0px currentColor; font-size: 14pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La rappresentazione de</span><span class="Apple-converted-space"> </span>“<span style="background-color: transparent; border: 0px currentColor; font-family: "arial black" , "avant garde"; font-size: 24pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">La Cantatrice Calva</span>” di<span class="Apple-converted-space"> </span><span style="background-color: transparent; border: 0px currentColor; font-family: "impact" , "chicago"; font-size: 24pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">E. Ionesco</span><span class="Apple-converted-space"> </span>è stata<span style="background-color: transparent; border: 0px currentColor; font-size: 14pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">portata sulle scene dalla compagnia “<b style="background-color: transparent; border: 0px currentColor; font-size: 19px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; font-family: "verdana" , "geneva"; font-size: 18pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Parolazione</span></b>”,<span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; font-size: 14pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span class="Apple-converted-space"> </span>la sera di sabato 13 aprile a Trezzo sull’Adda presso la sede della Società Operaia.<span class="Apple-converted-space"> </span><span style="background-color: transparent; border: 0px currentColor; font-size: 12pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Si tratta del</span></span></span><span style="background-color: transparent; border: 0px currentColor; font-size: 12pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">la prima di cinque repliche che si snoderanno tra i paesi limitrofi per concludersi nuovamente a Trezzo a giugno<span class="Apple-converted-space"> </span><a href="http://www.hubculture.it/83-home/579-teatro-dell-assurdo-annotazioni" style="background-color: transparent; border: 0px currentColor; color: #404040; font-family: Calibri, san-serif; font-size: 22px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; color: #ff6600; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; font-size: 14pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">[Confronta con contributo:</span><span class="Apple-converted-space"> </span></span><span style="background-color: transparent; border: 0px currentColor; font-size: 14pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b style="background-color: transparent; border: 0px currentColor; font-size: 19px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; color: #ff6600; font-size: 19px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Teatro dell’assurdo: annotazioni]</span><span class="Apple-converted-space"> </span></b></span></span></a></span>.</span></span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Difficilmente una compagnia teatrale si attiene in modo pedissequo al copione scritto e pubblicato dall’autore, soprattutto quando non si tratta di un lavoro formale, sterile, quasi filologico: molto più spesso accade, invece, che l’estro, il gusto e soprattutto la competenza del regista, eventualmente coadiuvato dagli altri membri dell’entourage – attori e tecnici -, intervengano per fornire un’impronta più personale, una sorta di firma d’autore che renda<span class="Apple-converted-space"> </span><i style="background-color: transparent; border: 0px currentColor; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">quella</i><span class="Apple-converted-space"> </span>rappresentazione esattamente<span class="Apple-converted-space"> </span><i style="background-color: transparent; border: 0px currentColor; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">quella</i><span class="Apple-converted-space"> </span>che è. In particolar modo questa operazione si può svolgere in quasi totale libertà quando ci si deve confrontare con il “teatro dell’assurdo”, secondo la definizione che Esslin diede al movimento di drammaturgia ispirato all’esistenzialismo nella metà del XX secolo.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 12pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b style="background-color: transparent; border: 0px currentColor; font-size: 16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">La cantatrice calva</span></b></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Ma veniamo ora all’argomento principale: la rappresentazione dell’opera “La cantatrice calva” di Ionesco. Poche righe sopra ho accennato agli importantissimi grandi assenti, protagonisti del loro non-esserci pur rimanendo a loro modo protagonisti. Prima che lo spettacolo (mi si passi il termine, poiché in fondo il teatro è questo) iniziasse, il regista e primo attore, Milani, ha illustrato i concetti sopraesposti con poche, semplici, accuratissime osservazioni che hanno gettato una luce importante sulla comprensione di questo e altri testi. Con due citazioni e un rapido confronto ha aiutato anche i più impreparati ad affrontare un elemento a prima vista bizzarro: il titolo della<span class="Apple-converted-space"> </span><i style="background-color: transparent; border: 0px currentColor; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">piéce.</i>Parafrasando Tolstoj, se in un’opera compare una pistola, prima o poi questa dovrà sparare. E similmente Dostoevskij: se c’è un’ascia sarà utilizzata. Ma se così non fosse?</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Immaginiamo un elemento chiave che resta per tutto il tempo nell'ombra, senza mai palesarsi. Ecco la figura evanescente ed enigmatica di Godot nell’opera di Beckett</span><a href="http://www.hubculture.it/83-home/578-parolazione-la-cantatrice-calva-di-eugene-ionesco#_ftn1" name="_ftnref1" style="background-color: transparent; border: 0px currentColor; color: #404040; font-family: Calibri, san-serif; font-size: 22px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title=""><span style="background-color: transparent; border: 0px currentColor; color: black; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">[1]</span></span></a><span style="color: red;">, citata di continuo dai due protagonisti ma mai apparsa, ammesso che sia mai esistita. Lo stesso discorso si applica alla “Cantatrice calva” di Ionesco. Ma qui il rimando si fa ancora più astruso e inafferrabile, poiché tale non-personaggio viene nominato una sola volta, per giunta con una nonchalance che se non fosse il titolo stesso dell’opera difficilmente avrebbe attratto la nostra attenzione.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Il testo in sé non è altro che una serie di battute scollegate e dialoghi sconclusionati, che non veicolano alcun messaggio e non comunicano nulla, non narrano, non arguiscono, non filosofeggiano. Non c’è la “morale della favola”, manca ogni possibile insegnamento o monito. A sipario calato, lo spettatore non sa nulla più di quanto sapesse all’inizio. Nessun personaggio l’ha condotto per mano attraverso il dipanarsi di una vicenda, come accade così sapientemente nei grandi autori come Shakespeare o Pirandello (per non citare tutti i classici greci e latini), e questo semplicemente perché NON C’È alcuna vicenda: manca ogni minimo accenno di trama, e le scene risultano giustapposte per paratassi, quasi intercambiali, come acini d’uva staccati dal grappolo. Impossibile fornirne un riassunto. Perciò invito chi volesse approfondire a leggere il copione o – meglio ancora – a recarsi a teatro per vederlo sulle scene: non esistono alternative.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 12pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b style="background-color: transparent; border: 0px currentColor; font-size: 16px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Il lavoro di “Parolazione”</span></b></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span style="color: red;"> </span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Poiché, come detto, ogni regista interpreta il testo adeguandolo al pubblico, al luogo o al tempo storico in cui sarà rappresentato (e sottolineo “interpreta”: l’interpretazione di un’opera d’arte non ha nulla a che fare con la sua esecuzione, che può benissimo rimanere inalterata), anche nell’allestimento proposto dal gruppo di Parolazione sono distinguibili certi particolari significativi, alcuni evidenti, altri più sottili, ma sempre tesi allo scopo di veicolare un determinato pensiero di fondo.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span style="color: red;"> </span></span></span></span></b></div>
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<div style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border: 0px currentColor; color: #525253; font-size-adjust: none; font-stretch: normal; font: 12px/18px Arial, Helvetica, sans-serif; letter-spacing: normal; margin: 0.7em 0px; outline: 0px; padding: 0px; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">
<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">L’elemento che più si distacca dal testo originale, così come Ionesco l’aveva siglato sulla carta, è indubbiamente quello più palese, la scenografia. Per quanto scarne, le indicazioni che aprono il testo sono ben precise: “Interno borghese inglese con poltrone inglesi”, e, poco più avanti, “accanto a un fuoco inglese”. Tralasciando l’ironia della ripetizione (sarà solo lo spunto per sottolineare alcuni argomenti toccati, assolutamente frivoli e privi di ogni spessore), appare chiaro che due elementi imprescindibili siano il tono borghese, quindi pregiato, raffinato o perlomeno costoso, e la presenza di un fuoco, che non svolge altra funzione che quella di creare un’atmosfera da classico “interno”. Al contrario, Milani ha optato per una soluzione molto più radicale: semplici tende assolutamente bianche</span><a href="http://www.hubculture.it/83-home/578-parolazione-la-cantatrice-calva-di-eugene-ionesco#_ftn2" name="_ftnref2" style="background-color: transparent; border: 0px currentColor; color: #404040; font-family: Calibri, san-serif; font-size: 22px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title=""><span style="background-color: transparent; border: 0px currentColor; color: black; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">[2]</span></span></a><span style="color: red;">.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span style="color: red;"> </span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Il bianco impera in ogni elemento. Di bianco vestono tutti i personaggi (salvo l’unico vezzo di un elemento rosso acceso, diverso per ciascuno): si dice che il bianco sia il colore della purezza. In realtà, osservando meglio il mondo che ci circonda, questo non-colore è quanto di più terrificante possa immaginarsi. Solo per citare qualche esempio tratto dalle esperienze comuni, più un viso è pallido più denota malessere. Fino al candore finale, quello dei cadaveri. Bianche sono le bende e i sudari. Bianchi sono i fantasmi. Bianca la nebbia che nasconde ogni cosa, impedendoci la vista degli elementi più familiari e rassicuranti, e gettandoci in uno smarrimento panico.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span style="color: red;"> </span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Non solo: il bianco rappresenta anche la<span class="Apple-converted-space"> </span><i style="background-color: transparent; border: 0px currentColor; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">tabula rasa</i>, un foglio o una tela su cui non si sia ancora scritta alcuna parola o tracciato alcun segno. Chiunque abbia esperienza di scrittura o pittura sa quanto sia terrificante la minaccia del bianco totale davanti: è il blocco dell’artista, l’<i style="background-color: transparent; border: 0px currentColor; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">horror vacui</i><span class="Apple-converted-space"> </span>che svuota la mente da ogni pensiero, annullando la volontà. Ribaltando la prospettiva, si può anche presumere che la pagina bianca sia quella che<span class="Apple-converted-space"> </span><i style="background-color: transparent; border: 0px currentColor; font-size: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">precede</i><span class="Apple-converted-space"> </span>il lavoro, il preludio, il materiale ancora da plasmare. Il concetto non cambia: passare dalla potenza all’atto comporta sempre uno sforzo creativo non esente da pericoli e rischi.</span></span></span></span></span></b></div>
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<div style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border: 0px currentColor; color: #525253; font-size-adjust: none; font-stretch: normal; font: 12px/18px Arial, Helvetica, sans-serif; letter-spacing: normal; margin: 0.7em 0px; outline: 0px; padding: 0px; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">
<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">L’altro elemento scenografico apportato dal regista è un curioso orinale collocato su un tavolino. La sua funzione l’ha spiegata subito, per stornare gli evidenti quesiti della platea: l’orinale ha come funzione la raccolta di ciò che si rifiuta, degli scarti inutili. È il deposito dell’evacuazione, e così il regista vede i personaggi della tragedia: individui inutili che evacuano il proprio spirito, la propria intimità, la psicologia, i pensieri. Non sono altro che bocche per dar fiato a frasi inconcludenti, mentre senza accorgersene si sbarazzano di tutto ciò che fa di loro delle persone, riducendosi così a gusci vuoti. O meglio, svuotati.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span style="color: red;"> </span></span></span></span></b></div>
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<div style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: white; border: 0px currentColor; color: #525253; font-size-adjust: none; font-stretch: normal; font: 12px/18px Arial, Helvetica, sans-serif; letter-spacing: normal; margin: 0.7em 0px; outline: 0px; padding: 0px; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">
<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Un’altra delle impronte che ogni regista conferisce alla propria rappresentazione è la tecnica recitativa, intesa come forma espositiva, andamento dialogico, ritmi, tempi, pause, intonazioni e tutta l’impalcatura che allestiamo quando parliamo. Il teatro consente la consapevolezza di quello che si andrà a dire di volta in volta, e tale consapevolezza può essere sfruttata per manipolare parole e atteggiamenti, calcando su un punto, lasciandone cadere altri, sottolineando alcune espressioni-chiave, in particolar modo durante i monologhi. Ma al teatro dell’assurdo si confà tutt’altro tipo di tecnica, e Milani ha saputo cogliere questa sfumatura. Non c’è posto per declamazioni, perché nulla è così importante da essere declamato. Né bisogna dare più importanza a una frase rispetto a un’altra, e quindi le pause e le sospensioni non hanno ragione d’esistere. Il teatro dell’assurdo non si recita: si pronuncia. E proprio così si sono espressi gli attori: utilizzando un tono di voce neutro, distaccato e incurante, lo stesso che utilizziamo quando non abbiamo necessità di narrare o comunicare.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Tutto questo fino alla scena conclusiva, dove i personaggi presenti sul palco sono in quattro, il doppio rispetto all’inizio, e ciascuno insiste nel voler dire la propria frase, sempre un’unica, brevissima frase, spesso ripetendola, incentrando il mancato dialogo su giochi di parole e assonanze, e voli pindarici tra un nome e un suono, fino alla disarticolazione totale. Il ritmo della recitazione si fa più concitato e affannoso, e anche il volume si alza giungendo quasi al grido in cui tutti si parlano sopra (un’espressione che ho sempre odiato ma che in questo caso coglie alla perfezione il concetto), dando vita a un caos schiacciante, una sorta di aggressione verbale tra tarantolati. Il copione riporta ogni singola frase, preceduta dal nome del personaggio che la deve pronunciare, ben staccata e distinta dalla precedente e dalla successiva. Invece Milani ha preferito portare all’estremo l’assurdità non solo delle parole ma anche della situazione, dando fiato contemporaneamente a tutti gli strumenti vocali di quell’orchestra umana e traendone una dissonanza stridente e straniante come si trova anche nella musica contemporanea.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Perché in fondo ci sono tre modi per non riuscire a comunicare: tacere, blaterare sciocchezze o far prevalere la propria voce sulle altre, in un grido tronfio, gonfio d’arroganza che purtroppo nella società moderna conosciamo fin troppo bene.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Questo è il mondo nel XX e XXI secolo: un teatro dell’assurdo recitato da uomini che non sanno esprimersi, davanti a un panorama che da paesaggio si sta trasformando in vuoto. Mondo nebbia, parole di fumo, un’umanità che si svuota di se stessa, in continuazione, nell’orinale della più atroce e scorporante sinecura.</span></span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span style="color: red;"> </span></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><b style="background-color: transparent; border: 0px currentColor; font-size: 12px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Nicola Riva</span></span></b></span></span></span></b></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;"></span></span></span></span></span></b><br /></div>
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<b><span style="color: red; font-size: large;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="font-family: "times new roman"; font-size: 12pt;"><span style="background-color: transparent; border: 0px currentColor; color: black; font-family: "helvetica"; font-size: 10pt; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: red;">Invito i lettori a consultare il sito “parolazione.blogspot.com” per conoscere più approfonditamente le attività di questa compagnia fervida di iniziative e vulcanica nelle idee, che spazia da incontri di impegno civile e religioso ad alcuni testi teatrali tra i più importanti, da Pirandello a Moliére, da Pasolini a Ibsen, oltre a una cospicua produzione dello stesso Milani, autore, direttore, regista e attore.</span></span></span></span></span></b></div>
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<h4 class="separator" style="clear: both; text-align: center;">
<span style="color: red; font-size: xx-small;">Fabio Zaccaria, 8 aprile, la gazzetta dell'Adda</span></h4>
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<span style="color: red;">15 febbraio</span><br />
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<span style="color: red;">La citta di Trezzo sull'Adda, n° 1, marzo 2010 </span></div>
<b><span style="color: red;">-o-</span></b><br />
<span style="color: red;">A meno di una settimana dal precedente grande spettacolo, la sala teatrale di Crespi e' tornata ad essere un luogo protagonista della vita culturale e mondana di Capriate San Gervasio (BG). Il gruppo teatrale "Parolazione" di Trezzo sull'Adda ha presentato, questo venerdi sera 23-10-2009, lo spettacolo "L'AVARO" (di Moliere). La sala era piena (non c'era molta gente di Capriate o di Crespi, in prevalenza era un pubblico di Trezzo): tutti i circa 110 posti a sedere erano occupati. Molti sono stati i meritati applausi per tutti gli attori. Adolfo Milani (Arpagone, il protagonista) ha ringraziato il pubblico per la attenzione e concentrazione con la quale ha seguito la rappresentazione, dando modo a ciascun attore di poter dare il meglio di se. Si auspica di poter tornare ancora a Crespi per altri spettacoli. Naturalmente gli spettatori concordano con questo auspicio. </span><br />
<span style="color: red;">(Il commento è di Michele Lecchi sul blog IL PENSIERO DI OGGI)</span><br />
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<span style="color: red;">Grande partecipazione di pubblico alla serata dedicata alla poesia, in occasione dell'inaugurazione del Gazebo della Caffetteria del Castello. Molto applaudite le poesie estratte dai cassetti dai poeti locali e lette con perizia e professionalità dagli artisti del Gruppo Parolazione di Adolfo Milani. La giuria composta da un gruppo di appassionati: il Sindaco Roberto Milanesi, l'Assessore alla Cultura Maria Luisa Pesenti, la Direttrice della Biblioteca Alessandro Manzoni Magda Bettini, la signora Anna Baido Leoni, Alessandro Bassani e Adolfo Milani. Le tre poesie scelte dalla giuria che si è riunita il 12 aprile nei locali della biblioteca Alessandro Manzoni di Trezzo sull'Adda. Il loro giudizio è stato unanime e il criterio di escludere una graduatoria, condiviso da tutti. Le opere sono state nominate nell'ordine in cui sono state lette dagli attori del gruppo 'PAROLAZIONE'</span></div>
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PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com6tag:blogger.com,1999:blog-37029605.post-42641100514442789822018-09-30T21:17:00.000+02:002018-10-01T19:04:43.613+02:00Il repertorio di Parolazione: non si può avere tutto, dove lo metteresti?<div class="separator" style="clear: both; text-align: center;">
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<span style="color: red;"> 'ultima sigaretta' :25 maggio 2007!! </span></div>
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<span style="color: red;"></span><span style="color: red;">-o- </span></div>
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<span style="color: red; font-size: large;"><b>Da You Tube: Sceneggiato Rai 1971 Un uomo senza volto di P.Caillol (A.Lupo); La donna di Picche, Ten. Sheridan 5di5.</b></span><br />
<span style="color: red;"></span><br />
<span style="color: red;">Il repertorio fino al 2005</span></div>
<span style="color: red;"><br /></span><span style="color: red;">Lo stesso discorso di sempre ( di Andra Cotti) - L’anima innamorata ( di Alda Merini) - Le parole degli altri ( di Adolfo Milani) - Lezione di violino con dissonanza ( di Adolfo Milani) - L’uomo dal fiore in bocca ( di Luigi Pirandello) - Trezzo d’acqua e d’amore ( di Adolfo Milani) - Il sogno del corvo (P. P. Pasolini) ( a cura di A. Milani)</span><br />
<span style="color: red;"><br />
</span><span style="color: red;">Il repertorio fino al 2006 </span><br />
<span style="color: red;"><br />
</span><span style="color: red;">Ipotesi nell’altrove ( di Adolfo Milani) - Racconto vero del povero Piero ( di Adolfo Milani) - Spettri ( di Ibsen ) - Vinodivino (viaggio nella poesia del vino curato e diretto da A. Milani) - Sei uomini in barca ( di Adolfo Milani) - Mettiamoci una pietra sopra ( Poesie per una mostra di foto)- Oro incenso e...birra (Adolfo Milani) </span><br />
<span style="color: red;"><br />
</span><span style="color: red;">Il repertorio fino al 2007</span><br />
<span style="color: red;"><br />
</span><span style="color: red;">' Il paese di Piero ' di Adolfo Milani (replica) - La cruna dell'anima di Adolfo Milani - La poesia nel cassetto curato da Adolfo Milani - Acquarelli in Poesia, poeti che ispirano l'arte- L'arca e l'arpa di Adolfo Milani - Parole e musica per un saggio ginnico - Il berretto a sonagli di Luigi Pirandello - Guerra di donne, donne di guerra di Adolfo Milani </span><br />
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<span style="color: red;">Il repertorio fino al 2008</span><br />
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<span style="color: red;">Liturgia della Consacrazione - a cura di A. Milani - Il giorno della Memoria a cura di Adolfo Milani - La clemenza dell'acqua di Adolfo Milani - Donne d'amore, amore di donne a cura di A. Milani - La poesia nel cassetto, seconda ed. - Le città invisibili di Italo Calvino - L'erba voglio di A. Milani </span><br />
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</span><span style="color: red;">Il repertorio fino a giugno 2009</span><br />
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</span><span style="color: red;">Cantico dei Cantici per 11^ Settimana Biblica e 'La cognizione del dubbio ' di A. Milani - Replica de 'Morte di un commesso viaggiatore' di Arthur Miller - La giornata della Memoria a cura di A. Milani - 'Necropoli' di Boris Pahor a cura di A. Milani - 'Donne d'amore, amore di donne' di A. Milani (replica) - L'avaro di Moliere 3 repliche - 'Futurismo' 1909-2009 di A. Milani 2 repliche </span><br />
<span style="color: red;"><br />
</span><span style="color: red;">Repertorio fino al 2010</span><br />
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</span><span style="color: red;">' Marcovaldo ' di Italo Calvino - 'Necropoli' di Boris Pahor (replica) - 'L'avaro' di Molier - Chi ha bruciato il Povero Piero? di A. Milani -12° Settimana biblica: '...come la polvere della terra...' di A. Milani - 'Rosso nobile' 50° AVIS, 1960/2010 di A. Milani - Accordi... ricordi a cura di A. Milani - La metamorfosi di Kafka - 'Il malinteso' di Camus </span><br />
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</span><span style="color: red;">Repertorio fino al 2011 </span><br />
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<span style="color: red;">'Il Malinteso' di Camus : sei repliche - 'Dove finisce il cielo di A. Milani - 12° Sett. Biblica - Lettere di condannati a morte della Resistenza- </span><span style="color: red;"> "Le favole al telefono " di Rodari - Vecchio scarpone, testi di cori alpini. </span><br />
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<span style="color: red;">Repertorio fino al 2012 </span><br />
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<span style="color: red;">Chernobyl : rugiada e veleni di A. Milani -Vinodivino a cura di A. Milani - La gioia imperfetta di A. Milani - <span style="color: #e69138;"><span style="color: red;">"Insonnia" di A. Milani</span> - <span style="color: red;">'Uomini così...' : 25° anniversario Alpini di Trezzo a cura di A. Milani </span>- </span></span><br />
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<span style="color: red;">Repertorio fino al 2013</span><br />
<span style="color: red;"><span style="color: #e69138;"></span></span><br />
<span style="color: red;"><span style="color: #e69138;"><span style="color: red;">'Vecchio scarpone' a cura di A. Milani -</span> <span style="color: red;">"Morte di croce" di A. Milani, due repliche -</span> <span style="color: red;">'La cantatrice calva ' di Ionesco.- 'Dal Carso al Don' a cura di Adolfo Milani - 'Vinodivino' a cura di A. Milani</span></span></span><span style="color: red;"></span><br />
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<span style="color: red;"></span><br />
<span style="color: red;">Repertorio fino al 2014</span><br />
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<span style="color: red;">'Amontillado...pronunci, sentirà che dolcezza' da Poe a Pirandello,(6 repliche) -</span><span style="color: #e69138;"> </span><br />
<span style="color: orange;"><span style="color: red;">Uomini massa di A. Milani -</span> <span style="color: red;">Lo strano caso del Povero Piero di A.Milani </span>- <span style="color: red;">Le antiche porte del sorriso di A. Milani.</span><span style="color: red;"> </span></span><span style="color: orange;"><span style="color: red;"></span></span><br />
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<span style="color: red;">Repertorio fino al 2015</span><br />
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<span style="color: orange;"><span style="color: red;">'L'uomo dal fiore in bocca' di Pirandello - Nuvole, acque e venti (Donadoni, Milani) -<span style="color: orange;"> </span><span style="color: red;"> </span>Lettera al padre di Kafka (due repliche) -</span> <span style="color: red;">Il digiunatore di Kafka</span> - <span style="color: red;">Sette piani di Buzzati</span>- </span><br />
<span style="color: orange;"></span><br />
<span style="color: red;">Repertorio fino al 2016</span><br />
<span style="color: orange;"></span><br />
<span style="color: orange;"><span style="color: red;">Replica di 'Sette piani' di Buzzati -</span> <span style="color: red;">Voglio una vita di cioccolata... a cura di Adolfo Milani -</span> <span style="color: red;"> 'Foibe, ultimo testimone' adattamento e riduzione a cura di Adolfo Milani</span> - <span style="color: red;">Turoldo, servo di Dio, nel centenario dalla nascita, a cura di A. Milani-</span> <span style="color: red;">ELETALELATELE di A. Milani</span>. </span><br />
<span style="color: orange;"></span><br />
<span style="color: red;">Repertorio fino al 2017</span><br />
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<span style="color: red;">Replica di ELETALELATELE di A. Milani- <span style="color: orange;">'Una domanda di matrimonio 'di Anton Checov, riduzione e regia di Adolfo Milani <span style="color: red;"></span></span><span style="color: orange;"> - Sinthesis di A. Milani - la Mandragola di Machiavelli</span></span><br />
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<a href="http://www.blogger.com/" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span style="color: red;">Attori fino al 2015</span><br />
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<span style="color: red;">Vittorio Andreotti, Antonella Boisio, Francesca Bassis, Marco Cereda, Barbara del Prato, Elide Crippa, Enrica Enzler, Irene Locatelli, Patrizia Mele, Nives Manganini, Alessandro Pisoni, Rolando Scaccabarozzi, Emanuela Toccagni... </span></div>
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<span style="color: red;"> -o-</span></div>
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</span><span style="color: red;">Collaborazioni: </span><br />
<span style="color: red;"><span style="color: orange;">Grafica e computer : </span></span><span style="color: red;">Marco Cereda</span><br />
<span style="color: red;"><span style="color: orange;">Luci di scena e microfoni</span> :Valerio Minelli. </span><br />
<span style="color: red;"><span style="color: orange;">Trovarobe:</span> Patrizia Mele. </span><br />
<span style="color: red;"><span style="color: orange;">Coreografie</span>: Valeria Bonfanti</span><br />
<span style="color: red;"><span style="color: orange;">Scene</span> : Italo Mapelli</span><br />
<span style="color: red;"><span style="color: orange;">Foto : </span><span style="color: red;">Rino Tinelli,</span> Mario Donadoni, Tonino Ranieri, Mario Tognola, A. Milani, Lorenzo Barzaghi (ha esposto in sala)</span><br />
<span style="color: red;"><span style="color: orange;">Riprese live</span>: Giulio Colombo. </span><br />
<span style="color: red;"><span style="color: orange;">Sculture :</span> Max Squillace. </span><br />
<span style="color: red;"><span style="color: orange;">Quadri </span>: Fabio Pesenti, Giorgio D'Anneo, Fausta Dossi, A. Milani, Paola Albani, Giovanni Brambilla. </span><br />
<span style="color: red;"><span style="color: orange;">Musiche : </span></span><br />
<span style="color: red;"><span style="color: orange;">Al violino</span> Fabio Pirola, </span><br />
<span style="color: red;"><span style="color: orange;">Al</span><span style="color: orange;">l'arpa</span> Elisabetta Rossi.</span><br />
<span style="color: red;"><span style="color: orange;">Alla chitarra: <span style="color: red;">Carlo Corti</span>, </span> </span><br />
<span style="color: red;"><span style="color: orange;">A</span><span style="color: orange;">ll'organo</span> :P. Luigi Zonca e Daniele Pirola,<span style="color: orange;"> </span></span><br />
<span style="color: red;"><span style="color: orange;">Alla tastiera :</span>Giorgio Barzaghi . </span><br />
<span style="color: red;"><span style="color: orange;">Al flauto:</span> Sabrina Corti. </span><br />
<span style="color: red;"><span style="color: orange;">Alla tromba</span> : Giuseppe Diceglie</span><br />
<span style="color: red;"><span style="color: orange;">Al sax tenore:</span> Alessandro Albani</span><br />
<span style="color: red;"><span style="color: orange;">Coro del 'Libro Aperto' diretto dal maestro</span> Bruno Raffaele. </span><br />
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<span style="color: red;">-o-</span></div>
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</span>PAROLAZIONEhttp://www.blogger.com/profile/10385236752254636123noreply@blogger.com0