#Cia Limite 151

[historianatlarge]

What is the biggest gun ever built?

I’m going to give you 1.5 answers here, essentially. The main answer will be the biggest gun ever fully constructed and used in combat, the other will be a project that was partially completed. Interestingly, both answers involve corporations behaving very badly - revealing a key lesson that capital often does not function with the same morality we have.

Starting in reverse order, there are the Project Babylon guns that were planned and partially built for Saddam Hussein, the ruthless dictator of Iraq. When you are an absolute ruler, if you feel like writing romance novels, nobody is going to say no - nor are they going to say no if you decide you want to build guns that can literally launch projectiles into space. Enter Canadian Gerald Bull, whose lifetime goal was to launch satellites into orbit from giant cannon. Bull also worked on Iraq’s SCUD missiles, an activity that was likely the cause of his assassination, probably by the Israeli Mossad. (Though there are numerous other theories - the man had potential enemies ranging from the CIA to MI6 to as far afield as Chile.)

The largest of the projected guns was meant to have a barrel length over 500 feet, with a 3.3 foot bore. The only test-fired weapon was a prototype with a 350mm bore and a 151 foot barrel. The parts for these weapons were ordered from firms abroad that were not supposed to be trading with Iraq - most prominently Sheffield Forgemasters (still active today) in the UK, but with components from companies across Europe. In the UK this became the “supergun affair”, and would not be the last time British firms were involved in government-sanctioned sales to Iraq, actions that in part led to the downfall of the Conservative government and the election of Tony Blair.

Even completed, the Babylon guns would have made weapons just as useless as the German V-3 project - and it is to Germany we turn now for our ‘real’ answer. The largest ever guns used in anger were the Schwerer Gustave and Dora guns, built by Krupp for Hitler.

(Photograph courtesy of Wikimedia Commons)

With a 106 foot long (32.5m) barrel boasting a bore of 31.5 inches (800mm), these weapons were capable of firing shells weighting up to seven tons a distance of up to 29 miles (47km). One of the big shells (armor-piercing rounds) blew up a Soviet arms depot over 100ft (30m+) underground.

(Photograph courtesy of Wikimedia Commons)

All of this may sound impressive, but the reality was that these guns - designed to blow apart the Maginot Line but delivered far too late - were fairly useless attackers of anything smaller than a city. Though the city of Sevastopol would fall under their wrath, the drawbacks were far bigger than the advantages.

For a start, the weapons took a crew of over 4,000 people when you combined the engineers, artillerymen, construction crew and security detail needed to adequately operate the weapon. It took an exorbitantly long time to set up, as well, since it required a special double rail line to be laid down. Anything less would be torn up with ease every time the weapon fired.

The next problem with such a weapon is that it has limited traverse and cannot be moved quickly on a fast-moving battlefield. As a weapon for a long siege, it is ideal - but therein lies its other weakness.

The weapon could only be used in times and places where the Germans had air superiority - a weapon that vast would make a juicy target otherwise. Given its long assembly/disassembly time, too, any sudden enemy advance would put the weapon in peril.

So why build such a weapon in the first place? The Krupp firm had always made a fortune by understanding whoever the ruler of Germany was and exploiting their weaknesses - then extracting the maximum profit. In this case, Gustav Krupp (husband of Bertha Krupp, the actual heir) understood Hitler’s mania for anything grandiose or gigantic. Though Krupp didn’t charge for the first gun, they charged the German government seven million Reichsmarks (well over $26 million today in American dollars) - a hefty windfall for a weapon that was used, in essence, less than half a dozen times.

(Photograph courtesy of Wikimedia Commons)

The figures for these weapons are prodigious - but every pfennig the Germans paid (not including operational costs) could have gone somewhere much more useful, like bomber development or production. But Krupp understood Hitler, and was more than willing to bilk the state for a weapon it didn’t really need.

This was nowhere near the worst thing Krupp would do during the war (that would be the atrocious and vile use of mass slave labor), but it is indicative of a core lesson: patriotism and morality take a back seat to immediate profit all too often in history.

[ambrosiacombr]

O Auto da Compadecida, de Ariano Suassuna, com a Cia Limite 151, na Livraria da Cultura, por Vivian Pizzinga

Auto da Compadecida, clássico de Ariano Suassuna escrito em 1955, voltou à cena no dia 16 de junho, em encenação da Cia Limite 151, apresentada de 2012 a 2015 em diferentes teatros do Rio, Curitiba e Belo Horizonte. A direção é de Sidnei Cruz, e no elenco estão Gláucia Rodrigues, Rafael Canedo...

#EmCartaz #AndréFrazzi #AndressaLameau #ArianoSuassuna #ArnaldoMarquês #BrunoGanem #CiaLimite151 #EdmundoLippi #FláviaFafiães #GlauciaRodrigues #JacquelineBrandão #LeoThuler #LivrariaDaCultura #LuizMachado #OAutoDaCompadecida #RafaelCanedo #RioDeJaneiro #RobsonSantos #SidneiCruz #Teatro #WagnerCampos

http://ambrosia.com.br/agenda/o-auto-da-compadecida-de-ariano-suassuna-com-cia-limite-151-na-livraria-da-cultura/

[96thdayofrage]

https://www.opednews.com/articles/Assange-s-Persecution-High-by-Philip-Giraldi-Freedom-Of-Speech_Freedom-Of-The-Press_Julian-Assange_Persecution-181123-151.html

If you are a journalist and you discover something that is clearly unethical, and possibly even illegal, and you choose to report it what happens next? Well, you could win a Pulitzer Prize or, on the other hand, you might wind up hiding in the Ecuadorean Embassy in London for six years.

Julian Assange is the founder and editor in chief of the controversial news and information site WikiLeaks. As the name implies, since 2006 the site has become famous, or perhaps notorious, for its publication of materials that have been leaked to it by government officials and other sources who consider the information to be of value to the public but unlikely to be accepted by the mainstream media, which has become increasingly corporatized and timid.

WikiLeaks became known to a global audience back in 2010 when it obtained from US Army enlisted soldier Bradley Manning a large quantity of classified documents relating to the various wars that the United States was fighting in Asia. Some of the material included what might be regarded as war crimes. Manning's motives for sharing the information can perhaps be debated but he subsequently regarded himself as a whistleblower, a claim that was ignored, and was sentenced to 35 years in military prison for his mishandling of classified information.

WikiLeaks again became front page news over the 2016 presidential election, when the website released the emails of candidate Hillary Clinton and her campaign manager John Podesta. The emails revealed how Clinton and her team collaborated with the Democratic National Committee to ensure that she would be nominated rather that Bernie Sanders. It should be noted that the material released by WikiLeaks was largely documentary and factual in nature, i.e., it was not "fake news." The source of the leaked or hacked material is still unknown though it has been attributed to "the Russians" by various governments, politicians and media experts. Assange has denied that the Russians were involved.

The handling of the Manning case by the government is illustrative of how leaks of classified information that wind up in the media are generally handled, i.e., the leaker is punished since he or she had the statutory obligation to protect the information but the journalist, protected by the First Amendment, is generally left alone. The leak of the Pentagon Papers in 1971, for example, led to the prosecution of Daniel Ellsberg the leaker, though The New York Times and Washington Post, which reported the story, fought back against pressure from the Nixon White House and were not punished. More recently, however, the line between the information provider and media has become more blurry, with the government having gone after CIA officer Jeffrey Sterling in 2015 by putting pressure to testify on the journalist he may have provided the information to, James Risen.

The handling of the "threat" posed by journalist Assange is inevitably something altogether different than Manning or Ellsberg the whistleblowers. Assange has been vilified as a Russian agent and was pursued by the Swedish authorities after claims of a rape, later withdrawn, were made against him. To avoid arrest, he was given asylum by a friendly Ecuadorean government six years ago in London and has been confined to the Embassy ever since. The British police have a warrant to arrest him immediately as he failed to make a bail hearing after he obtained asylum.

Julian Assange is currently back in the news for two reasons. First, it has been reliably reported that the Ecuadorean Embassy, which represents a new government in Quito that is unfriendly to Assange and is being pressured by Washington, might soon be taking steps to expel him. And second, last week the US government accidentally revealed in an unrelated legal filing that there exists a sealed criminal indictment against Assange, ready to be used to arrange extradition from Britain as soon as he is expelled from the embassy. The sealed indictment is a major escalation in the struggle to "get Assange," who is blamed by the Democrats for Hillary Clinton's loss while Secretary of State Mike Pompeo has labeled him a "fraud, a coward and an enemy." WikiLeaks itself is regarded by the White House as a "hostile non-government intelligence service."

The actual charges laid out in the indictment are unknown, but possibly relate to the Espionage Act of 1917, which in theory gives the government broad powers to punish anyone who receives classified information. And then there is the possibility that the Justice Department will attempt to make the case that Assange actively colluded with the Russian government, a conspiracy to "defraud the United States" to put it in legalese.

The danger is that the United States government will be able to fearmonger the case sufficiently to actually get a conviction for unauthorized handling of classified information based on the Espionage Act, something that has never actually been done to a journalist before. One hopes that better angels in the Justice Department and White House will realize that the First Amendment and its protection of a free press are far more important than punishing Assange.

If the barn door is opened with a conviction, major damage to freedom of speech and a free media will undoubtedly ensue. One can open The New York Times or Washington Post today and read a number of stories that are attributed to unidentified or confidential sources in the government. If Assange is convicted, the government would be able to exploit the precedent to operate in secret at all levels while reporters and the papers they represent seeking public interest stories would be subject to legal action by the Justice Department. If that happens, a free press, even as limited as it currently is in the mainstream, would become nothing more than a memory.

Philip Giraldi is the executive director of the Council for the National Interest and a recognized authority on international security and counterterrorism issues. He is a former CIA counter-terrorism specialist and military intelligence officer who served eighteen years overseas in Turkey, Italy, Germany, and Spain. Mr. Giraldi was awarded an MA and PhD from the University of London in European History and holds a Bachelor of Arts with Honors from the University of Chicago. He speaks Spanish, Italian, German, and Turkish. His columns on terrorism, intelligence, and security issues regularly appear in The American Conservativemagazine, Huffington Post, and antiwar.com. He has written op-ed pieces for the Hearst Newspaper chain, has appeared on "Good Morning America," MSNBC, National Public Radio, and local affiliates of ABC television. He has been a keynote speaker at the Petroleum Industry Security Council annual meeting, has spoken twice at the American Conservative Union's annual CPAC convention in Washington, and has addressed several World Affairs Council affiliates. He has been interviewed by the Canadian Broadcasting Corporation, the British Broadcasting Corporation, Britain's Independent Television Network, FOX News, Polish National Television, Croatian National Television, al-Jazeera, al-Arabiya, 60 Minutes, and other international and domestic broadcasters.

[thetechnologyguy-blog1]

Metadata: What is it and why is it important?

“We kill people based on metadata,” said Michael Hayden, former NSA and CIA director, in 2014. But what is it and why should you care about it?

Although it was coined in the 60’s, experts in digital forensics believe that the term “metadata” became public domain until the 21st century, due to the leaks of Edward Snowden. In 2014, Snowden explained that metadata might reveal “who you’re talking to, when you’re talking to someone, or even where you usually travel.”

What is metadata?

Metadata is a part of everyday life. Each file you send or receive has metadata. Metadata reveals information that might be contained in the data — the goal is to make connections and provide context to the data, show relationships, and help understand them. According to specialists in digital forensics from the International Institute of Cyber Security, metadata responds to questions such as:

Who?

What?

Where?

When?

Why?

For example, a chocolate bar. The information we find in the wrapper, such as the brand name, the barcode, etc., is metadata. A song’s name, the artist’s name, the music genre, the listening frequency, is also metadata. When someone uses Youtube with automatic playing enabled, the metadata of your previous choices helps determine what will be played next.

In social networks, metadata is used to group posts, track user interests, and help create a context around user data. Imagine sending a selfie, the data reveals the content of the selfie, while metadata can contain location data, time, even the person’s exposure time in front of the camera.

What the metadata reveals about us

In short, metadata reveal too much. Metadata could reveal our innermost personal details, such as political inclinations, health status, financial situation, family relationships, etc.

For example, researchers Deepak Jagdish and Daniel Smilkov developed a tool designed to contextualize email metadata. Analyzing only the information fields From, To, Cc and Timestamp of their emails, researchers were able to make amazing discoveries about their social interactions, relationships, social circle, even their sleep cycles.

They could calculate, for example, how many people they knew in a certain time period, more productive moments of their day, etc.

The long-range surveillance of telephone metadata was demonstrated by Stanford University researchers who found that the National Security Agency’s massive collection of telephone records can provide a lot more learning about the private lives of people that the government wills to admit to. By just getting the number of two people participating in a phone call, the serial number of the phones involved, the time and duration of the calls and possibly the location of each person during the call, the investigators managed to isolate data up to a certain identity.

Although a website is secure, metadata is not protected

The HTTPS protocol indicates that a website is secure, this is a fact that many people know. A somewhat less well-known fact is that, although HTTPS encrypts the content, the site still leaks metadata. Here is a brief explanation:

The content of the Hypertext Transfer Protocol is not encrypted, so it cannot be considered secure by itself, so the information contained may be stolen. The ‘s’ in HTTPS stands for ‘safe’. This protocol was designed to improve privacy on the Internet when sending personal information, which could still be stolen, but this is now more difficult. HTTPS is widely used in sites like Google, Facebook or Twitter, or anywhere else.

To achieve HTTP-to-HTTPS conversion, the website owner must purchase more secure certificates, such as TLS or SSL. These protocols prove that a website is legitimate. The thing is that no one can see the information we send over the Internet, but anyone can intuit the content of the information sent, like guessing that inside an envelope there is a postcard or a letter.

USA, the home of metadata surveillance

The NSA could be the most intrusive and creative metadata spy organization we know.

Political, social and technological organizations have enabled the NSA to raise the levels of metadata collection. Although the Freedom Act of 2015 limited the NSA’s ability to collect phone records and contacts of terrorist activity suspects, in May, the agency revealed a massive increase in the amount of telephone call metadata collected in the report titled “Call Details Logs”, going from 151 million of call logs to 2016 to more than 534 million in 2017. Despite this increase, there were only 40 terrorism suspects in 2017.

At the end of June, the NSA issued a statement announcing that it began a process of erasing these records, as agency officials discovered technical irregularities.

Is there anything we can do?

Unfortunately, specialists in ethical hacking and digital forensics believe that there is no definitive solution to protect our metadata. Maybe, as Henry David Thoreau says, you can begin a new life in the forest, isolated from the world.

Despite this pessimistic statement, there are some useful tips for minimizing risks:

Do not share information in excess. Remember that every time you share something on the Internet, it will stay there forever

Install an operating system with multiple security layers (such as Linux)

Disable the GPS of your devices when not in use

Disable JavaScript

[altalemur]

the Voltron team as Skippy’s List

Shiro

2. My proper military title is “The Black Paladin” not “Princess Anastasia”.

23. Must never ask anyone who outranks me if they’ve been smoking crack.

35. Not allowed to sing “High Speed Dirt” by Megadeth during airborne operations. (“See the earth below/Soon to make a crater/Blue sky, black death, I’m off to meet my maker”)

36. Can’t have flashbacks to wars I was not in. (The Spanish-American War isn’t over).

52. Not allowed to yell “Take that Cobra” at the rifle range.

67. I am not the Psychological Warfare Mascot.

95. I am not in need of a more suitable host body.

100. Claymore mines are not filled with yummy candy, and it is wrong to tell new soldiers that they are.

114. I cannot trade my CO to the Galra.

124. Two drink limit does not mean first and last.

125. Two drink limit does not mean two kinds of drinks.

126. Two drink limit does not mean the drinks can be as large as I like.

147. I should not threaten suicide with pop rocks and Coke ®.

148. Putting red “Mike and Ike’s” ® into a prescription medicine bottle, and then eating them all in a formation is not funny.

172. “A full magazine and some privacy” is not the way to help a potential suicide.

206. Not allowed to get shot.

Sven

11. Not allowed to join the Communist Party.

12. Not allowed to join any militia.

13. Not allowed to form any militia.

66. There is no “Anti-Mime” campaign in the galaxy.

69. May not pretend to be a fascist stormtrooper, while on duty.

95. I am not in need of a more suitable host body.

106. I may not trade my rifle for any of the following: Cigarettes, booze, sexual favors, Kalishnikovs, Soviet Armored vehicles, small children, or bootleg CD’s.

147. I should not threaten suicide with pop rocks and Coke ®.

148. Putting red “Mike and Ike’s” ® into a prescription medicine bottle, and then eating them all in a formation is not funny.

162. Past lives have absolutely no effect on the chain of command.

206. Not allowed to get shot.

Hunk

31. Not allowed to let sock puppets take responsibility for any of my actions.

32. Not allowed to let sock puppets take command of my post.

33. Not allowed to chew gum at formation, unless I brought enough for everybody.

34. (Next day) Not allowed to chew gum at formation even if I *did* bring enough for everybody.

49. Not allowed to trade military equipment for “magic beans”.

50. Not allowed to sell magic beans during duty hours.

55. An order to “Put Kiwi on my boots” does *not* involve fruit.

84. Must not use military vehicles to “Squish” things.

88. Must not refer to Allura as “Mom”.

89. Must not refer to Shiro as “Dad”.

97. Gozer does not dwell in my refrigerator.

160. No part of the military uniform is edible.

161. Bodychecking General officers is not a good idea.

183. My chain of command has neither the time, nor the inclination to hear about what I did with six boxes of Fruit Roll-Ups. ®

184. When operating a military vehicle I may *not* attempt something “I saw in a cartoon”.

190. Must not make s’mores while on guard duty.

191. Our Humvees cannot be assembled into a giant battle-robot.

Lance

1. Not allowed to watch Southpark when I’m supposed to be working.

6. Not allowed to play “Pulp Fiction” with a suction-cup dart pistol and any officer.

18. May no longer perform my now (in)famous “Barbie Girl Dance” while on duty.

37. Our medic is called Coran, not “Dr. Feelgood”.

38. Our supply Sgt is Coran not “Sugar Daddy”.

43. Camouflage body paint is not a uniform.

45. I am not allowed to “Go to Bragg boulevard and shake daddy’s little money maker for twenties stuffed into my undies”.

48. I may not use public masturbation as a tool to demonstrate a flaw in a command decision.

71. I must not flaunt my deviances in front of my chain of command.

83. Must not start any SITREP (Situation Report) with “I recently had an experience I just had to write you about….”

87. If the thought of something makes me giggle for longer than 15 seconds, I am to assume that I am not allowed to do it.

88. Must not refer to Allura as “Mom”.

89. Must not refer to Shiro as “Dad”.

113. There is absolutely no need to emulate the people from “Full Monty” every time I hear the song “Hot Stuff”.

115. I should not speculate on the penis size of anyone who outranks me.

131. No dancing in the turret. This especially applies in conjunction with rule #113.

143. I do not need to keep a “range card” by my window.

145. I should not drink three quarts of blue food coloring before a urine test.

156. I will no longer perform “lap-dances” while in uniform.

157. If I take the uniform off, in the course of the lap-dance, it still counts.

159. When detained by MP’s, I do not have a right to a strip search.

166. No, the pants are not optional.

175. We do not “charge into battle, naked, like the Celts”.

199. I should not confess to crimes that took place before I was born.

201. Must not valiantly push officers onto hand grenades to save the squad.

207. The green goo is *not* a personal lubricant. 

Keith

16. Must get a haircut even if it tampers with my “Samson like powers”.

41. “Keep on Trucking” is *not* a psychological warfare message.

47. I am not a citizen of Texas, and those other, forty-nine, lesser states.

53. Not allowed to quote “Full Metal Jacket “ at the rifle range.

60. “The Giant Space Ants” are not at the top of my chain of command.

68. I may not line my helmet with tin foil to “Block out the space mind control lasers”.

78. I may not call block my chain of command.

86. May not challenge anyone in my chain of command to the “field of honor”.

88. Must not refer to Allura as “Mom”.

89. Must not refer to Shiro as “Dad”.

96. “Redneck Zombies” is not a military training aid.

101. I am not allowed to mount a bayonet on a crew-served weapon.

105. I am not allowed to bum cigarettes off of anyone under twelve.

115. I should not speculate on the penis size of anyone who outranks me.

118. Burn pits for classified material are not revel fires – therefore it is wrong to dance naked around them.

130. “I’m drunk” is a bad answer to any question posed by my commander.

136. Shouting “Let’s do the village! Let’s do the whole fucking village!” while out on a mission is bad.

137. Should not show up at the front gate wearing part of a Blade of Marmora uniform, messily drunk.

138. Even if my commander did it.

141. Not allowed to use a broadsword to disprove “The Pen is Mightier than the sword”.

146. Nor should I drink three quarts of red food coloring, and scream during a urine test.

171. On training missions, try not to shoot down the General’s helicopter.

179. On Garrison documents, my race is not “Other”.

193. The Masons, and Gray Aliens are not in our chain of command.

196. I am not allowed to give tattoos.

198. Not allowed to lead a “Coup” during training missions.

208. Not allowed to play into the deluded fantasies of the civilians who are “hearing conversations” from the NSA, FBI, CIA and KGB due to the microchip the aliens implanted in their brain.

Pidge

7. Not allowed to add “In accordance with the prophesy” to the end of answers I give to a question an officer asks me.

8. Not allowed to add pictures of officers I don’t like to War Criminal posters.

15. Not allowed to train adopted stray dogs to “Sic Brass!”

19. May not call any officers immoral, untrustworthy, lying, slime, even if I’m right.

24. Must not tell any officer that I am smarter than they are, especially if it’s true.

54. “Napalm sticks to kids” is *not* a motivational phrase.

56. An order to “Make my Boots black and shiny” does not involve electrical tape.

59. May not make posters depicting the leadership failings of my chain of command.

75. May not conduct psychological experiments on my chain of command.

88. Must not refer to Allura as “Mom”.

89. Must not refer to Shiro as “Dad”.

103. My commander is not old enough to have fought in the civil war, and I should stop implying that he did.

104. Vodka, green food coloring, and a “Cool Mint” Listerine® bottle is not a good combination.

117. Must not use government equipment to bootleg pornography.

122. Radioactive material should not be stored in the barracks.

129. The Microsoft ® “Dancing Paperclip” is not authorized to countermand any orders.

151. The proper way to report to my Commander is “Green Paladin, reporting as ordered, Sir” not “You can’t prove a thing!”

154. Shouldn’t treat “piss-bottles” with extra-strength icy hot.

173. I am not allowed to create new levels of security clearance.

174. Furby ® is not allowed into classified areas. (I swear to the gods, I did not make that up, it’s actually DOD policy).

181. Pokémon® trainer is not an MOS.

194. Shouldn’t take incriminating photos of my chain of command.

195. Shouldn’t use Photoshop ® to create incriminating photos of my chain of command.

Allura

3. Not allowed to threaten anyone with black magic.

4. Not allowed to challenge anyone’s disbelief of black magic by asking for hair.

28. Don’t take the batteries out of the other soldiers alarm clocks (Even if they do hit snooze about forty times).

30. Not allowed to wake an Non-Commissioned Officer by repeatedly banging on the head with a bag of trash.

46. I am not authorized to fire officers.

79. I am neither the king nor queen of cheese.

80. Not allowed to wear a dress to any army functions.

102. Rodents are not entitled to burial with full military honors, even if they are “casualties of war”.

186. I am not the Empress of anything.

201. Must not valiantly push officers onto hand grenades to save the squad.

Coran

20. Must not taunt the Unilu any more.

21. Must attempt to not antagonize SAS.

22. Must never call an SAS a “Wanker”.

39. Not allowed to ask for the day off due to religious purposes, on the basis that the world is going to end, more than once.

63. Command decisions do *not* need to be ratified by a 2/3 majority.

85. Not allowed to make any Psychological Warfare products depicting the infamous Ft. Bragg sniper incident.

123. I should not teach other soldiers to say offensive and crude things in Altean, under the guise of teaching them how to say potentially useful phrases.

132. The loudspeaker system is not a forum to voice my ideas.

133. The loudspeaker system is not to be used to replace the radio.

155. Teaching Altean children to taunt other soldiers is not nice.

189. Do not dare Paladins to eat bugs. They will always do it.

Matt

10. Not allowed to purchase anyone’s soul on government time.

12. Not allowed to join any militia.

13. Not allowed to form any militia.

42. Not allowed to attempt to appeal to mankind’s baser instincts in recruitment posters.

57. The proper response to a lawful order is not “Why?”

62. It is better to beg forgiveness than to ask permission, no longer applies to me.

77. The MP checkpoint is not an Imperial Stormtrooper roadblock, so I should not tell them “You don’t need to see my identification, these are not the droids you are looking for.”

94. Crucifixes do not ward off Galra, and I should not test that.

99. A smiley face is not used to mark a minefield.

119. I cannot arrest children for being rude.

158. The revolution is not now.

203. “To conquer the earth with an army of flying monkeys” is a bad long term goal to give the re-enlistment NCO.

[piscitellientretenimentos-blog]

Comédia “A peça ao lado”estreia dia 4 de agosto na Sede das Cias.

http://www.piscitellientretenimentos.com/comedia-a-peca-ao-ladoestreia-dia-4-de-agosto-na-sede-das-cias/

Comédia “A peça ao lado”estreia dia 4 de agosto na Sede das Cias.

Durante uma noite chuvosa, um grupo de atores mambembes ocupa um teatro público no intuito de se proteger. Encantado com o local, encontra textos do dramaturgo francês Jean Tardieu e inicia encenações divertidíssimas até que esses atores sejam expulsos pelo administrador do espaço que não os reconhecem como artistas. Com humor ácido, crítico e um texto livremente inspirado no universo de Tardieu e em Dario Fo, a montagem inédita de “A Peça ao Lado” marca a primeira parceria entre a “Cia Ao Lado” e o diretor Delson Antunes, que também assina a adaptação do texto ao lado de Victor Lósso e dos atores da Cia Ao Lado.  A peça conta ainda com a pesquisa de Clown e Bufão orientada por Daniela Carmona e traz no elenco João Telles, Luíza Surreaux, Marcos Guian, Milla Fernandez e Valléria Freire, acompanhados pelos músicos Dani Ruhm e Pedro Botafogo. A estreia acontece dia 4 de agosto na Sede das Cias onde cumpre temporada de sexta a segunda, às 20h, até o dia 28 de agosto.

“A Peça ao Lado é um espetáculo construído com diversas referências da comédia universal, como a Commedia dell’art, o melodrama e a farsa. O roteiro é o resultado de uma pesquisa de linguagens, com um grupo de jovens atores. É uma comédia aparentemente despretensiosa, mas, além de divertir, aos poucos se torna uma reflexão crítica sobre o teatro e sobre alguns valores da nossa sociedade. Uma homenagem aos artistas que dedicaram as suas vidas a essa arte milenar e seu poder de comunicar, emocionar e transformar o homem”, conta Delson, que desde o final de 2016 se reúne com os atores num processo colaborativo.

A falta de lugares para se apresentar, o emparelhamento da máquina pública, o não reconhecimento de artistas mambembes e qualquer outra crítica social não são apenas meras coincidências com a realidade atual do país. Essas coincidências são abordadas de maneira a levar o público à reflexão.

“Estou muito grata a toda a equipe envolvida no projeto, cada um foi se chegando a seu tempo e contribuindo da melhor forma possível. Tudo isso deu muito confiança para todos nós atores, que iniciamos este encontro em um curso de teatro e agora vamos levar o resultado para o público” – diz Valléria, realizadora e atriz da peça.

A peça reflete sobre a profissão do teatro fora do glamour dos palcos e do audiovisual. Do grupo mambembe, de rua, que se alimenta puramente do amor à arte. O desafio foi criar uma dramaturgia que amarrasse os esquetes do texto de Tardieu.

“O grupo se reúne com os diretores desde o ano passado, debatendo sob qual trama gostaríamos que esses esquetes fossem apresentados. O resultado veio desses encontros e de improvisos que foram feitos durante os ensaios. Busca-se a crítica à seletividade artística e a criminalização da arte, tão presente atualmente. Não é à toa que os personagens são inspirados em bufões que são, em sua essência, dejetos, perdedores sociais. Ao mesmo tempo, celebra-se e promove o enaltecimento ao teatro”, conclui Victor Lósso, que assina a adaptação.

SINOPSE: Um grupo de teatro mambembe se apropria de Jean Tardieu, realizando uma reflexão jocosa sobre o fazer teatral.

  FICHA TÉCNICA

Texto: Inspirado em Jean Tardieu

Adaptação: Delson Antunes, Victor Lósso e Cia Ao Lado

Tradução de Uma Peça por Outra: Grupo Tapa

Direção: Delson Antunes

Elenco: João Telles, Luíza Surreaux, Marcos Guian, Milla Fernandez e Valléria Freire

Pesquisa de Clown e Bufão: Daniela Carmona

Músicos: Dani Ruhm e Pedro Botafogo

Iluminação: Luiz Paulo Nenen

Cenário: José Dias

Figurino: Desirée Bastos

Direção Musical: João Telles

Assistentes de direção: Kiko do Valle e Rafael Telles

Figurinista assistente e costura: Bruna Falcão

Cenotécnico: Pará Produções e Eventos

Operador de luz: João Pedro Meirelles

Voz em off: Kiko do Valle

Programação visual: Letícia Moraes

Fotógrafa: Elisa Mendes

Assessoria de imprensa: Minas de Ideias

Produção: Valléria Freire

Direção de Produção: Renata Campos

Realização: Valléria Freire

SERVIÇO

A peça ao lado

Estreia: Dia 4 de agosto

Horário: De sexta a segunda-feira – 20h

Local: Sede das Cias

Endereço: Rua Manuel Carneiro, 10 – Escadaria do Selarón – Lapa – Telefone: (21) 2137-1271

Temporada: De 4 a 28 de agosto

Classificação: 12 anos

Preço: R$ 40,00 inteira / R$ 20,00 meia

Duração: 60 min.

Gênero: Comédia

Currículos

Delson Antunes é diretor, ator, professor, dramaturgo e pesquisador de teatro. Licenciado em Artes Cênicas pela Universidade de Brasília (UnB), concluiu Mestrado em Teatro pela UniRio, especializando-se em História do Teatro Musical Brasileiro, em 1996. Como ator e diretor participa de mais de 40 espetáculos teatrais, apresentados em Brasília, Rio de Janeiro e em diversas cidades brasileiras. É professor de Interpretação Teatral na Escola de Atores Wolf Maya. Entre seus últimos trabalhos em teatro, estão o roteiro e assistência de direção do espetáculo “Sapatinhos Vermelhos”, de Caio Fernando Abreu, dirigido por Camilla Amado, em 2006. No mesmo ano dirige “Entre Quatro Paredes”, de Jean Paul Sartre, apresentada no Teatro Villa-Lobos. Em 2007, roteiriza e dirige “O Homem Vivo”, de Bertold Brecht. Ainda em 2007, dirige “Anjo Malaquias”, de Afonso Drummond e Eloí Calage, sobre a obra o poeta gaúcho Mário Quintana. Recentemente, assina a direção dos espetáculos: “A Lição e A Cantora Careca”, de Eugène Ionesco, em co-direção com Camilla Amado; “Homens”, baseado na obra de Caio Fernando Abreu; “Se Eu Fosse Eu”, espetáculo de teatro itinerante sobre a obra de Clarice Lispector; “Sarau em Comemoração ao Centenário de Vinícius de Moraes” e “Sarau de Clarice”.

Luíza Surreaux – Atriz e cantora. Seus estudos iniciaram-se no TEPA- Teatro escola de Porto Alegre. No início de sua carreira realizou algumas peças em sua cidade, Porto Alegre/RS. No ano de 2006, se mudou para Barcelona onde estudou na escola Estudis de Teatre Berty Tovias e na escola Memory de teatro musical. Após sua formação entrou para a companhia de teatro Grata Compañia, realizando o espetáculo Cyrano de Bergerac e viajando por toda Espanha. Na Espanha, realizou várias performances dentre elas A Noiva Cadáver que a levou a um dos maiores festivais de estátuas humanas do mundo, o Wold Living Statues Festival na Holanda. Retornou ao Brasil em 2010 dando sequência à sua carreira de atriz, realizando peças teatrais, o seu primeiro papel na TV na série Grenal é Grenal da RBSTV e realizando o seu primeiro longa-metragem, Os Senhores da Guerra, sendo indicada como melhor atriz coadjuvante no Festival de Cinema de Gramado. Em 2013 se mudou para o Rio de Janeiro onde participou do filme Os Caras de Pau, fez participações em novelas, series e realizou peças teatrais. Seus mais recentes trabalhos foram a participação na minissérie Nada Será Como Antes da Rede Globo e o musical Alice no País das Maravilhas que ficou oito meses em cartaz no Teatro Vannucci e no teatro Imperator.

João Telles é ator e músico, formado pela Escola de atores Wolf Maya, começou no teatro na peça As coisas que fizemos e não fizemos, de Matheus Souza, em 2013. Participou do musical Godspell, dirigido por João Fonseca, em 2015. Fez algumas participações na tv e no cinema como Mister Brau, da Rede Globo, e Minha Mãe é uma Peça 2, de Paulo Gustavo. Atualmente está ensaiando para a peça Ubu Rei, de Alfred Jerry, com direção de Daniel Herz. No elenco nomes como Marco Nanini, Rosi Campos e a Cia Atores de Laura.

Marcos Guian Marcos Guian é ator formado em Artes Cênicas pela UNIRIO.  Iniciou sua trajetória teatral em Santa Catarina, onde montou espetáculos com seu primeiro grupo de teatro – Os “Atores do Imperador”. Em 2011, mudou-se para o Rio de Janeiro na intenção de aperfeiçoar sua carreira. Guian passou pelo Tablado, onde estudou com Guida Vianna e Ernesto Piccolo. Frequentou aulas do professor Daniel Herz na Casa de Cultura Laura Alvim e também foi aluno de Cininha de Paula e Wolf Maya. Participou do Festival de Curitiba com o espetáculo “Relações Perigosas”, dirigido por Rubens Lima Júnior. Também integrou o elenco (como stand-in) dos espetáculos “Fazendo História”, “O olho Azul da Falecida” e “O Auto da Compadecida” da CIA LIMITE 151. Fez a série de TV “Megassaudável” do canal Multirio e participações na minissérie Plano Alto (Record) e nas novelas Malhação e A Regra do Jogo (Globo).

Milla Fernandez – Formada na Escola de Atores do Wolf Maya, aluna do Curso de Cinema da PUC RJ, Já protagonizou dois longas-metragens: “Christabel” direção de Alex Levy-Heller e “Chicas Cariocas” direção de Wolf Maya.

Valléria Freire – Atriz e cantora. “O Homen Que Sabia Javanês”, direção Delson Antunes, peça que fez parte do evento-A Cena Da Cidade-Ibam. Participação como atriz nos Saraus de Clarice Lispector, direção Delson Antunes no Teatro do Ibam. Peça baseada em de textos de Clarice Lispector, direção Delson Antunes, Teatro Café Pequeno do Leblon. Montagem da peça “E Quem Somos Nós” (esquetes de Karl Valentim e poemas de Brecht) com direção de Camilla Amado e figurino de Analú Prestes, Centro Cultural Solar de Botafogo. “Evita Perón”- Musical,  direção Paulo Afonso de Lima. “Deus lhe Pague”, direção Lígia Ferreira, supervisão geral Bibi Ferreira. Oficina de musical com Gustavo Gasparani – montagem de cenas do espetáculo “Otelo da Mangueira”. Curso de cenografia com Hélio Hechbauer com montagem de peça conferência “Suíte Brasileira” no Espaço Tom Jobim. Curso de interpretação para cinema no “New York Film Academy” com o Diretor Paul Warner. Curso de interpretação para cinema com Fábio Barreto. Formada pela Escola de Atores Wolf Maya, seus trabalhos mais recentes foram nas peças: “As Falecidas” com direção de Flávia Pucci e “Eis a Questão” com direção de Daniel Herz, no Teatro Nathalia Timberg.