#Daniele Finzi Pasca

[lamilanomagazine]

Rovigo: serata di risate ed emozioni con Stefano Accorsi, protagonista dello spettacolo teatrale Azul

Rovigo: serata di risate ed emozioni con Stefano Accorsi, protagonista dello spettacolo teatrale Azul. Un'ora e venti di spettacolo a ritmo sostenuto con un Stefano Accorsi protagonista del palco. Azul, scritto e diretto da Daniele Finzi Pasca, ha chiuso ieri sera la Stagione di Prosa del Teatro Sociale di Rovigo, per l'occasione al completo. Risate ma anche tanti momenti di riflessione che l'attore e gli altri componenti del cast -  Luciano Scarpa, Sasà Piedepalumbo e Luigi Sigillo -  sono riusciti a creare attraverso la messa in scena, basata sulla storia di quattro amici che, tra immaginazione e realtà, evocano ricordi, problemi relazionali, tragedie e momenti felici condivisi negli anni, sempre accomunati dalla fede per il calcio. Tante le emozioni: amarezza, gioia, paura, che hanno accompagnato lo spettacolo durante tutta la serata. Sul palco uno sfondo blu, un pianoforte a muro, un contrabbasso, tre divise da carabiniere su manichini e una poltrona, che diventa quasi il luogo dell'anima e della coscienza del protagonista Pino detto Pinocchio, interpretato egregiamente da Stefano Accorsi, che ad un certo punto dello spettacolo sembra togliersi gli abiti di attore per interagire con il pubblico, inscenando un simpatico “siparietto” su una domanda a cui non si pensa: in quale giorno e dove siamo stati concepiti? Poi lo spettacolo riprende con il tenore e la carica iniziali fino ad esplodere nel canto a squarciagola dell'inno che unisce i quattro amici che si abbracciano fraternamente, tra lo scroscio di applausi di tutto il pubblico presente in sala. “E' uno spettacolo – ha detto Accorsi – sulle passioni della vita, sui rapporti, sul tempo che passa. Credo che se alla fine di questo spettacolo la gente ha voglia di riabbracciare i propri amici e le persone alle quali vuole bene e di farsi una risata insieme, questo possa valere più di mille messaggi”.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[skillstopallmedia]

Corteo at the Bell Center | For the love of a little clown

Corteo at the Bell Center | For the love of a little clown

Returning to the Bell Amphitheater for the second time in five years, corteo, from Cirque du Soleil, is coming (from the United States) with its procession of clowns and whimsical characters. One of Cirque’s most poetic pieces, directed by Daniele Finzi Pasca. Posted at 4:00 p.m. The new President and CEO of Cirque Stéphane Lefebvre told us last October, during the presentation of the show…

[lamengana]

“¿Los arquitectos construyen espacios vacíos? Los hombres los iluminamos. Colgamos las lámparas, las ponemos en el piso y jugamos con los interruptores para hacer que la luz corra y salte en lugares sorprendentes. El secreto está en la luz”

Bianco su Bianco, obra teatral de la Compagnia Finzi Pasca

[thewidowstanton]

Cylios Pytlak, speed juggler, Cirque du Soleil’s show LUZIA

Self-taught speed juggler Cylios Pytlak – who comes from Valenciennes in northern France – started practising when he was ten, using balls, clubs and hats. He gradually developed his skills through repetition, while also devising new juggling patterns. During his teenage years he performed in small cabarets, shows and festivals, at 15 winning the grand prize at the French festival Talents de Scene. At 17, he spent a season with Cirque Georget and has been performing ever since. His highlights include contracts with Cirque Alexandre Bouglione and Cirque Firmin Bouglione in Belgium, Zirkus des Horrors in Germany, and the Cuban circus festival Circuba.

But his dream was always to perform with Cirque du Soleil, and after auditioning in 2009, it took until 2017 for him to achieve it. Cylios has appeared in its Mexico-themed show LUZIA – which is directed by Daniele Finzi Pasca – since it opened. Having toured the United States, Mexico and Canada for two years, he now comes to London’s Royal Albert Hall, where the show runs from 12 January – 1 March 2020. He chats to Liz Arratoon via email.

The Widow Stanton: Cylios is an unusual name. Where is it from? Cylios Pytlak: My real name is Cyril. Cylios is my stage name. I chose it with my family when I went on stage for the first time when I was about 12 or 13 years old. My goal was to be the only juggler with this name. It was also easier to remember for the fans and the people from the industry.



Are you from a circus background? No, my father was a police officer – he is now retired – and my mum is a nurse. I had always been a circus fan. My grandparents often took me to a variety of shows by Cirque Arlette Gruss when I was little. As soon as a circus was in my town, I was taking my bike to go past it all the time. This is where I learned to set up a big top. I was also taking care of the animals, since it was mostly traditional circus. My family always supported me and helped me to reach my goals. I feel really lucky to have them. 



Why did you choose to be a juggler? When I was ten years old I really wanted to learn a circus discipline. However, there was no circus school near my home. So I tried to learn by myself what was most accessible to me: juggling. When my parents offered me my first three juggling balls I was able to do some catches right away. I fell in love with it and shortly became an addict. [Laughs]


Are there any other jugglers in your family? No, I am the only one.



Why did you decide to do speed juggling? Not so long after I first started juggling by myself I saw Mario Berousek, the really famous speed juggler, on TV; on Le Plus Grand Cabaret du Monde.

Oh yes, we saw him in Monte Carlo a couple of times. He is actually the pioneer of speed juggling. I was completely fascinated by him and told myself I wanted to be like him. As of that moment, he became my inspiration. What is so crazy is that I had a chance to juggle with him a couple years later. I gave the idea to the juggling equipment company Mister Babache – Jonglerie Diffusion to create a modern replica of his artisanal club. At that time, no club for speed jugglers were marketed. Incredibly, this is the club I use to perform in LUZIA. This club can now be bought anywhere around the world.


What is the most important advice you could give to someone wanting to learn it? It is important to learn to listen to your body and to your mind. You can’t impose an evolution rhythm on yourself. You need to learn to enjoy the good days where you progress well and you learn things. You also need to be able to adapt your training when it’s not going really well. It is a process of hit and miss and it is totally normal.

Are the clubs the same as for regular juggling? As for the length and the weight it is really similar. Overall, a speed juggling club is slimmer and the rotating point is more central. This allows you to have tighter juggling and allows you to accentuate the propeller effect and the rotation effect ‘on the spot’, which characterises speed juggling with clubs. It is however possible to do speed juggling with a classic club. I did it for many years.  



Are there any famous jugglers present or past you admire? There are a lot. I can’t mention all of them. Of course, there is Mario Berousek (pictured above), and the legend, Anthony Gatto. Even though he is not a juggler anymore, he is part of juggling history. Tony Frebourg is also a legend with the diabolos. Even though I don’t do diabolos he was a big example for me. He has such an amazing career. He motivated and guided me a lot when I first started. I always admired his work. He became a friend over time. I met him in 2006, the same year I met Mario. It’s when I saw him succeed with another Cirque du Soleil show, OVO, that I told myself that I could also do it.


Do you remember your first appearance juggling in a show or cabaret? Totally. It was in a Christmas gala in Quievrechain, a small town in northern France, in December 2004 when I was 13. Before that I did little shows in private events, but nothing big. I really see this gala as my first show since it was the first time I was on a real stage. I was in front of a crowd of several hundred people. There was stage lighting and a real curtain opening. A lot of things happened that night that gave me the motivation to continue to train to get better and to go back on stage as soon as possible: the adrenaline before the performance, the atmosphere around the show, the joy to perform in front an audience, the joy of sharing with the public and the feeling when you receive the crowd’s applause. The following morning, I was already working on my act to see how I could improve it. I was doing video sessions of my performance to see what elements on the technical and artistic side I could improve. Since my first ‘little shows’ and especially after this gala, being on stage was what I wanted to do for a living. I never imagined my life without it. I really wanted this to be my life on a daily basis. I put in all the hard work I needed to by myself. Therefore, I never went to a professional circus school. I started my professional juggling career at 17 after completing a sales degree… just in case!

You had a long wait to get into Cirque du Soleil. Did you ever give up hope? I did a casting with Cirque du Soleil in Paris in 2010. I was 19 and I had been dreaming about Cirque du Soleil for a while. To be part of this company was my biggest dream. I never gave up on my dream, but it’s when I started to think less about it that they first contacted me for LUZIA. 



Tell us about the show… LUZIA is a wonderful show. It allows you to discover the Mexican culture in a unique way. And you don’t need to be Mexican or to like Mexico to fall in love with this show. You will go through a diverse range of emotions. It’s a magnificent and breathtaking show. 


I see you have to run through the audience while juggling. Do you enjoy that close interaction? Yes, I love it! It is important for me to establish this contact with the audience. This was part of my routine before I joined LUZIA. I had the chance that the artistic director of the show, Gracie Valdez, gave me the freedom to continue to do it.


What do you like or dislike about touring? To be touring around the world is a great opportunity. A lot of people need to make sacrifices to be able to travel. For us it is the way we live. What I enjoy the most is to discover the landscapes and the lifestyles of people in all the places we visit. But the most difficult part is to be away from my friends and family in France.



Where have you liked the most? I liked a lot of different places, but I think my favourite was California. Especially Los Angeles, which was my first city on tour. It was unforgettable. I also really liked Orlando with all the attraction parks, shows and entertainment… without forgetting the nice weather and the palm trees!

Do you travel with your family? Yes, I’m married to Madeley. We were touring together in a traditional circus in France, La Piste aux Etoiles, when we met. She was part of Russian swing, Chinese pole and acrobatic jump rope acts then. She went to the National Circus School of Cuba where she trained as a foot juggler. After our wedding in 2012, she was performing foot juggling and aerial hoop as a soloist. We were performing our acts in the same shows before I joined LUZIA but she does not perform in the show. We now have a little girl who’s three years old named Cameron. My wife and daughter travel with me at all time. Cirque helps us a lot with that. It is great!


Cameron loves circus. She already knows LUZIA by heart. She loves to imitate me or Madeley. I think it is normal for her age, because it’s what she is surrounded by every day, which I think is a great experience for her. Madeley and I don’t want to influence her in any way. We want her to do want she loves when she grows up. We both were lucky to have parents who supported us in our passion, and we want the same for our daughter.  

How do you feel about coming to the Royal Albert Hall? I’m really excited to perform in this iconic venue. It will be a really important moment of LUZIA’s tour. I had the chance to visit the Royal Albert Hall when I was in London a few weeks ago for a PR trip. It is magnificent! I have goosebumps just thinking about it. 



Has being in Cirque du Soleil lived up to your expectations? Totally! I worked as a professional juggler for about ten years before joining the company. As soon as I got here I was able to notice the difference. Cirque du Soleil gives us a lot of support around the show. I’m so glad to be working for them. I work with a team that dedicate themselves 100 per cent to the show every day. They want the show to be at its best and also to have it evolve. All the teams: technicians, administration, marketing, artistic, everyone gives the best of themselves to this show and it is inspiring to see.  


Cylios performs in Cirque du Soleil’s LUZIA at London’s Royal Albert Hall from 12 January – 1 March 2020.

For tickets to LUZIA, click here 

Pictures: Courtesy of Cylios and Cirque du Soleil

Cylios on Facebook

Follow @TheWidowStanton on Twitter

[perry-tannenbaum]

CORTEO Wows, Charms, and Sweetly Dazzles in Arena Remount

CORTEO Wows, Charms, and Sweetly Dazzles in Arena Remount

Review: CORTEO By Perry Tannenbaum

In the early days, when Quidam came to Lowe’s Motor Speedway in 2002, I was fairly besotted by everything Cirque du Soleil produced. That summer, my wife Sue and I took in two more Cirque spectaculars in Las Vegas, including my all-time favorite, the water-logged O at the Bellagio, still running 16 years later. We saw Varekai twice in 2005 under Cirque’s…

[sweepseven]

What's your opinion on Daniele Finzi Pasca and the two shows he directed for Cirque? (Corteo and Luzia)

My opinion is firmly pro, specifically because of his unique approaches to place and community.

You know exactly where you are in a Pasca show. You’re in Italy, you’re in Mexico, you’re in a nomadic camp (if you’ve seen his work for Cirque Eloize), and you don’t see that level of specificity from any other director in CdS history. This shifts the focus from the people to the place. Notice his different treatment of recurring characters: we have Mauro, the White Clown, the Crying Woman, the Running Woman, etc., but none of them are onstage all the time. None of them are the sole shepherds of their shows. We learn about them by looking at where they come from and the people they’re surrounded by, and he leans on big, tight-knit ensemble casts to communicate that. And even among the ensemble casts, there’s so many tiny details and minute interactions that you get an incredibly strong sense that you’re looking at real people in a real community - which of course you are, because you’re literally in Italy or Mexico! He doesn’t limit tiny, human interactions to just his leads, and in fact he’ll even go as far as to hand ‘em out out a pair of anonymous fish heads. And it doesn’t diminish his leads, it just highlights them in a different way than you see in a Quidam or a Varekai or a Zed or a Volta. It’s a very distinct approach to “show, don’t tell” - like learning more about your partner when you’re invited to their family reunion for the first time. 

All of this gives you as an audience member a sense of being invited inward rather than swept away. That’s the real Pasca magic. This is an existing world but you haven’t just wandered in there - it’s been going on with or without you the entire time and will continue to do so after you’re gone. 

So long story short, he’s different and I love it! What a great question, thank you. 

[a--piedi--nudi]

BIANCO SU BIANCO - COMPAGNIA FINZI PASCA

scritto e diretto da Daniele Finzi Pasca

con Helena Bittencourt e Goos Meeuwsen

È stato molto bello lo spettacolo ieri sera…e la cosa che ha detto Helena parlando con il pubblico…ovvero che ha cercato di affrontare questo testo raccontando la storia così come si affronta un esercizio al trapezio (a volte con ancora più paura di cadere) mi ha colpita molto. Credo proprrio ci sia riuscita: l’equilibrio perfetto, la giusta distanza, il sangue freddo. Che ribolle. Rispettare un testo, amarlo, interpretarlo ma farlo proprio, unire l’ironia alla dolcezza, alla profondità d’animo che, a volte, può trasparire da un solo gesto. Raccontare ed essere al tempo stesso pura emozione. È quello che ho sempre sognato per il teatro, al di là di tutto il resto, bello, importante, dalle scenografia alle luci all’impegno di tutti, è l’emozione pura a fare la differenza. E’ un bambino che ride di libertà fra le prime file del pubblico che completa la magia.

[brokehorrorfan]

Cirque du Soleil has been dazzling audiences with its unique brand of contemporary, story-driven circus performances since its humble beginnings in 1984. Have attended my first Cirque du Soleil show, LUZIA, earlier this year, I’m excited to kick off 2019 with my second, Corteo.

Corteo by Cirque du Soleil is currently touring in North America and will land in Worcester, MA at the DCU Center from January 3-6, 2019. The production first premiered in Montreal in April 2005 and has since been seen by 8 million people in 19 countries on four continents.

Corteo, which means cortege in Italian, is described as a festive parade imagined by a clown, set in a mysterious space between heaven and earth. Directed by Daniele Finzi Pasca, its cast includes 51 acrobats, musicians, singers, and actors from around the world.

Tickets for the Worcester shows are on sale now starting at $49. Corteo will also play in Boston from June 19-30. Get carried away with life by watching a trailer below.

Corteo, which means cortege in Italian, is a joyous procession, a festive parade imagined by a clown. The show brings together the passion of the actor with the grace and power of the acrobat to plunge the audience into a theatrical world of fun, comedy and spontaneity situated in a mysterious space between heaven and earth.

The clown pictures his own funeral taking place in a carnival atmosphere, watched over by quietly caring angels. Juxtaposing the large with the small, the ridiculous with the tragic and the magic of perfection with the charm of imperfection, the show highlights the strength and fragility of the clown, as well as his wisdom and kindness, to illustrate the portion of humanity that is within each of us. The music turns lyrical and playful carrying Corteo through a timeless celebration in which illusion teases reality.

[foxpapa]

NAPOLI

“Pagliacci” di Ruggero Leoncavallo al teatro San Carlo domenica con il circo onirico di Daniele Finzi Pasca

[winelvi-blog-blog]

#Repost @alegriaintensiva • • • • • • El Centro de Formación ahora tiene encuentros a distancia. Los alumnos intermedios trabajaron hoy junto a su formadora en torno al "Teatro de la caricia" de Daniele Finzi Pasca.⁣ Preguntas, creatividad y profundidad, en tiempos especiales para estar más juntos que nunca.⁣ ⁣ #AlegriaEnRed #AlegriaIntensiva #clown #CentroDeFormacion #ClownDeHospital #QuedateEnCasa https://www.instagram.com/p/B-A8nWnDIjk/?igshid=1809q8k56oh2r

[unastanzatuttaperme-blog]

Ieri sera, sono andata a vedere all’Apollo di Lecce, “Per Te” lo spettacolo teatrale, della Compagnia Finzi Pasca, dedicato a Julie Hamelin Finzi, creatrice artistica e moglie, prematuramente scomparsa, del regista Daniele Finzi Pasca. “Per te” mi ha conquistata e ne ero più che sicura che lo avrebbe fatto. Non è solo la storia raccontata a brandelli, di attimi vissuti e condivisi in una compagnia teatrale, durante la quotidianità della creazione prima e poi delle prove dopo. È molto di più.  È una scatola aperta che fa sgusciare fuori tutti i ricordi più significativi e magici fatti di poesia e teatro.

È la storia fatta di fragilità e di corazze di ferro ma anche di leggerezza e petali  volanti.

È un giardino da costruire con la fantasia e lo stupore.

“Per te” è un elogio, una dedica d’amore a Jiulie e a chi costruisce giardini dell’anima dove potersi rifugiare e sognare. 

“Questo spettacolo è dedicato a chi pianta semi che diventano alberi, a chi disegna spazi aperti immaginati per riflettere, per rasserenare l’anima.” Daniele Finzi Pasca

"Dobbiamo tutti costruire un giardino, tutti."

(immagini dal web)

[lamilanomagazine]

Rovigo: Stefano Accorsi è il protagonista di Azul, come chiudere in bellezza la Stagione di Prosa del Teatro Sociale di Rovigo

Rovigo: Stefano Accorsi è il protagonista di Azul, come chiudere in bellezza la Stagione di Prosa del Teatro Sociale di Rovigo. Azul, l'opera che chiude la stagione di prosa del Teatro Sociale di Rovigo, inscena la storia di un’amicizia inossidabile che aiuta ad affrontare la vita: in una città dove il gioco del pallone è febbre, amore e passione, quattro amici fanno i conti con le loro rispettive vite e facendo affiorare ricordi provano a ricostruire una serenità andata a pezzi, li accomuna la passione per la squadra del cuore e le infanzie fiabesche. Sono fatti di materia semplice come il pane, ma la domenica, allo stadio, si fanno travolgere da una furia che ogni volta li sconquassa. C’è gioia, amarezza, ironia e tanta voglia di sorridere mentre evocano le vittorie, le sconfitte e le tragedie che hanno condiviso negli anni. «Ho sempre raccontato storie di personaggi carichi di umanità, fragili e trasognati. Il mio teatro - dichiara l’autore e regista Daniele Finzi Pasca - è costruito riproducendo il linguaggio dei sogni. Ho avuto la fortuna di incontrare questi quattro attori carichi di umanità, mestiere e passione. Con loro è stato facile dare vita a questa piccola rapsodia dedicata a quanti non si danno mai per vinti». Appuntamento quindi mercoledì 8 marzo alle 21 con Azul: Gioia, Furia, Fede y Eterno Amor al Teatro Sociale di Rovigo. Scritto e diretto da Daniele Finzi Pasca e con Stefano Accorsi, Luciano Scarpa, Sasà Piedepalumbo, Luigi Sigillo; designer luci Daniele Finzi Pasca; scene di Luigi Ferrigno; costumi di Giovanna Buzzi; video designer Roberto Vitalini; musiche originali di Sasà Piedepalumbo. Per ulteriori informazioni rivolgersi al botteghino del Teatro Sociale di Rovigo in piazza Garibaldi, 14 attraverso numero di telefono 0425 25614 o per e – mail teatrosociale.botteghino@comune.rovigo.it. Gli orari di apertura sono i seguenti: 9.00-13.00 / 15.30-19.30 giorni di spettacolo: • mattutini 8.30/13.00 - 15.30/19.30 • matinée 9.00/13.00 -15.00/19.30 • serali 9.00-13.00 / 15.30-22.30 Giorno di chiusura: domenica. Aperto nei giorni di spettacolo domenicale con chiusura il lunedi successivo. Info prezzi su www.comune.rovigo.it/teatro e www.myarteven.it La stagione 22.23 del Teatro Sociale di Rovigo è realizzata grazie al contributo e alla collaborazione di: Ministero della Cultura, Regione del Veneto, Comune di Rovigo, Fondazione Cariparo, Fondazione Banca del Monte, Fondazione Rovigo Cultura, Banca del Veneto Centrale, Asm set, Arteven, Associazione Musicale Francesco Venezze, Conservatorio Statale di Musica Francesco Venezze. Mediapartner La Piazza.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[skillstopallmedia]

Parc Julie-Hamelin inaugurated in Montreal

Parc Julie-Hamelin inaugurated in Montreal

The City of Montreal inaugurated the Julie-Hamelin park, avenue du Cirque, in the Saint-Michel district on Tuesday. Posted at 9:44 a.m. The municipal administration wanted to pay tribute to the author, designer and circus producer Julie Hamelin, who died in 2016 following a heart condition. Julie Hamelin, who was barely 43 years old, was the companion of director Daniele Finzi Pasca. She also…

[salentipico-blog]

Finzi Pasca domani, mercoledì 6 dicembre, a Lecce, ad aprire il Teatro Apollo in una grande anteprima della stagione teatrale del Comune di Lecce pensata insieme al Teatro Pubblico Pugliese sostenuta con fondi Regione Puglia FSC 2014_20-Assessorato industria turistica e culturale. Già quasi tutto in SOLD OUT, alle 21.00 l’ultima produzione rappresentata con successo a Lugano, città di residenza della Compagnia Finzi Pasca, e Budapest, in Messico e Australia; in Italia ha debuttato nelle scorse settimane a Udine.

L’efficacia del segno, così come la passione e la fantasia che riesce a suscitare negli animi è anche in questo lavoro: “Per te”, dedicato a Julie Hamelin Finzi, compagna nell’arte come nella vita del regista Daniele Finzi Pasca scomparsa di recente a 44 anni. Nello spettacolo il pubblico è accompagnato nel giardino di Julie, fatto di aria e colori. Al centro c’è una panchina su cui sedersi per assaporare la bellezza della vita: l’invito a ogni spettatore è di tornare a casa e coltivare il proprio giardino. Come avviene sempre negli spettacoli della Compagnia Finzi Pasca, Per te è immerso in un sogno e poggia su un sofisticato apparato scenografico e illuminotecnico.

Raccontare il mistero di una scomparsa, così come la memoria, la forza di un pensiero, con la grande ironia di attore che sa come incantare il suo pubblico, la forza espressa da un sorriso, modo migliore per comunicare, aprire un dialogo col mondo.L’ironia, il grande tema vincente della vita, così come accennata poeticamente in questo spettacolo, sarà di fatto il filo conduttore di tutta la stagione teatrale che si affaccerà l’anno prossimo a Lecce in varie declinazioni tematiche e che verrà presentata alla stampa e al pubblico nei prossimi giorni a Lecce.

Intanto, l’Apollo potrà riaccogliere il suo pubblico il 6 dicembre con il ricco e affascinante teatro di Finzi Pasca, vera poesia visiva: “Julie credeva che ognuno dovesse cercare di costruire un giardino interiore dove andare a rifugiarsi, dove accogliere chi si ama, quelli che si sono persi e quelli che si vorrebbero scoprire”, racconta Daniele Finzi Pasca, “È la missione di ogni vita cercare di costruire un giardino interiore dove andare a rifugiarsi, dove accogliere chi si ama, quelli che si sono persi, quelli che si vorrebbero incontrare in un luogo intimo e riservato. Abbiamo tanto raccontato storie confinate in spazi chiusi, immaginate nella scatola segreta che portiamo attaccata alle spalle, dentro la quale generiamo sogni e viaggi immaginari. Questo spettacolo è dedicato a chi pianta semi che diventano alberi, a chi disegna spazi aperti immaginati per riflettere, per rasserenare l’anima». In Per te c’è la fragilità che ognuno di noi difende con armature e corazze. C’è la leggerezza del ricordo delle risate di Julie, dei suoi libretti pieni di calcoli e di annotazioni, i suoi consigli e i suoi sogni”.

“Palcoscenico sventrato, tecnici e attori che si muovono come gatti nel buio, che si preparano, che si immergono lentamente nella storia. E la storia avvolgerà piano piano lo spettatore, la storia di un libro regalato, di un giardino da costruire, di una lotta come le lotte che tutti prima o poi dovremo vivere e affrontare.

Julie credeva che ognuno dovesse cercare di costruire un giardino interiore dove andare a rifugiarsi, dove accogliere chi si ama, quelli che si sono persi e quelli che si vorrebbero scoprire.

Racconteremo dunque la storia di una panchina e di un giardino, poi ci sarà la fragilità che ognuno di noi difende con armature e corazze. Ci sarà la leggerezza del ricordo delle sue risate, dei suoi libretti pieni di calcoli e di annotazioni, i suoi consigli e i suoi sogni.

È la missione di ogni vita cercare di costruire un giardino interiore dove andare a rifugiarsi, dove accogliere chi si ama, quelli che si sono persi, quelli che si vorrebbero incontrare in un luogo intimo e riservato. Abbiamo tanto raccontato storie confinate in spazi chiusi, immaginate nella scatola segreta che portiamo attaccata alle spalle, dentro la quale generiamo sogni e viaggi immaginari.

Questo spettacolo è dedicato a chi pianta semi che diventano alberi, a chi disegna spazi aperti immaginati per riflettere, per rasserenare l’anima”.

  Costo dei Biglietti (reperibili da giovedì 16 novembre ore 9.30).

PLATEA I SETTORE   € 25

PLATEA II SETTORE Intero € 23 / Ridotto € 20

PALCHI CENTRALI 1° e 2° ordine  Intero € 23 / ridotto € 20

PALCHI LATERALI 1° e 2° ordine  Intero € 20 / ridotto € 18

LOGGIONE Intero € 15 / Ridotto € 12

Prezzo speciale per giovani under 35 € 12

Orario delle rappresentazioni

Serali: porta ore 20,30 – sipario ore 21,00

Info

Castello Carlo V

via XXV Luglio, Lecce

Tel. 0832.246517

teatropaisiello@gmail.com

www.comune.lecce.it

  Domani “Per Te”, la grande anteprima della stagione tetrale con Finzi Pasca Finzi Pasca domani, mercoledì 6 dicembre, a Lecce, ad aprire il Teatro Apollo in una grande anteprima della stagione teatrale del Comune di Lecce pensata insieme al Teatro Pubblico Pugliese sostenuta con fondi Regione Puglia FSC 2014_20-Assessorato industria turistica e culturale.

[thewidowstanton]

The Widow’s Best of 2019

Welcome readers to our Best of 2019 round-up. Some of you might remember that when one half of The Widow, Liz Arratoon, started writing about the circus 25 years ago – with Widow other half Adrian Arratoon by her side – she was almost a lone advocate for the art form. Don’t you get jaded, people ask us. Absolutely not! But we do long for something a bit different, and this year we have been disappointed that so many circus shows and acts have started to look a bit similar and yawny.

One notable exception gets our Best Show, and we did love Company Soralino’s clowning with cardboard boxes, and Mizuki Shinagawa on silks at the 40th Cirque de Demain festival, but we have cast our gaze beyond circus to take in whatever else has taken our fancy. Just to remind people, and before any more sensitive hearts are broken, anything we have seen this year, no matter when it was created, is eligible for selection, but if we haven’t seen it, it isn’t. Our list, our rules, and, in no particular order, here it is. All shows are in London unless otherwise stated.

BEST SHOW: We really enjoyed Aurelia Thierrée’s Bells and Spells at the Norfolk & Norwich Festival, but our Best Show is La Nuit du Cerf (A Deer in the Headlights) by Cirque Le Roux, seen on French TV. This is the company’s follow-up to The Elephant in the Room, and new cast members Valerie Benoit and Mason Ames join the original troupe of Lolita Costet, Yannick Thomas, Philip Rosenberg and Gregory Arsenal. Together they showcase a sophisticated and exquisitely choreographed blend of top-flight acrobatics, handstands, hand-to-hand, roller-skating, tight wire, you name it, in a totally fresh and exciting presentation, all backed by a wonderfully eclectic soundtrack. If only more companies could come up with something so innovative.

FEMALE ARTIST OF THE YEAR: Extraordinary acrobat Esmeralda Nikolajeff, part of the line-up for Barely Methodical Troupe’s third show, SHIFT, which opened the London International Mime Festival at the Platform Theatre.

MALE ARTIST OF THE YEAR: Wes Peden, juggler, who had a scintillating guest spot in Gandini Juggling and Alexander Whitley’s show Spring at Sadler’s Wells. Don’t miss his solo show Zebra at the Southbank Centre’s Purcell Room during the London International Mime Festival in January 2020.

BEST GIG: Le SuperHomard in the library at the Institut Français as part of the Music Rendezvous season, and Durand Jones and the Indications, seen at the Southbank Centre’s Queen Elizabeth Hall during Meltdown.

MOST ENTERTAINING: Lucy Worsley’s talk about Queen Victoria at Southwark Cathedral.

BEST VENUE: The Poodle Club in Sydenham. 

BEST ACT: Foot-jugglers Marina and Svetlana Tsodikova, who are the Crystal Ladies in Cirque du Soleil’s Totem. They also get MOST GLAMOROUS.

BEST COSTUMES: Alejandro Gómez Palomo for The Male Dancer, choreographed by Iván Pérez, seen on the Arte app; Jean Paul Gaultier’s Fashion Freak Show (pictured below) seen at the Folies Bergère in Paris, and Queen Victoria’s crown, designed by Sheila Hay for A Night with Thick and Tight at the Lilian Baylis Studio, during the London International Mime Festival.

BEST INTERVIEW: Alec Baldwin’s chat with Elaine Stritch on his podcast Here’s the Thing.

BEST MAGIC TRICK: Shin Lim, winner of America’s Got Talent: The Champions 2019, doing card tricks.

LOUDEST GASP!: This photo of Joan Crawford, seen on @cjubarrington’s glorious Twitter account, where he posts vintage photos of Hollywood stars.

BEST MOVE: Anything by world champion football freestyler Liv Cooke.

BEST CASTAWAY: Living legend John Cooper Clarke on Desert Island Discs on BBC Radio 4.

BEST GOWN: Kathleen Nellis’ fabulous recreation of Marlene Dietrich’s ‘naked’ dress for Peter Groom’s show Natural Duty, originally designed by Jean Louis. Peter also wore it in Dietrich: Live in London, seen at the Crazy Coqs, Live at Zédel, for which he gets BEST CABARET.

MOMENT OF WONDER: Andy Goldsworthy throwing handfuls of snow into the wind in the documentary Rivers and Tides.

BEST LOOK AT THE MET GALA: Harry Styles wearing a sheer Gucci blouse!

HOTTEST TICKET: Phoebe Waller-Bridge’s solo triumph, Fleabag, at Wyndham’s Theatre, and, yes, we did speak to Andrew Scott this year!

FUNNIEST PERSON: David Mills, who stormed New York with Bitter Endings, but we saw him at the Poodle Club. Someone! Book this show for London!

BEST DANCE: The Seasons’ Canon choreographed by Crystal Pite at the Opera Garnier, seen on the Arte app.

BEST SET: Anna Reid’s simple, stylish and effective design for The Sweet Science of Bruising at Wilton’s Music Hall.

BEST SHOWBIZ STORY: The Man Behind the Microphone, first heard on Outlook on BBC World Service. The story of how filmmaker Claire Belhassine discovered that her unassuming Tunisian grandfather, Hedi Jouini, had been a singing megastar. Then we found the film of the same name.

BEST DOCUMENTARY: Liz Garbus’ 2016 Leave Nothing Unsaid, in which Anderson Cooper interviews his remarkable mother, Gloria Vanderbilt, about her life. Devastating and moving.

MOST FLAMBOYANT: Zack MacLeod Pinsent, who dresses like this all the time!

BEST SHOWBIZ BOOK – MALE ARTIST: Me by Elton John with Alexis Petrides.

BEST SHOWBIZ BOOK – FEMALE ARTIST: Dreamgirl: My Life As a Supreme by Mary Wilson… of the Supremes, with Patricia Romanowski and Ahrgus Juilliard.

BEST AUDIENCE: Ah, woof!

MOST NOTABLE ANNIVERSARIES: Ten years of The Double R Club, which was founded by Benjamin Louche and Rose Thorne, and runs at Bethnal Green’s Working Men’s Club, and three years of Cabaret vs Cancer, the registered charity started by Rose.

BEST VINTAGE CIRCUS PICTURE: Coo!

BEST FILM: Spike Lee’s BlacKkKlansman – which should have won the Oscar – and Olivia Wilde’s delightful teen comedy Booksmart.

BEST FILM SCORE: Out of Blue by Clint Mansell.

MOST IMPRESSIVE MEMORY FEAT: An hour and 40 minutes’ worth of words spoken by the one and only Maggie Smith, who returned to the stage in A German Life at the Bridge Theatre.

MOST ALLURING: Dina Martina, seen at Soho Theate Downstairs in Forgotten but Not Gone.

MOST MISSED: Agnès Varda, Clive James (born Vivian Leopold James!), and the French TV variety show Le Plus Grand Cabaret du Monde, hosted by Patrick Sébastien, which started in 1998 and ended this year.

GONE FAR TOO SOON: The creative genius Nell Gifford, co-founder of Giffords Circus, who died at 46.

MOST ANTICIPATED: Obviously Wes Peden’s previously mentioned Zebra, and Daniele Finzi Pasca’s latest creation, NUDA, premiering on 11 September 2020 at LAC, Lake Lugano in Switzerland.

Look out for our first interview of 2020, with Scottish aerialist and acobat Lauren Jamieson, who has a PhD in chemistry but gave up her science career to focus on circus full time. She will appear in The Feathers of Daedalus show Tarot during the Vault Festival 2020.

Picture credits: Company Soralino, Valérie Thénard Béal; Wes Peden, Pierre Feniello; Peter Groom, V’s Anchor Studio. Any we’ve missed, please let us know.

Follow @TheWidowStanton on Twitter

© thewidowstanton.com

[biofunmy]

Switzerland’s Once-in-a-Generation, Over-the-Top Party – The New York Times

The Swiss aren’t known for dancing all night to ABBA, but in the town of Vevey, the 52 Places Traveler found, every 20 years or so they let loose.

Jul 30, 2019

Our columnist, Sebastian Modak, is visiting each destination on our 52 Places to Go in 2019 list. Before Vevey, he was one of only four tourists in the Falkland Islands/Las Malvinas.

I arrived in Vevey, a small town that hugs the northeastern coast of Lake Geneva, so jet-lagged that I thought I might be hallucinating. I saw a human-sized starling posted up on a bar stool drinking a beer. A cow wearing a crown of flowers that would rival Carmen Miranda’s most flamboyant headpiece lumbered in my direction. Screaming at the top of their lungs, a gaggle of children dressed in the overalls of 18th-century farmhands, ran in circles.

Vevey’s Fête des Vignerons, or winegrowers’ festival, is a big deal, though most of the people under 30 that I spoke to in the days leading up to my arrival — including those from the German-speaking region on the other side of Switzerland — had no idea it existed. That could be because the last time it happened, we were 10 years old.

The celebration of local winemaking traditions prides itself on happening only “once in a generation,” roughly every 20 years, the exact date determined by a mysterious group called the Confrérie des Vignerons (Brotherhood of Winegrowers) that has been organizing the festivities since 1797. The quiet town of Vevey, usually a stopover as part of a tour of what is known as the Swiss Riviera, becomes the place to be for 25 days, not only for tourists but locals coming in from the surrounding cantons.

This year, organizers built a 20,000-capacity stadium, enough to fit the entire population of Vevey, smack dab in the center of town for the sole purpose of the daily show that is the festival’s main draw. The bottom of the arena is covered with the largest LED floor ever made, and the “stage” extends up and around the audience so that during the show, no matter where you’re looking, you’re seeing something. After August 11, the last day of the festival, the city will begin the three-month process of tearing down the stadium.

A spectacular of wine

Though I speak no French, I was able to glean the basic narrative of the three-hour proceedings. A grandfather sits with his daughter, explaining the life cycle of vineyards and what it takes to make wine. Along the way — and this is where I got a little lost — there are dance routines put on by playing cards and bugs; people dressed as starlings, foxes and rabbits; Swiss mercenaries in their medieval best; and one number that involved giant fish and an airborne fairy swooping across the arena. The 5,500 performers are mostly volunteers from the region and are joined by brass bands, an orchestra and a 950-strong choir.

It’s like the Olympic ceremony of wine — except it happens daily for almost a month. And it’s no coincidence that it brings that other spectacle to mind: The show’s director, Daniele Finzi Pasca, was responsible for the closing ceremonies at the Sochi and Turin Olympic Games.

But the mind-warping spectacle is really only a part of the festival, as I discovered over the course of four days (my planned schedule was truncated by a delayed departure from the Falkland Islands/Islas Malvinas).

Most of the fun and the same heavy dose of psychedelic weirdness happens outside the confines of the arena. Things tended to get going around noon — the thousands of revelers united in slow mornings after late nights — and by midafternoon

parades filled the street running along the lakeshore, blocked to traffic, with marching, halberd-carrying soldiers in full plate armor looking like they had just fallen out of some wormhole from the 14th century. Vendors sold food from across the world and I dug into more than one decadent baguette, hollowed out and filled with molten-hot fondue.

Every day of the festival, a different canton of Switzerland is represented — a crowd of wizard-looking men in cork top hats from Geneva one day, steampunk marching bands from Fribourg the next. One evening, I followed a fife and drum group from Basel as they barhopped across town, breaking into a full-on musical march between each stop.

If you go

There’s plenty to do in Vevey even when the party of a generation isn’t happening. For starters, this area was home to Charlie Chaplin from 1953 until his death in 1977. Reminders are everywhere: on postcards and T-shirts, and in the form of a statue right on the shore of the lake. To get fully immersed though, you’ll have to head to Chaplin’s World, a multimedia museum on the site of his former manor, a 30-minute walk from the center of town.

There are plenty of places to stay, from hostels to Airbnbs (my choice) to luxury hotels. If the city’s two five-star hotels are out of your budget — like everything in Switzerland, they go for a pretty penny — they are at least worth a visit. Start with the stunning Grand Hotel du Lac, which manages to channel throwback grandeur without the tackiness that sometimes comes with it. The summer Buddha Bar pop-up on the hotel’s front patio, overlooking Lake Geneva, is a good spot for a midafternoon break from the wine — to have a cocktail, instead.

You’ll have to wait quite a bit if you’re planning to get to the next Fête — it won’t be for at least 20 years, the exact date chosen within the next five. But it’s not too late to get to this one. The festival runs until August 11. Even if you can’t score tickets to the show, the free events spread across the old town and the general sense of celebration are draw enough.

Everything is transformed for the duration of the festival. You can grab a beer to go at the local bike shop, or mill around what is usually a furniture store sipping on white wine. Elsewhere, caveaux, underground wine cellars, have been converted into night clubs where after dark, the performers, still in costume, pump their fists to cheesy electro music.

It wasn’t long before I realized that the Fête is about far more than wine. In fact, the wine itself is an afterthought: most bars only served two white varietals, either from Lavaux, the Unesco-inscribed region that includes Vevey, or the adjacent La Cote. It’s a winegrowers’ festival not a wine festival, with vintners recognized for how they maintain their vines, fight diseases and pests, keep up with pruning. And it isn’t even about tradition either, though the throwback costumes seen on every corner are pivotal to the celebrations.

As Blaise Duboux, a member of the Brotherhood of Winemakers, and a 17th-generation winemaker, put it, it’s as much about keeping with the times as keeping the old ways alive.

“The Fête des Vignerons is on the Unesco list of intangible cultural heritage,” Mr. Duboux said. “To be intangible it can’t be stuck in history — it has to be alive, constantly changing. You can’t just think about the old ways. You have to be thinking of what maintaining the vines will look like in 20 years.”

And the Fête is changing with the times despite some resistance from some of the more traditionally minded members of the Brotherhood. This year, in the award ceremony, a woman won a gold medal and an organic wine producer won a silver medal, both firsts in the Brotherhood’s history.

The Swiss are known for many things, but letting loose and singing along to ABBA until dawn is not one of them. I experienced plenty of stereotypical Swiss efficiency during my brief stint there: My trains in and out of Geneva ran on time to the second. I had an incredibly frustrating conversation with a shopkeeper who wouldn’t sell me stamps for some postcards I had bought the day before because it was “against the rules” he had set for one stamp per card at the time of purchase (I didn’t get it either).

A break from the party

When I needed a breather from mornings filled with parades and nights that ended at 3 a.m., I learned what else is worth celebrating about this part of the world. For starters, there’s Lake Geneva, also known as Lac Léman. In the summer, it’s a giant, always-open swimming pool, the chairs built into its rocky shore an open invitation for the public to take a seat and watch the afternoon pass. I beat the heat (and the hangovers) like the Swiss do, jumping into the lake’s crystal clear water and floating amid the swans.

One afternoon, I took the funicular up to the peak of the 3,500-foot Mont Pèlerin, which looms over Vevey. Over the course of two hours I strolled back to town, through dense forests and into open grazing lands where the gentle clanging of cowbells was the only sound. Eventually I hit the Lavaux vineyards clustered around the village of Chardonne. Rows upon rows of vines were stacked up steep terraces and pedestrian paths wound through and around them, bringing me close enough to pick the grapes had I wanted to.

In the distance, I could see the arena, improbably rising out of the medieval skyline of Vevey’s old town. It was hard to imagine that just there, walking distance from this serenity, tens of thousands of people were having the times of their lives.

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