#Zoe Pernici
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Il confine tra bene e male non è mai cosÏ nitido
La commedia di Jean Giraudoux scritta nel 1943 è di grande attualitĂ , si potrebbe dire che ai suoi tempi sia stata premonitrice di eventi che, nel mentre della scrittura, sembrano irreversibili. Da molti definita una favola ecologica, si può di certo dire che, come il presente, non ha un fine lieto. Ă una storia che, nel dramma sociale che si consuma, inserisce momenti di ironia amara che strappaâŚ
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#Andrea Viotti#Antonio Di Pofi#Davide Rossi#Domenico Franchi#Emanuele Fortunati#Ester Galazzi#Evelyn Famà #Francesco Migliaccio#Franco Però#Giovanni Crippa#Giulio Cancelli#Jacopo Morra#Jean Giraudoux#La pazza di Chaillot#Letizia Russo#Manuela Mandracchia#Mauro Malinverno#Miriam Podgornik#Riccardo Maranzana#Simone De Luca#Teatro di Napoli#Teatro San Ferdinando#Teatro Stabile del Friuli Venezia Giulia#Viviana Calabria#Zoe Pernici
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Zoe! Do you believe in twin flames? Iâve done tarot and watched many videos with a person in mind and I kid you not each video/reading says the man is my twin flame and described his appearance/zodiac/personality to a T and says itâs destined but like...heâs wishy washy and hurts me in the things he does so I rebuke him being destined for me haha. Thought Iâd ask bc you seem so in-tune to these things if you believe in this kind of connection. Wishing you well â¨
No. âTwin flameâ is just a fancy and veiled way of describing a toxic person who knows how to manipulate you into thinking youâre meant for each other by performing many techniques including breadcrumbing, love bombing, gaslighting, etc. I say this because every twin flame story I read consists of their partner abusing them in some way or another.
I donât like the idea of people romanticising twin flames and withstanding abuse because they think that the hurt they go through is because their partner âmirrors their darknessâ.
Theyâre just pernicious people. Not your other half meant to come into your life and teach you a lesson.
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Sei
In scena al Teatro Parenti, la rivisitazione del classico pirandelliano Sei personaggi in cerca di autore (moreâŚ)
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#Bruno Ricci#Francesco Natoli#Francesco Sframeli#Gianluca Cesale#Giulia Weber#Maria Silvia Greco#Michelangelo ZanghĂŹ#Miriam Russo#Recensione Sei#Spiro Scimone#Zoe Pernici
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đđđ¤đŽ The Faerie Who Holds The Magic of The Universe đŽđ¤đđ
⢠Love is a traveller beyond dimensions and stories of fiction through all eternity - A Shapeshifting Faerie whose blood is starlight, firework induced, night sky black ink - The Essence of The Universe
⢠She was first found exploded, damaged and wounded - bloody beyond repair - in another dimensional universe.. Astral Projected Herself Several Dimensions Away from Her former home..
⢠It was the coven themselves who found her there in their journey and helped her through
⢠It was by her own destructive, double edged powers, enhanced exponentially by her own emotions - that she and her surroundings were lead to ruin. Her former loverâs home...in her rage, sorrow and grief..
⢠She does not speak of it and is still mourning. But appreciates the coven immensely. Their kindness to bring her to this school with them.. Sheâs gotten close to Faith and has a joint delivery company with Hope.
⢠Only of Heartfelt Envelopes/Letters/Greeting Cards filled with othersâ feelings and desires for others- sometimes written, sometimes so heavily induced with magic and emotional intentions [Rage/Lust/Love/Appreciation/Etc] that the receiver is electrifyingly shocked with visions and vivid imagery of senderâs emotions all over their body and soulâs being.
⢠You never know what youâre gonna get as the envelope itself is always white and clean đ
⢠Love mainly consumes the rips of her own wingsâ crystals (that change their colors according to her emotions and every magically chemical potent within them that she can change according to will at any time. In other words - as she is both magic, love and the personification of the universe - sheâs quite the aphrodisiac inducing drug) but is an omnivore and is a real glutton of sensual taste. And quite charming and odd at that ;)
⢠Love is psychic, able to connect with other worlds, deeply [at times even too deeply for her to control] - but the power of the emotions she holds within her - Are the duality of the ever expanding universes. Fluidly and interchangibly, the warm, explosive firework of life - and the cold, dreadful embrace of magic space - the ultimate void.
⢠You do Not want to mess with this Faerie when viciously angered. Her syringe claws, incredibly sharp fangs, psychic abilities, universe chemicals and emotional forceâs power effects do not exist for naught.
⢠When in her Magic Space Void State itâs unimaginably hard to get her to physically feel things, incredibly numb and icy skin.
⢠Love is sex-less and ace-spec. But loves cuddles, shipping of all kinds, cats, fur, fluffies, fierceness, friendship, nature, plants, succulents, space, stars, music, psychology, spirituality, witchcraft, the void, and uh. At times, very self destructive things. Despite her initially sweet, soft, quiet and demure demeanor.
⢠Is not a very good self protector, but would TACKLE AND DESTROY FOR HER DEAREST FRIENDS.
⢠She loves her memes, absurd jokes and the friends she got closer to in her journey - Zoe, Oz, The Coven, Calcutie and Scott.
⢠Sheâs got a love-hate acquaintance-ship with Polly who often wants Love to be her drug-ally. Not that Love doesnât sometimes morbidly adore those wicked adventures.
⢠Liam and her Definitely rubbed each other the wrong way when she first transferred. Her being Love itself was far too clichÊ for oh, disinterested Liam - who could not be bothered to even disgustedly touch such a mainstream existence, sweet as she may be, and as close as she is to the Coven.
⢠She couldnât find herself liking him at first either due to the façade he puts on, rejecting things only because theyâre mainstream - thus, paradoxically following and caring about the mainstream and societyâs views enough to intentionally rebel against it by not doing those things, as well as his rash judgement against her. Yet, from afar couldnât help liking his endearing ways, frustrating as he might be. And how dislikable he can be sometimes.
⢠LOVES! Tackling Scott with hugs! Cheering Powerfully with him! Rubbing and petting him roughly when sheâs excited and proud of him.
⢠There are, points in time where her self destructive sense returns, where her mourning, heartbreak, self doubt, depression and existential dread, the always existent and intense body and soul pains take the better of her. [Due to the universe and the worldsâ infinite cycles of death, clashes, comets and rebirths]
⢠She closes herself up, desires to lose herself in the numbness of dances, spirituality, drugs and parties, or in the pernicious embrace of space or the ocean. Or through self stabbings, though her wounds usually heal themselves externally in a matter of minutes.
⢠Those are those times when she canât bring herself to open up to Scott due to his purity. and others.. for other reasons.
⢠Damien at first didnât pay any much attention to Love, due to her small and initially cowering and silent presence - but her joint delivery service with hope - got him to notice this weird oddball. She catches his eye observing her in interest every once in a while, especially after both their rageful outburst against Leonard for acting like shit to Zoe. He got a new found sense of appreciation and camaraderie to this odd, divine being. Plus, she got him to realize how truly powerfully profound Love is, in all of itsâ expressions - Just like how his fathers proved so to Hellâs kingdom.
#[Introduction Post]#The Faerie Who Holds The Magic of The Universe#MP! AU#monster prom#monster prom si
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Lorelai: Discussion and Review
The Cat Lady, from the basis of my personal perspective, was a brilliantly haunting, poignant experience that tactfully and cleverly explored grim, deeply philosophical concepts such as death, grief, self-harm, depression, and suicide. It adroitly cultivated its atmosphere to effectively and realistically convey the overhanging bleakness of Susanâs life while avoiding miring the narrative in unnecessary, ostentatious darkness. In many ways, it seems Lorelai has managed to emulate the harrowing realism of its predecessor, while similarly employing abstract imagery to establish and amplify the palpable emotional tone. The expression of this profound pathos and visual symbolism was augmented through variation in both the color palette between settings and the intensity or saturation of certain hues, particularly red. More specifically, I appreciated the implementation of softer, warmer tones to embellish the wistful filter overlaying Lorelaiâs joyous memories with her father, which contrasted the harsher colors and shadows denoting her stark reality. Additionally, it was devastating to see Mirandaâs death even though it had been unfortunately rather likely, considering that, when someoneâs thoughts are as despairing and volatile as hers were, itâs exceptionally dangerous to be left alone with them.
Beyond the seemingly implied, deeper connection between The Queen of Maggots and Lorelei, I wonder if the Queen selected Lorelei in particular as the executor of her will as a result of Loreleiâs tenacity and her embodiment of a true âsurvivorâ. In a sense, an individual with an indomitable spirit, who essentially represents the refusal to capitulate even amidst confrontation with the vilest of circumstances, would harbor the insatiable desire to protract their life and quell any lingering regrets, thereby rendering them susceptible to the tantalizing bargain offered by the Queen. Lorelei cannot expunge the compulsion to protect her sister from the maleficent hands of John and finally secure freedom for them both, and, consequently, she acquiesces to the Queen, just as the demonic woman likely anticipated she would.
Concerning the characterization of Lorelei and Zack, I personally found them to be just a bit too calm when conversing in Zackâs apartment in consideration of the traumatic, ineffably disturbing situations they recently endured and witnessed. Perhaps their somewhat relaxed and even flirtatious attitudes at this particular moment could be attributable to difficulties in processing the reality of what transpired, as well as the immediate need for the distraction and comfort of each otherâs company and congenial, flippant conversation. Regardless, I still would have preferred some additional development for these characters during their quiet scene together, particularly through the presentation of their respective emotional responses to the profound stimuli of facing death and irredeemable wickedness. Further intimate moments between the two could have sufficed to augment the audienceâs personal connection and understanding of these characters and the true depth of their personalities.
In a way, the chapter with Al was rather reflective of the anxiety mini-game from The Cat Lady, which externalized the precarious balance of Susanâs mental stability by demonstrating the pronounced repercussions incurred from her cumulative experiences of various stressors. For Alâs circumstance, it seems that the nature of Lorelaiâs sudden influence over him serves as the sole determinant of the fragility of his resolve and represents the dangerous tenuity of the line existing between redemption and regression. Essentially, Lorelai was imbued with the ability to either inspire Al to surmount his depressive state and become a survivor like her, or, shatter his attempts at remediation and force him to submit to his pernicious tendencies, just as her stepfather and mother did. Though Lorelai is supernaturally capable in this situation and can affect both Alâs surroundings and his mind, I consider some of her whispered sentiments to be rather emulative of intrusive thoughts that, in their injuriousness and pessimistic cruelty, oft hinder the path towards sustained progress. Â
In addition to their literal meaning as a method of transportation and escape, trains have also been rather metaphoric in this game, seemingly representing a more symbolic journey or liberation from the debilitating circumstances and mentalities that have entrapped both Al and Lorelai. Lorelai is impeded in the forward momentum of her life by her corrosive home environment, and, as potentially implied through the imagery of a train battering through her apartment building as it speeds along, she is a survivor who fights for her future, regardless of what she must do or destroy to progress. Conversely, it seems in Alâs negative route that he himself was an obstacle in the track towards betterment and, in his inability to move forward, he was left behind, his journey coming to an abrupt end.
In general, the quiet moments and honest discussions on the intricacies of depression in The Cat Lady were more resonant with me personally than the situations that Lorelai is subjected to. That being said, the conveyance of the harrowing events of this game and their emotional undertones was beautifully accomplished. Additionally, the lingering possibility of redemption or progression for these characters certainly contributes much appreciated instances of warmth and hope to an otherwise rather dismal, grave story.
In consideration of the dialogue and visual representation of the Queen, it seems certain interpretations of The Queen of Maggots and her symbolic significance can be discerned. Essentially, imagery appertaining to mirrors or facing oneâs reflection, prevalent in the final confrontation between the two Lorelais, appears to infer that the Queen herself is a physical manifestation of the darker, pernicious, yet oft concealed inclinations that all of humanity experiences to variable degrees. In a sense, the Queen and her machinations are also rather representative of the external or environmental stressors which trigger the emergence and outward expression of these negative attributes. In the context of the gameâs universe, the âthornsâ of the Queenâs corruptive influence ensnare the frail, suggestible minds of her victims, translate their desperation into capitulation, and, eventually, induce dire, grim consequences. These ramifications often involve considerable anguish for the individuals trapped in the vicinity of someone elseâs destruction, thus, the cycle of trauma, mental devolution, and death exists in perpetuity, thereby fulfilling the monstrous Queenâs insatiable need to consume, like a true maggot, the corpses of the pained, lost, or damned. Lorelai can perhaps be interpreted as a symbol for the transcendence of these tribulations, as it appears she ultimately overcomes both her stepfather and the Queen herself regardless of the route, though the lingering grasp of the Queen and the regression she represents restrains Lorelai and somewhat limits the extent of her personal progression in the âbadâ endings.
With respect to the overall impression Lorelai imparted upon me, I suppose I feel rather ambivalent, as certain scenes and elements were beautifully portrayed while others seemed to be a bit lacking in substance and depth. There are indubitably positive attributes to be enumerated, particularly the depiction of alcoholism and the generally inspiring message underlying the narrative and its culmination. Itâs certainly quite appreciated and somewhat aberrant for a game to conclude with an accurate presentation of the mundanities and natural oscillations of highs and lows which define the course of an average life. As explored thematically throughout the extent of this game, grief, devastation, and turbulence are immutable inevitabilities of human experience that necessitate solidity of the will and persistence to healthily overcome. Though the path towards self-betterment, redemption, and contentment is sinuous and occasionally regressive, the cumbrous journey is undoubtedly worth the tribulations and set-backs we endure along the way.
As Iâve already expatiated on my interpretation of Lorelaiâs purpose as a representation of resilience and pertinacity in spite of horrific circumstances, Iâll instead delve into a few of the aspects and sections of the game that I consider to be a tad weak. I mentioned earlier on that certain conversations seemed somewhat out of place and irreverent in contrast to the depravity and disillusionment the characters had recently experienced. The tonal shift was quite rapid, and, consequently, these individuals were deprived of the opportunity to emotionally respond or effectively contend with the actualities and implications of their harrowing situations. Overall, it seemed there was some misappropriation of time and focus throughout the game, as certain characters such as Maria, Zoe, and the other nursing home residents were granted comparatively considerable portions of the narrative despite, ultimately, having little significance to the overarching plot or Lorelaiâs personal development. In general, ancillary characters and sections are beneficially employed to showcase facets of the protagonistâs personality and facilitate their growth, or, further the conveyance and clarity of the main theme. Outside of Al, Chapter 2âs characters were essentially forgotten about and devoid of greater purpose and detailed exploration, retrospectively rendering this chapter slightly hollow and empty. I was anticipating the replication of Lorelaiâs experiences with Al in future chapters where these discarded side characters would be more effectively anatomized.
Concerning Zack and Lorelai, I still somewhat maintain my aforementioned perspective on the extent of the development and depth provided for them individually and as a couple. To me, it seemed their interactions were a tad flat and shallow with respect to the subject matter discussed and the depicted intimacy of their personal, emotional connection. Zack, himself, appears to have no demonstrable or notable personality arc beyond the rather commonplace, archetypal neighbor who finally acquires the ability to articulate his love when faced with the prospect of imminent death.
Iâm a bit more equivocal when analyzing Lorelai herself and, by extension, the overarching structure and flow of the narrative itself. I suppose the greatest issue I encountered when recollecting the events of the game is the limited internal elasticity and growth that Lorelai seems to experience between the beginning and end of her journey. Though her circumstances and surrounding environment are improved substantially, her inner personality, beliefs, inclinations, and desires remain rather immutable and unchallenged by her experiences with the Queen. Regardless of your choices in actions and dialogue, Lorelai is generally the same person and an uncompromising âsurvivorâ in the end, varying only in the amount of regrets and lingering difficulties she faces. However, Lorelai can potentially express wildly variable opinions throughout her time in the afterlife on the basis of your direction, for instance, she can harbor little sympathy for the frustrated mother in the AA group and the alcoholic Al, resolutely deciding that his life is irredeemable and should be sacrificed for the sake of her own desires. Alternatively, she can help him and defy the Queen, though the significance of this choice is rather undermined considering Lorelai suffers no evident consequences from her insubordination. I suppose I would have preferred greater divergence in the endings to reflect the pronounced dissimilarity in her perspectives and submission to the Queenâs will. Even in the positive, âgoldenâ route, I believe Lorelaiâs characterization and progression would have been a bit more realistic and dimensional had she initially lacked empathy and compassion for others who cannot as easily combat or surmount their debilitating situations. Lorelaiâs unwavering strength and tenacity are not ubiquitous traits, and it would have been interesting to explore her process of recognizing and accepting the innate heterogeneity of human resolve and mental stability. Perhaps she could have accomplished this through her experiences delving into the specific circumstances of her assigned âparasitesâ and witnessing the true fragility of the boundary between recovery and capitulation. Â Conversely, the negative route would demonstrate the ramifications of austerity and the unwillingness to understand or forgive the flaws and injurious behaviors of others, instead electing to acrimoniously judge and consequently punish the people she gains influence over.
An evocative experience, nonetheless.
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âQuesto mestiere non lo c**a piĂš nessunoâ: pochissimi oggi possono permettersi di mettere in scena Pirandello. Ecco perchĂŠ i âSei personaggiâ versione bonsai di Scimone+Sframeli è superbo
âAdattamentoâ o âriduzioneâ poco importa: è solo una questione di accordi formali piuttosto semplici da intessere quando la materia da plasmare e mettere sotto al sole (o agli occhi di bue) è di eccellente fattura. Quando il testo drammaturgico di partenza â âSei personaggi in cerca dâautoreâ di Luigi Pirandello â viene spurgato dalle impuritĂ , asciugato a dovere con precisione di un orefice e lustrato infine con olio e cera.
Pochi, pochissimi oggi possono permettersi di mettere in scena Pirandello. Pochi, pochissimi gli attori pirandelliani che calcano i palcoscenici italiani: Enzo Vetrano e Stefano Randisi sono un vertice irraggiungibile (âLâuomo, la bestia e la virtĂšâ, âPensaci, Giacomino!â e âI Giganti della Montagnaâ si inseriscono nella profonda e illuminata tradizione italiana delle âgrandi messe in scenaâ dei testi del Nobel di Girgenti) ma una menzione dâonore va a Francesco Sframeli, lâaltra metĂ artistica di Spiro Scimone, impegnato al âPetrellaâ di Longiano nel superbo e applaudito âSeiâ, versione âbonsaiâ (unâora secca) del capolavoro di Pirandello.
La veridicitĂ del dramma â che lâautore siciliano chiamava commedia ma che commedia non è â appare evidente sin dallâapertura del sipario: sul fondale appare la facciata di una casa naif, impreziosita da una serie di finestre e porte che permettono la duplicazione della spazialitĂ (in Pirandello lo spazio viene caratterizzato dai personaggi): un dietro, quindi un non-luogo che si fa luogo attraverso le voci degli attori, e un avanti, quindi il palcoscenico, dove lâazione si svolge.
Il lavoro del duo Scimone-Sframeli non si riduce allo âsforbiciamentoâ del testo scenico: a un corposo âlevareâ viene risciacquato il linguaggio, gli viene tolta parte della polvere. CosĂŹ in occasione dello scontro tra attori e personaggi, la battuta âQuesto mestiere non lo caga piĂš nessunoâ scende in platea con la naturalezza e lâefficacia della contemporaneitĂ . PerchĂŠ se è vero che fare lâattore è oggi qualcosa di elitario (e forse di meno urgente), i personaggi sono sempre meno reali ma piĂš veri chi dĂ loro, per la durata di uno spettacolo, voce, fattezze e movimenti.
Le licenze poetiche â ottimamente integrate nel testo originale â non si fermano al ânon cagare piĂšâ: fresco, seppure con una nota filologica dâautore, è il certosino lavoro operato sulla Figliastra che canta âLa mula de Parenzoâ ma che quando ride lo fa omaggiando Rossella Falk, fragorosa e squillante, spaccatimpani. PiĂš âzoccolaâ e sensuale del personaggio originale, la Figliastra di âSeiâ â davvero ben vissuto da Zoe Pernici â è un vulcano di contemporaneitĂ : docile e suadente, ma anche timorata di Dio, scandisce in scena i tempi del dramma.
Spiro Scimone e Francesco Sframeli hanno capito uno dei misteri del laboratorio segreto di Luigi Pirandello: mettere in luce la consapevolezza delle apparenze, la scansione delle apparizioni. Lâabito prima, poi il corpo e solo alla fine il pensiero detto, che friziona e stride, spesso, con quello che viene dato agli occhi del pubblico. CosĂŹ anche qualche manierismo un poâ spinto â che in questo âSeiâ diventa muscolare e leonina rappresentazione di una vera finzione â è teso a raccontare la frattura tra i personaggi e gli attori: non si salva nessuno dal dramma della vita. Solo i primi, âQuando si è capito il giuocoâ, possono permettersi di vivere. In scena. Non altrove: solo sulle assi di un teatro.
In questo âSeiâ viene girato il paradigma del testo drammaturgico: gli attori sono personaggi e i personaggi diventano attori in quanto i personaggi non si rivedono negli attori. Gli stilemi piĂš comici rispetto al testo scenico tradizionale donano alla pièce unâapparente leggerezza. Il Padre (Sframeli), è una figura contemporanea: ha notato la Figliastra quando era una bambina, lâha aspettata crescere e poi, una volta morto il padre biologico della ragazza, è andato a letto con lei, gioiello a disposizione degli uomini nel bordello di Madama Pace. Forse per lavarsi i sensi di colpa o solo per averla sempre a portata di mano, ha sposato la Madre (una brava Giulia Weber). Il doppio suicidio della chiusa â la Bambina piccola che affoga nel laghetto, il Figlio che si spara â spiega con efficacia che la realtĂ degli attori può essere cambiata, ma mai quella dei personaggi, costretti ad essere eterni nei ruoli che il poeta ha deciso per loro.
Alessandro Carli
*In copertina:Â Francesco Sframeli e Zoe Pernici in âSeiâ â di Spiro Scimone, adattamento dei âSei personaggi in cerca dâautoreâ di Luigi Pirandello. Regia di Francesco Sframeli. Foto di Gianni Fiorito
L'articolo âQuesto mestiere non lo c**a piĂš nessunoâ: pochissimi oggi possono permettersi di mettere in scena Pirandello. Ecco perchĂŠ i âSei personaggiâ versione bonsai di Scimone+Sframeli è superbo proviene da Pangea.
from pangea.news http://bit.ly/2FXLwNU
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To elaborate: Zoe Quinn is an abuser. Games journalism is corrupt as fuck. Milo Yiannopoulos is a scumbag. People who put tribal loyalty above basic decency will behave appallingly regardless of their tribe, or the ideology that nominally defines it.
But as far as I can tell, the main driving force of the whole affair, that made it bigger than a fight between Goons and Channites, was two groups of people, who had both put way too much of their respective identities into engagement with a narrow and fundamentally other-defined ("AAA," "popular," "well-rated," "mainstream," etc.) slice of an already-specialized hobby, slugging it out over whose tastes should define the contents of that slice.
There's nothing wrong with being better at some things than others, and focusing on what you're good at. Nor with liking some things more than others, and focusing on what you like. But I don't think that's what Heinlein was talking about, especially given that he himself certainly focused more on writing than on many other pursuits.
But there's focusing, and then there's letting that focus expand until it devours everything else about you, or even just everything in a broad domain of life, like productive labor, or recreation. And the latter is pernicious, and more so the narrower that focus is.
Oh, and for those who don't recognize the quote, here's the full form, from Time Enough For Love, by Robert Heinlein:
A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects.
Specialization is for insects âŚ
⌠and ants are insects. All ants: Queens, drones, loyal workers (and foot-soldiers) ⌠and gamergates.
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CAGLI â Sabato 10 novembre alle 21.00 arriva a Cagli una nuova prima stagionale con lo spettacolo SEI di Spiro Scimone, personalissima rilettura dei Sei personaggi in cerca dâautore di Luigi Pirandello. La Compagnia di Teatro Scimone Sframeli porta al Comunale uno spettacolo che ha avuto una sola anteprima al Napoli Teatro Festival salutata con grande favore da critica e pubblico.
In SEI si segue la traccia originale piuttosto fedelmente ma la poetica pirandelliana si fonde con lo spirito siciliano, vissuto ai margini e lungo i bordi, tipico dellâesperienza del duo Scimone/Sframeli. La vicenda si svolge in un teatro dove una compagnia â due attori, due attrici e il capocomico â sta per iniziare le prove di uno spettacolo che, forse, non debutterĂ mai.
Per un problema elettrico il teatro rimane al buio e la luce torna solo quando appaiono in carne ed ossa i Sei Personaggi, rifiutati dallâautore che li ha creati. Il Padre, la Madre, la Figliastra, il Figlio, il Giovinetto e la Bambina illuminano il teatro, con la speranza di poter vivere sulla scena il loro dramma doloroso.I componenti della compagnia, confusi dallâimprovvisa apparizione, pensano che i Sei siano degli intrusi o dei pazzi e cercano di cacciarli dal teatro.
Ma quando il Padre inizia a raccontare il dramma doloroso che continua a provocare sofferenze, tensioni e conflitti familiari riemergono, e lâidea di far vivere i Sei Personaggi sulla scena diventa sempre piĂš concreta e necessaria.Con SEI la compagnia Scimone Sframeli torna alle radici piĂš profonde del teatro e dei modi in cui la narrazione può prendere forma. Lo spettacolo, che ha visto la compagnia confrontarsi per la prima volta con la scrittura e la lingua di un autore siciliano, è stato allestito al Teatro Comunale di Cagli durante una residenza artistica di circa tre settimane nel mese di maggio.
Con Francesco Sframeli, Spiro Scimone, Gianluca Cesale, Giulia Weber, Bruno Ricci, Francesco Natoli, Mariasilvia Greco, Michelangelo ZanghĂŹ, Miriam Russo, Zoe Pernici. Regia Francesco Sframeli. Scena Lino Fiorito. Costumi Sandra Cardini. Disegno luci Beatrice Ficalbi. Musiche Roberto Pelosi. Regista assistente Roberto Bonaventura. Direttore di scena Santo Pinizzotto. Assistente ai costumi Carolina Tonini. Produzione Compagnia Scimone Sframeli, Teatro Stabile di Torino â Teatro Nazionale, Teatro Biondo Stabile di Palermo, ThÊâtre Garonne-scène europĂŠenne Toulouse.
In collaborazione con Fondazione Campania dei Festival â Napoli Teatro Festival ItaliaBiglietti: Platea-Palchi ⏠15,00 Ridotto ⏠10,00 â Loggione ⏠10,00 Prevendita online su www.liveticket.it Botteghino del Teatro: Tel. 0721 781341 â e mail: [email protected]
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Hyperallergic: Artworks from Two Museums Share a Space, But Not a Conversation
Installation view: 20/20: The Studio Museum in Harlem and Carnegie Museum of Art (all photos by Bryan Conley unless otherwise noted)
PITTSBURGH â On its face, the exhibition 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, mounted in the latter museumâs galleries, is an astute idea: a group exhibition with works by 40 artists, half of which are selected from the collections of the Carnegie and the other half from the Studio Museum â all chosen to address the ideas and lived realities of identity and social inequality in the US. I was so down for this show when I heard about it, so much so that I could overlook the rather pedantic themes that organized it. These include: âA More Perfect Union,â containing works that discuss democracy in relation to identity; âWorking Thought,â about the relation between the nationâs economy and the labor that underpins it; and âAmerican Landscape,â which deals with perceptions of our constructed and inherited environments. Additionally, there are âDocumenting Black Life,â âShrine for the Spirit,â and âForms of Resistanceââ all somewhat useful themes except that in the words of Busta Rhymes, the work of the curators has already âput [their] hands where my eyes can see.â The work here is powerful and, by simply assembling it in a few interconnected rooms, I get a sense of what is at stake in the increasing social and economic inequity of our political reality.
Glenn Ligon, âPrisoner of Love #1 (Second Version)â (1992), oil and gesso on linen, Carnegie Museum of Art, Founders Patrons Day Acquisition Fund (image courtesy Regen Projects, Los Angeles, Š Glenn Ligon)
On entering the first gallery, I encounter Glenn Ligonâs âPrisoner of Love #1 (Second Version)â (1992), a text painting in which the phrase âwe are the ink that gives the white page a meaningâ is repeated over and over and then begins to smudge and become muddy and illegible towards the bottom, as if in the repetition (because it is not heard the first time) the sentiment becomes part of the cultural noise that renders us all crying voices in a cacophonous wilderness â each of us keening with one another as our habitat shrinks and we are inched to oblivion. Zoe Strauss gets at the anger those of us feel who grew into adulthood under circumstances that impel us to see the social world as a mean, mercenary place consistently taking advantage of us, and that taught us to fight based not only on hatred of our place in this world, but hatred of ourselves as well. Her âIf You Reading This, Philadelphiaâ shows how that hatred spills out and spreads everywhere.
But then there are more encouraging stories. For example, Barbara Chase-Riboudâs work, âThe Cape (Le Manteau) or Cleopatraâs Capeâ (1973), presents a large, metal mosaic robe, mounted on an armature with a fall of knotted rope spilling from its center down to the floor. The piece evokes an aristocratic dignity and self-regard. In dialogue with the exhibitionâs themes, this sense of self is a premise upon which âa more perfect union,â may be formed; it is a way to see the body as a âshrine for the spirit,â and can mount âforms of resistance.â A sense of dignity is also wrapped up in Ben Jonesâs work âShrine for the Spiritâ (1976), which takes that African diasporic body and makes it a ritualized set of components that are colorful, vibrant, and sacred. With his âSolon 6:12â (2000), Kori Newkirk takes color and makes it a sweeping curtain of beads that forms a lushly polychromatic landscape that is so deeply beautiful I wonder how he let it go from his studio.
Barbara Chase-Riboud, âThe Cape (Le Manteau)â (1973), bronze, hemp rope, copper (Studio Museum in Harlem; gift of the Lannan Foundation, 1998, image courtesy of Michael Rosenfeld Gallery LLC, New York, NY, photo by Adam Reich)
Among my other favorite pieces is Lorna Simpsonâs âDividing Linesâ (1989) that makes the black figure an enigmatic presence, which aphoristic language seeks to corral and define. Phrases surrounding photographic images of a black woman in a white dress, with her back to the viewer, include: âline oneâs pocket; same olâ line; out of line.â But Simpsonâs women are implacable; they stay turned from the viewer, not seeking dialogue (especially not in the impoverished terms of hackneyed clichĂŠ) but self-direction. Additionally, Meleko Mokgosiâs âWalls of Casbahâ (2010â2012) show the real power of critique by adding his handwritten marginalia to museum captions: his more intimate and comprehensive knowledge supersedes the erudition of the museum professional who is clearly shown to write from a blinkered perspective.
The show is laid out with a good selection of artworks; the lighting is muted but appropriate. Yet I left the show each time (I saw it twice in two days) feeling empty. I often had a similar feeling walking the Whitney Museum when it was in its former uptown location, seeing painting after painting placed to tell a story of the development of contemporary American art. Here, it feels like this is intended to be a story of the evolution of political consciousness, with work forced into the role of illustrative icon. The works donât mesh and get messy; they donât gather and exchange anecdotes; they donât speak over each other creating a busy, enlightening conversation â they donât. They dwell in their own demarcated plots of land and point beyond themselves. There is a sterility to this show that is underpinned by an uninspired curation.
Installation view: 20/20: The Studio Museum in Harlem and Carnegie Museum of Art with Kori Newkirkâs âSolon 6:12â (2000) visible to the left
Likely, most people reading this review are aware of the pernicious effects of the white cube, how it makes most things placed in it the beatified art object. There is a wall adjacent to the gallery advertising the exhibition. The best indication of what this exhibition might have otherwise been can be seen in the lead image of this review, which shows a wall adjacent to the gallery advertising the works in the show. They are displayed salon style, their meanings made more resonant by their close proximity â which feels like the true spirit of this show. Or it could have been, if that spirit had been nurtured and given room to grow.
Pope L âWhite People Are Angles on Fireâ (2004) (photo by the author for Hyperallergic)
But there is a juxtaposition in the exhibition that saves me from the disappointment Iâm left with, where Pope L. has interjected one of his text pieces. Most of these pieces by Pope L. are displayed in the entranceways between galleries, and they felt too editorial for me, like comments in the comment section of an online article. But here he puts the text up against the glass partition between this show and the adjacent gallery full of (white) marble figurative statuaries from antiquity that now call to mind Sarah Bondâs trenchant critique of the idea that this work devoid of color is too often taken to represent Western civilization. It reads âwhite people are angles on fire.â Right below the sign, one can see that group of alabaster bodies, suggesting the classical ideal they represent. I canât tell if this is due to the curation or the artistâs insistence, but either way, itâs insightful and pointed, and shows the potential for contemporary work to bring deeper awareness to its own physical context and thus exist in dialogue rather than a pretend solipsism.
I do think this exhibition is a great idea and needs to happen more often, but I wish it would be engined by a sense of what work can do when it is not rendered a lone voice, but sings with a partner, or joins a chorus.
20/20: The Studio Museum in Harlem and Carnegie Museum of Art continues at the Carnegie Museum of Art (4400 Forbes Avenue, Pittsburgh, Pennsylvania) through December 31.
The post Artworks from Two Museums Share a Space, But Not a Conversation appeared first on Hyperallergic.
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Week 4-2
After reading, I have known the concept and the origin of Gamergate,as well as the hypocrisy of it.The Gamergate stands for the online movement concerned with ethics in game journalism and with protecting the "gamer" identity.it starts from a pernicious attack on one female game developer, Zoe Quinn, and her sex life.one of her ex-boyfriend claimed that she fucked those five guys to get publicity for her games which has been proved to be false. They made many threats on numerous female game developers, hiding behind a shield of journalistic ethics
Gamergate participants believe that game journalism has been corrupted. But we should know They "just want to play games," without discussing how those games portray women and minorities, or how the industry treats those same groups.But this pissed the real gamer off because they canât stand for the games like himďźtheir movement has harassed the women and destroyed the reputation of  âgamerâ. So, how to maintain womenâs normal dignity, and against people who be hostile to women?
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