La nave dei folli - Caserta, Milano, Napoli

See the calendar for dates of this show

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Studio per Amleto

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by teatro.org 's review Anita Curci
' The word Mother ', a representation of deep-toned, intense meanings, is the staging of the symbolic, yet oddly coherent madness of love between mother and child.
They worked really well and Silvana Imperato Luigi Pirone, reworking the text of Alberto Savino "Emma B. widow Jocasta " e traendo da esso il meglio per trasporlo in teatro attraverso una sagace mano creativa. Molto ben fatta la scenografia a tinte rosse cupe, con la luce di un candelabro che ha segnato occasioni di particolarissimo, icastico ingegno narrativo e un senso di altalenante illusione tra realtà e sogno. Tutto ha roteato intorno ad una attesa, sofferta, pungente, chiarificatrice. L’attesa del ‘ritorno’; un ritorno non soltanto materiale di quel figlio -parte essenziale dell’essere madre-, ma specialmente spirituale. Così, dopo aver vissuto nella fatica d’inumare reminiscenze allo scopo di non rispolverare il tormento di un ricordo angosciante, improvvisamente ‘la madre’ pone ogni cosa sul piano della ricerca interior, and surrenders to dig in the slow memory to relive moments from crowded time in the mind, to the unsettling discovery of that piece of buried there. And while the original text provides for a wild-eyed and distraught monologue, here we are witnessing an intimate dialogue that does not interact with the projection of an outer selves, namely, that emerges from the soul of the protagonist and triples in a game ingenious and extraordinarily effective. The projection of the unconscious, consciousness, Emma, \u200b\u200bis supported by the collaboration between the figures, and is effective for three times simultaneously. A truly remarkable work, worthy of a large audience appreciated every point of view, for the dramaturgy, directing, set design, and for the commitment of the actors, Agutoli Danilo, Canon and Domenico Fedele Santo, who fell, without hesitation or hindrance, in the soul of Emma, \u200b\u200bmaking the most of versatility of the human essence and greatness of love. considerable Dodge to put the minds of three men and three women. Strong symbolism not fallen on deaf ears, since it fundamentally expresses the negation of femininity Emma-wife, Emma and women, where one finds the non-mother Emma. But when this meeting will occur, that something will happen that will confuse roles, cause repugnance, generate feelings of guilt and fear.

Naples, Nuovo Teatro Nuovo, November 11, 2008 by vividiscrittura.it

The word mother - a show not to miss

As when a sudden in the morning, after endless, boring, dull days tick a restful, beautiful, sunrise, so, after having wandered for thousands and thousands of boring shows, all the same to themselves, suddenly check a show, a sham, that makes you believe that the theater is not dead, and that, indeed, there are young people in Italy who have the potential to pass it and develop it as God intended. And 'this is the case of the play "Mother's Word" - Free betrayal > Alberto Savino staged by Teatro di Legno Vesuvioteatro and having their basic working to Ercolano (Na). The one seen last night, Friday, November 14, 2008, at the Teatro Nuovo in Naples is a great show full of theatrical actions directed intense and vigorous acted with great skill by three excellent actors: Faithful Canon, Danilo Agutoli, Domenico Santo. It 's a great show of direction so that those who sign it, and Luigi Pirone Silvia Imperato, they enter their performance without their masters make the staging of the least heavy, or if I can afford the neologism, "epigonale. You see Monetta, you see Nekrosius, but see especially their hands, the hands of two directors: inventive and precise, harmoniously divide the text in dialogue scenes alternating with scenes full of dreams and perfect movements of good ideas. They seem to have assimilated to perfection, the directors, the real lesson of the theater of the twentieth century in which the text is a meeting place between the seduction of words and the energy of the staging. The three protagonists, in fact, bring back scenes of the past, players create dances in the light of the wording and meaning in relation to it. These actors do not go to dances strengthen those words do not go to exercise them, but they develop a "sense" that the words take over. Words and dancing actors become necessary to each other, giving the viewer the completeness of the story. We viewers do not know never saw the final result, as in this staging count, in the tests, sudden actors, we will never know what is due to whom, but if Pirone Silvia and Luigi Imperato half of the ideas had come staged a show of just 50 'minutes, we encounter two directors of which, if they can not bogged down in boredom and funding of public theater, we heard about for many years. It is just a bit 'out of tune, if you want to look at the hairs, is the "ruccellizzazione" of the text: it is true, the show is presented as "free from betrayal ...", but it would have been nicer, perhaps, to preserve at least the atmosphere of the prose of Savinio and do not point, drama, su una scrittura a volte "facile" che richiama molto le atmosfere create dall'autore di Castellemmare prematuramente scomparso nel 1986. Uno spettacolo assolutamente da vedere, speriamo che trovi le date che merita.

Francesco Scotto

Does The Chp Show Up In Court?

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11-14 novembre - nuovo teatro nuovo, sala assoli - via montecalvario, napoli

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da Krapp's Last Post TEATRO TRA LE NUVOLE
www.klpteatro.it

Viewed Andria (BA), the Cloister of San Francesco, 19 July 2008 Festival Castel dei Mondi
It's all a game about betrayal, from shades of gray and burgundy. The word 'mother' brought to the stage by the Neapolitan Theatre Wood goes beyond the text of Savinio Emma B. widow Jocasta, from which it draws inspiration, to rebuild, new hypotheses and shades. The long night of waiting for Emma, \u200b\u200baway from his son for the past fifteen years, represents the entire existence - ill, lonely, haunted and imaginative - a character who the directors Imperato Luigi Pirone and Silvana are a triune. Because the strength of a mother and her madness, sometimes, are amplified to infinity. To underline a trend in which confusion reigns among those who, choosing to turn Emma into men dressed as women denied an appeal to womanhood and the desire to reveal what lies beneath those heavy clothes chaste forms that refer indirectly to another character, also nailed to the suffocating life and to share a name: the sinful Flaubert's Emma Bovary. Adultery, here is a hypothesis, however, replaced by far worse: an incestuous act committed between loving your child. But the ambiguity remains the basic game, which swings the question of guilt in a confused mind, now incapace di distinguere l’onirico dal reale.
La forza dell’allestimento di Teatro di Legno sta nell’attenta cura dei particolari, nella creazione di una cornice simbolica coerente e mai lasciata al caso, e nella scelta di puntare sulle emozioni dolce-amare che si alternano in palcoscenico. Elementi ancor più apprezzabili se contemplati nell'ottica del debutto assoluto dello spettacolo. Dai colori che sottolineano passione e decadenza, a musiche e scenografia, la compagnia riesce a dare la giusta cornice ad una vicenda che mai uscirà da quelle quattro pareti di vita, in cui il passato lotta tra l’essere rimosso e il perdono.
Danilo Agutoli, Fedele Canonico e Domenico Santo, le tre Emma, riescono a farci preferire di gran lunga questa scelta drammaturgica polifonica al monologo con cui altri si sono già confrontati. Il testo a tre voci ne guadagna in ritmo e freschezza, riuscendo ad esaltare le incongruenze insite in ogni essere umano. Emma si veste, si sveste, aspetta, ripensa, tutto in un continuo, inarrestabile movimento: nei gesti, nelle parole, nei pensieri... Perché fermarsi vorrebbe dire perdersi, o forse morire. Ma il suo è anche un armonico e totale flusso alla ricerca di un’identità: più rassicurante e facile da sviscerare nell’attesa di un figlio che, come il Godot beckettiano, probabilmente non arriverà mai.

Daniela Arcudi

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Wood Theatre
... I would one day be able to give men the slowness of a look ...


Wood Theatre's work arises from the necessity of its founders to find their own space of expression. Wood Theatre is a way of life, is energy of people through the network of destinations meet and recognize something in common. Something made of stomach cramps, the same people who undertake to follow its own path and keep alive the desire to not give in to temptation or difficulty of an environment away from home feeling. This leads to the study and implementation of projects for the scene.

Wood Theatre's work is a process. The scene is the result of a process of stimuli and reactions: pulse, long waits and unexpected results. Twisty, unnerving that requires time and dedication. Besides that requires honesty and ability to investigate themselves and their bowels. The body of the subject to stimuli of directors is the starting point of the work of Teatro di Legno. I choose the body as the source does not mean forgetting voice and text that instead focuses much of the work in view of countless linguistic and rational than emotional. Our goal is not the show end in itself, we want to communicate our discomfort and make theater ghosts communicate our means for us to stimulate the emotion through the senses, but also trigger a "meeting". The value of the meeting is the fundamental value of our business. The meeting with the actors, between actors, the public or against it. Our work is necessarily a political demonstration in the sense that our choices always occur, without saying so, the rejection of a survival made of production, consumption and entertainment. We refuse to say a world where entertainment is to say trivial, addiction and withdrawal in critical sense. This does not mean to convey messages or doctrines to explain, but anxiety and doubt as to suggest, screaming joy, pain and awareness of being "human too human. "

Imperato Luigi and Silvia Pirone

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I am beginning to seriously think that everything is corrupt .... I looked and looked

shows and I just can not understand how they can be regarded as such.

I look around, I observe people and I can not understand a lot of enthusiasm!

I do not see my way to see the art as "the best", but I do not understand ...

do not understand how you can get excited by images

unnecessary

where you put them all ... just because it

scene where the light of a neon I colored it shoots on her face

where the (absurdly)

mechanical ... where the nude becomes fashionable (and for me it is absurd to suggest)

where the television becomes THEATRE name. But to whom do I

if not just for me.

Where did the art!? Where is the emotion

... Where is the magic that has always encompassed the theater, what

without the need for projectors let you travel you

lights accompanied with words and looks and bodies and a boundless imagination!?

So why rape into applause, so why continue?!


Silvana Pirone

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Wood Theatre was founded by Luigi and Silvia Imperato Pirone in 2002. The two founders created the foundations of their work first as a student and a company of actors mime-theater-dance (Itinerarte) directed by Rosario Liguoro Portici (Na), then devoting himself to further study with different masters. Along with studying at the International Center for Research on the actor, directed by Michele Monetta and Lina Salvatore, also take part in seminars and meetings of varying length with actors of Odin Teatret, also taking part in performances under the direction of Augustus and Julia Varley Omolu in the festive week of Holstebro in Denmark. Also attending workshops with such masters as Peter Clough and Marise Flach and theoretical meetings held by university professors such as Marco De Marinis, Nicola Savarese, Ferdinando Taviani and Mirella Schino directors like Eugenio Barba. The two founders are added by 2003, a group of actors, many of them students of Michele Monetta: Viviana Agretti, Ilaria Cecere, Anna Palomba, Domenico Santo, Cira Sorrentino, Salvatore Veneruso, Danilo Agutoli, Faithful Canon.
Wood Theatre in the early days is involved in projects that take up more space for non-theatrical. Also collaborating on the territory of Vesuvius with different associations and organizations with which it takes part in events such as exhibitions and cultural events. He also participates in theater festivals and street arts festivals such as Naples Strite, Merchants, Castellarte.
while continuing his research and arrives at a project più maturo di messa in scena:
Il consolo
. Questo progetto viene premiato nel 2005 da Sosta Palmizi con un contributo-borsa di produzione nell’ambito di Junge Hunde ’05, progetto di sostegno ad artisti emergenti finanziato da fondi della Comunità Europea. Teatro di Legno viene anche ospitato in residenza dalla stessa Sosta Palmizi, che gli offre inoltre la possibilità di prove aperte ed incontri col pubblico presso i propri spazi. Il consolo è stato presentato (nella sua forma conclusiva) presso il Nuovo Teatro Nuovo di Napoli nel maggio 2006 ed anche nel settembre 2006 a Terni nell’ambito di EsTerni (festival internazionale della creazione contemporanea).
Attualmente la compagnia lavora a
La nave dei crazy
joint project of the National Selections Scenario Award 2007, and the show
The word "mother"
, award-winning project in New Sensitivity 2007/2008 competition organized by the New Teatro Nuovo Teatro Pubblico Campano and, with Amat - Teatro Stabile Marche - Milan Filodrammatici Theatre - Theatre of Sardinia - Castel Festival of the Worlds - Public Theater and Puglia with the support of ETI.

Stove Kichen Air Vent

1.'s Go to the theater (5-10 years): Wed. and Fri, 16.00

2. The world and its movements (11-15 years): Wed. and Fri, 17.30,
3. The forms of drama (over 16 years): Wed. and Fri, 19.00 hours

Elements of the courses: - Game

theater - stage movement - Rhythm and Action - Breathing, voice and diction
- Improvisation
- Elements of mime body - Mask and play - Create and meeting with the dramaturgical text

Teatro di Legno, via Panoramica 117 / L (Felix Park), Ercolano (Na) cell info.: 320.1946376 - e-mail:

teatrodilegno@alice.it

Is It Possible To Get Rid Of A Fetish

"It is not
true that the artist is a hero or a conqueror
bold and fearless as
want a conventional laws ... Believe me

is a poor man
senza armi e senza difese
che ha scelto il suo POSTO
a faccia a faccia con la PAURA.
Pienamente consapevoli!
E' nella consapevolezza
che nasce la PAURA."

Tadeusz Kantor

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Fermarsi è necessario. Saper attendere il momento. Aspettare. Prendersi il tempo, ma impiegarlo. Non lasciarlo scorrere.

Anche l'attesa è lavoro. Probabilmente il più duro.

Entrando in sala, la nostra nuova sala, ci accoglie Kantor, un suo disegno. Con un graffio ci ricorda: " l'attesa, molto importante ".

Luigi Imperato