#Claudia Castellucci

[signorinaclaudiacardinale]

Hey! 👋 I was wondering if you know where I could find a list of which of Claudia's films she wasn't dubbed in? I feel like every time I look one up it turns out she was dubbed and I want to hear her real voice!! 😂

Hello! Thank you very much for asking 😊 I actually looked for a specific list but there is none on the net, but since I saw most of her films I put the list here.

Note: In her first appearances in Italian films, Claudia had few lines but they always had to dub her because she still had a French accent.

List of films with CC's own voice:

1.- Upstairs and downstairs (1959)

British film directed by Ralph Thomas, her appearance is short, she plays an Italian called Maria.

2.- Les Lions Sônt Làches (1961)

Here Claudia was in all her glory and was her first film as the protagonist. French film directed by Henri Verneuil, Claudia played the Parisian Albertine Ferran and we can hear her with her own voice.

3.- Cartouche (1962)

French film directed by Philippe de Broca and again Claudia in all her glory plays Venus in her own voice.

4.- 8 1/2 (1963)

Italian film directed by Federico Fellini and by his orders he wanted Claudia's natural voice without dubbing, in fact, Claudia plays herself. It is Claudia's first Italian film where her voice is not dubbed.

5.- La ragazza di Bube (1964)

Italian film directed by Luigi Comencini, it was a great success in Japan. Claudia plays Mara Castellucci.

6.- Circus World (1964)

American film directed by Henry Hathaway. Claudia plays Toni Alfredo.

7.- Gli indifferenti (1964)

Italian film directed by Francesco Maselli, script by Alberto Moravia. Claudia plays Carla.

8.- Il Magnifico Cornuto (1964)

Italian film directed by Antonio Pietrangeli. Claudia plays Maria Grazia.

9.- Sandra (1965)

Italian film directed by Luchino Visconti. CC plays Sandra Dawdson.

10.- Blindfold (1966)

American film directed by Philip Dunne. CC plays Vicky Vincenti, an Italian showgirl.

11.- Lost Command (1966)

American film directed by Mark Robson. CC plays Aicha Mahidi.

12.- The Professionals (1966)

American film directed by Richard Brooks. CC plays Maria Grant.

13.- The Queens (1966)

Scene from 'Le Fate: Armenia', directed by Mario Monicelli. CC plays Armenia.

14.- Una Rosa Per Tutti (1966)

Italian film shot in Brazil, directed by Franco Rossi. CC plays Rosa.

15.- Don't Make Waves (1968)

American film directed by Alexander Mackendrick. CC plays Laura Califatti.

16.- A Fine Pair (1968)

Italian-American film directed by Francesco Maselli. CC plays Esmeralda Marini.

Here is a forum where they discuss about CC's dubbing in "Once Upon a Time in the West" (1968 directed by Sergio Leone) and I can personally say that it is not CC's voice, Leone shouldn't have dubbed her 😐.

From the 70's onwards, CC's movies are with her original voice. All these movies can be found on VK or OK.RU.

[lamilanomagazine]

Savona, Al Teatro Chiabrera Buchettino di Perrault con la regia di Chiara Guidi.

Savona, Al Teatro Chiabrera Buchettino di Perrault con la regia di Chiara Guidi. "Buchettino non è solo uno spettacolo, è un'esperienza iniziatica e intima creato dallo storico trio Chiara Guidi, Romeo Castellucci e Claudia Castellucci fondatori della Socìetas Raffaello Sanzio. Un classico rappresentato anche in Francia, Danimarca, Spagna, Taiwan, Giappone, Cile e Corea del Sud, dichiara il Direttore del teatro Chiabrera, Rajeev Badhan-." Buchettino, un fortunato spettacolo per bambini che continua a girare i palchi dal lontano '95 (nella foto). Intabarrati fra le lenzuola di veri e propri letti sistemati sul palco (le scene sono state curate da Romeo Castellucci) i piccoli spettatori ascolteranno la storia del Pollicino di Perrault narrata da attrici di vaglia come Chiara Guidi, Silvia Pasello e Monica Demuru. Tratta dello storico spettacolo di repertorio della compagnia Socìetas Raffaello Sanzio che, dall'ormai lontano debutto il 2 maggio del 1995 al Teatro Comandini di Cesena, sede della compagnia, da 17 anni continua ad incontrare bambini di tutti i continenti. Il 30 gennaio alle ore 18.30, presso il foyer del Chiabrera, l'incontro con Chiara Guidi a cura del Direttore del teatro, Rajeev Badhan. INGRESSO LIBERO Ingresso libero. Cofondatrice della Compagnia SOCIETAS, Chiara Guidi sviluppa una personale ricerca tra voce - come chiave drammaturgica nel dischiudere suono e senso di un testo, distinguendosi fra gli artisti più influenti nel panorama della pratica vocale – e infanzia con una specifica concezione di teatro d'arte infantile, che vanta spettacoli storici quali Buchettino, da Charles Perrault che dal 1995 percorre tutto il mondo con la sua idea di coinvolgimento ambientale dei bambini (anche istruendo allestimenti in Giappone, Corea, Cina, Cile). Gli osservatòri Màntica, Puerilia al Teatro Comandini di Cesena, sede della Compagnia, dedicati alla voce e al teatro infantile le sono valsi un Premio Garrone e un Ubu nel 2013. A questi progetti si è aggiunto di recente Circolo, dedicato alla trasversalità dei piani di conoscenza. Intensa la sua attività di autrice. Tra i suoi libri: La voce in una foresta di immagini invisibili (Nottetempo 2017); con Lucia Amara, Teatro infantile. L'arte scenica davanti agli occhi di un bambino (luca sossella editore 2019); Interrogare e leggere. La domanda e la lettura come forme irrisolvibili di conoscenza (Sete edizioni 2021). Negli anni Novanta ha lavorato alla creazione di una Scuola Sperimentale di Teatro Infantile che ha ottenuto un Ubu; nel 2009 è stata direttrice artistica del Festival Internazionale di Santarcangelo; nel 2010 ha condotto una produzione presso il Campbelltown Arts Center in Australia, rappresentata anche al Festival di Adelaide e alla Sidney Opera House; e tra il 2015 e il '18 è stata 'Artiste Associée' del Théâtre Nouvelle Génération di Lione. A Chiara Guidi sono andati, tra gli altri, il Premio Lo straniero nel 2016, l'Eolo Award Riconoscenza nel '20 e il Premio Ivo Chiesa_La Scuola nel '21. Ha sei figli e sei nipoti.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[castellidisabili]

I ballerini di Claudia Castellucci sanno elevarsi nell’oratorio. Sanno saltare. Gli uccelli sanno volare. Guarda in alto, e troverai la via. 

Si apre un grande cancello. Sì, proprio quello lì, quello di Fondachello, quello che ritorna nei miei incubi e che sempre tornerà. La mia amica diceva che era il posto in cui finivano i palloni, e che nessuno li andava a riprendere. Nessuno avrebbe mai voluto varcare quella soglia tenebrosa. Lo sogno sempre, lo sognerò ancora. A meno che...

Cosa c’è al di là del cancello? Qualcuno ha mai guardato? Perché i palloni spariscono laggiù? C’è qualcuno che li prende? In quel posto maledetto il mio cuore troppo giovane si spezzò. E io non sapevo che si era spezzato! Effettivamente, credo sia proprio da allora che ho cominciato a sognare il cancello. Non portare mai nessuno a Fondachello! Non più, non più, mai più! Il primo che ci ho portato non ha saputo capire cosa significasse trovarsi lì. L’ultima volta che ci ho portato qualcuno, è stato tanto tempo dopo. Ero di nuovo con la mia amica (ignara che quel ragazzino che avrebbe conosciuto tanto bene, era passato lì prima di lei) e con Madama. Dicevo loro che avevo paura, che ormai quel posto non era più casa mia. C’era perfino un cane che faceva da guardia al mio vecchio balcone. Loro non sapevano riconoscere cosa mi turbasse. Nemmeno io lo so. Forse la nostalgia si può trasformare in odio e terrore, quando si mescola alla prima e unica delusione d’amore? Avevo 17 anni ed ero a Fondachello. Il mio cuore lì si fermò per sempre. Madama, non vedi che c’era qualcuno prima di te? Non vedi che dovevi venire a prendermi? Non sai che gli altri ragazzini non mi conoscono? Uno solo sa di me, uno o due. Ma non era ancora tempo, non era ancora tempo...Ed io sono stata lasciata lì, a 17 anni, davanti al cancello delle tenebre. Lì ho racchiuso tutto ciò che non posso ricordare. Sempre se c’è altro da ricordare. 

Avevo voluto loro due come testimoni. L’amica fin dalla terza elementare-poi fidanzata con quello che era stato lì con me, molti anni prima- e Madama. Il giorno dopo, crolla tutto. Niente regge ai miei segreti.

[pangeanews]

La disciplina militare della Socìetas: gli attori combattono, pregano, falciano (e conoscono il verbo di Aion). Appunti su “Verso la specie”

La parola “padre” – leit motiv del Festival “Ipercorpo 2018” organizzato a Forlì all’interno dell’Ex ATR, una struttura di archeologia industriale riconvertita sapientemente a luogo “altro” – mi ha sempre affascinato: scomponendola, appare (anche) il vocabolo “preda”. Una figura che sta in sospeso, lieve e ferma, assolutamente “soggettiva” ma soprattutto mutevole come il tempo: da monolite per i figli piccoli, quando invecchia tende a scappare dall’età che avanza, rifugiandosi in escamotage per fermare Kronos. Perché, e questo è il punto: non siamo greci e non siamo antichi, e abbiamo in mano solamente “quel tempo” nella sua dimensione di passato presente e futuro, lo scorrere delle ore mentre la “tensione ideale e ambita” è tutta rivolta alle altre due divinità, Aion (l’eternità, l’intera durata della vita, l’evo; è il divino principio creatore, eterno, immoto e inesauribile) e Kairos (il tempo opportuno, la buona occasione).

“Ipercorpo” mette al centro la figura paterna nella sua assenza poetica: la sublima, rinnegandola, per elevarla a elemento totemistico davanti al quale pregare una litania pagana, forse apocrifa, di certo sincera come un bisogno primordiale. La testimonianza più limpida ha una durata di mezzora e un nome preciso: “Verso la specie”, il ballo della scuola di movimento ritmico di “Mòra” (dal nome della pausa più piccola, utile a distinguere due suoni) diretto da Claudia Castellucci (Socìetas Raffaello Sanzio) e che pone al centro il gesto. Privo di ogni orpello scenografico – la sala è nuda e vuota -, lo spettacolo inizia dal foyer: è da lì che un corteo in fila indiana muove i passi verso la scena. Un lungo cordone opaco, composti da “figuri” vestiti di nero e incappucciati che, con passo dondolante, riempiono lo spazio. Una danza che insegue e riproduce l’affiorare consecutivo di immagini mentali lì dove il bisogno di ritualità si concretizza nella figura ricorrente del cerchio, nelle azioni propiziatorie che i gesti riproducono nelle processioni. La partitura musicale campionata produce un effetto di rottura di quel tempo greco che è uno e trino: davanti agli occhi si stagliano ombre antiche, forse suorine di clausura che con grazia e armonia disegnano un linguaggio ancestrale fatto di aste, cerchi e fonemi silenziosi.

Il rigore che attraversa la pièce, quasi una disciplina militare, è uno degli elementi cardine della poetica della Socìetas (ricorda il bellissimo “Cryonic Chants” ospitato anche al Velvet di Rimini tanti anni fa), un segno marcato di riconoscimento: la geometria drammaturgica è, de facto, teatro puro, e dà seguito al percorso in fieri della “Mòra” (rispetto allo spettacolo portato a Cesena a fine 2016 poco è cambiato, quasi che “Verso la specie” fosse in realtà una versione teatrale delle “Variazioni Goldberg” di Glenn Gould). Gli elementi che contraddistinguono la ricerca del “Ballo” ci sono tutti: le tonache nere, la bandiera con una croce al centro che viene girata e piegata, la reiterazione dei movimenti, la consumazione del tempo, il ritmo.

Ma è soprattutto il gesto a farsi racconto. Gli attori combattono, pregano, falciano, si inginocchiano, ri-pregano per poi uscire di scena e replicare lo spettacolo in qualche altro spazio. Perché loro conoscono Aion, a differenza del pubblico.

Alessandro Carli

  L'articolo La disciplina militare della Socìetas: gli attori combattono, pregano, falciano (e conoscono il verbo di Aion). Appunti su “Verso la specie” proviene da Pangea.

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[breannbooks]

It’s one of my favorite days of the year!

May the fourth be with you

[literary-lion]

Dear Bully: Seventy Authors Tell Their Stories | Book Review

Dear Bully: Seventy Authors Tell Their Stories | Book Review

The trouble with anthologies is that they are anthologies. Some stories will be absolutely awe-inspiring and amazing while others will miss the mark entirely. There were some stories in this anthology that were poignant, but perhaps because there were seventy or perhaps because most of the stories had to be particularly short that most of them ended up being less than awe-inspiring. It seems like…

[sleemo]

How Star Wars authors work with Lucasfilm and earn creative control

— SYFY WIRE

Is there a franchise more secretive than Star Wars? Disney and Lucasfilm are notorious for keeping upcoming projects locked away in an inaccessible vacuum and maintaining an air of mystery and secrecy around every aspect of the franchise (at least the stuff that happens on screen). In an age when trailer and spoiler leaks are the norm, Star Wars is air tight.

But that secrecy isn't limited to the films. Every aspect of the Star Wars universe — films, television, books, games, comics — is held to the same standard. Book and comic announcements are major news, and nearly everything — across all media — connects to tell the story of a cohesive galaxy.

Star Wars is one of the few transmedia properties where "canon" is given nearly equal weight as solid storytelling.

Enter the Lucasfilm Story Group, which was formed in 2014 (following the Disney purchase) and is composed of roughly a dozen people responsible for maintaining order — and keeping all of the creative ducks in a row — within the Star Wars universe. No small feat, that.

Since then, one of the most persistent questions among fans is how much creative control the Story Group has over various projects. And when it comes to books (of which there are many), how much freedom do the authors really have to tell their own stories?

Turns out, they have quite a bit! SYFY WIRE reached out to a number of Star Wars authors, and if there's a common theme among their answers, it's that they have almost total creative freedom.

Leland Chee, the official "Keeper of the Holocron" is one of a few people on the Story Group who also helped control the creative strings before the Disney purchase. In other words, his experience managing "canon" predates the Story Group. Because of that, he has a unique view on how the role has changed.

"We've got more content [now] then I ever thought we'd have. Before we had a Story Group, what George did with the films and The Clone Wars was pretty much his universe," Chee said. "He didn't really have that much concern for what we were doing in the books and games. So the Expanded Universe was very much separate. What we had to do in the Expanded Universe was, if George did something in the films that contradicted something we had done in the Expanded Universe, then we'd have to change the EU to match what he did in the films."

"[For example,] all of a sudden, lightsabers can only be blue, green, purple, or red. That means we've got to take out these yellow lightsabers. OK... Jedi can't marry. So, this Jedi over here that got married, we'll have to figure that out. So there was a lot of that — having to retcon to compensate for what's being done by George in the films.

"So with the Story Group overseeing all of the content in film and television and elsewhere, we don't have to retroactively make those changes. We can anticipate those changes. We can seed things in one medium [and see them grow] in another. So we might be seeding things in books or TV that you might not realize is substantial until years down the road. And if people knew what the road map looked like, they would just be floored."

Perhaps the most public face of the Story Group (thanks to social media), Pablo Hidalgo clarifies their surprisingly hands-off role: "All of us in the Story Group are here to help creatives find the story they're trying to tell in Star Wars. Sometimes that means feedback regarding continuity. Sometimes that just means feedback based on how we think the story is shaping up."

And that sentiment was overwhelmingly echoed by the authors with whom I spoke. They almost all describe approaching their respective projects with a bit of trepidation, expecting the Story Group to micromanage their stories and mandate story/character changes in the interest of continuity. The truth, as it turns, is something quite different.

Chuck Wendig (Aftermath trilogy) describes the process almost verbatim with Hidalgo: "I had a lot of freedom to develop and shape the story; guidance from Lucasfilm was about sharpening that story and bringing my vision in line with the storyworld at large. It was pretty much the ideal relationship, and I never felt stifled or managed."

Adam Gidwitz (So You Want to Be a Jedi?) describes the process as empowering and exciting, even though one of his ideas was nixed by the Story Group. "One thing they did shoot down was an idea I had early on in the process. [I wanted it to] be a Jedi teaching a young Padawan this story soon after [Return of the Jedi] concluded. And they had said that because J.J. Abrams had been contractually given a perfectly clean slate for Episode VII that I could not even imply the existence of Jedi after Episode VI."

Still, Gidwitz got to retell The Empire Strikes Back in the second person, an unconventional approach that shows the flexibility of the group.

And according to Tom Angleberger (Beware the Power of the Dark Side!), it was Lucasfilm's willingness to roll with Gidwitz's non-traditional take on Empire that gave him the courage to suggest a similar creative risk with his adaptation of Return of the Jedi.

"I remember being really nervous about telling the story the way I wanted to. And then we were there at Skywalker Ranch, and I'm so nervous that I'm just going to get shot down when I say I want to have the 'dear reader' style of writing," he remembered. "And then Adam goes, 'I'm going to tell mine in the second person!' And then I was like, 'Oh, I'm doing dear reader.' Because Adam broke the ice with that second person thing, and they were so supportive of it! They were like, 'Go for it!' So I realized that, wow, they really do want us to go for it."

Angleberger confirmed that he had "almost no parameters" while writing the book. "But we knew that eventually the Story Group was going to have to look at it. We knew we wouldn't get away with everything, but we also knew that we were allowed to at least try to get away with stuff. And I got away with some really fun stuff."

For her part, Alexandra Bracken (The Princess, the Scoundrel, and the Farm Boy) was not allowed to read Gidwitz's or Angleberger's adaptations of the original trilogy in advance of writing her adaptation of A New Hope, but she was told about Gidwitz's decision to use the second person.

"It was in the sense that they were trying to show me that I could do whatever I wanted with it. [My editor] told me that, first and foremost, they wanted me to have a ton of fun writing the book," she said. "And initially I was not having fun writing the book because I was so stressed out about it. And then I had a separate visit to Lucasfilm, and the Story Group said, 'You can make little changes and alterations. We just don't want you to contradict something that's in the film itself or anything that's upcoming in The Force Awakens. But you can make little scene adjustments and alter the dialogue a little bit to better suit your needs.'"

Claudia Gray (Lost Stars; Bloodline; Leia: Princess of Alderaan) was initially approached to write a YA "Romeo & Juliet in space" set adjacent to the events of the original trilogy. With a few relatively minor exceptions, she was set loose to write whatever story she wanted. "I thought, when they came to me, they were going to tell me what to write, but that was very much not the case. I had a lot of freedom. The outline had to be approved, but it was my outline and they really let me tell the story I wanted to tell. It was wonderful."

John Jackson Miller (A New Dawn) is one of only a very few authors who straddle the line and has written for the franchise both before and after the Disney purchase. His novels exist in both the "old canon" (now Legends) and "new canon."

Miller explains, "Back before 2014, Lucasfilm had their fiction team proofread everything and approved the stories that go forward. But I think, then, it was more a matter of air traffic control—of them being aware of all the other things that were going on and coming out, and just wanting to make sure that things we did didn't collide with things that were going on elsewhere."

From his perspective, there are a few changes with the Story Group in place, but it's "not so much a matter of content flowing in our direction as the authors, but like 'Hey, here's a character you should name-drop.'" For example, when he was writing his short story "Bottleneck" (which appears in The Rise of the Empire), he was asked to insert a character who would later appear in Alexander Freed's Battlefront: Twilight Company.

"It wasn't a heavy-handed 'This is what this story is about,' but it was guidance in the sense of 'Here's something that's going to come out fairly far down the line, and if you insert this character now, it'll look like we planned it.' And in fact, we did! In the past, it was possible for characters in one medium to pop up in another, but it kind of happened organically and it wasn't something that was done by design."

Cecil Castellucci (Moving Target) had a similar experience. "You have to understand, [I was writing] before The Force Awakens came out. We didn't know what was going to happen, and nobody was allowed to know anything. So there were things in my book, and I didn't even know what I knew. I wrote a framework for the story and then [the editors] would come in and pepper little things in. It kind of worked like that. I knew that Leia was going to be giving her memoirs to a droid. So I just named the droid whatever. But then they were like, 'No, this is the name of the droid: PZ-4CO.' Because they knew he would end up in the movie. And he does! You hear his name! I was probably the only person who was excited about that. It was kind of like, you do your thing, and then other people come in and course correct."

So how much freedom did Ben Acker and Ben Blacker (Join the Resistance) have when they started writing their series? Blacker doesn't even hesitate. "Oh, so much freedom. It is absolutely the book that we wanted to write. I would say, there's not really oversight, but there's guidance, and that's really an editor's job. And [our editor] did a really terrific job with it. The big thing that the Story Group (who reads everything) provides is just their knowledge of what's going on in every corner of the Star Wars universe. They're really good at looking at an outline of the manuscript and saying, Well, you can't use this kind of droid because it's no longer in use 30 years after Jedi, but what about this kind of droid? Or instead of using this kind of alien, why don't you make up a new alien so it doesn't have ties to anything and you get to own a piece of the Star Wars universe? That's been a really cool and surprising thing."

What's fascinating about the Star Wars publishing machine is that there's also an entire library of "nonfiction" titles that dive deeper into the details and minutiae of the universe. Adam Bray (Ultimate Star Wars; Star Wars: Absolutely Everything You Need to Know) is intimately familiar with these.

"In 'nonfiction' Star Wars writing, the freedom I have varies a little from project to project. My primary objective is to work within existing canon and tell it like it already is. But sometimes there are gaps that need to be filled in. In these instances, the Story Group folks give me a lot of freedom to invent new information, as long as I run it by them later for approval. This tends to be background details rather than storylines, though occasionally these details might suggest a little story waiting to be told.

"When I worked on the guides for the animated Star Wars Rebels series, the show was new, so there were lots of vehicles and technology that needed names and stats, so that kept me busy. Numbers and droid names are a fun thing to invent, especially if you can tie them to something meaningful. If I have questions about obscure details, I can consult Leland Chee or Pablo Hidalgo at Lucasfilm. And one or more members of the Story Group always reads my manuscripts, fact-checks, and provides feedback for both in- and out-of-universe content."

The amazing thing about Star Wars, though, is that the members of the Story Group are very accessible to fans. Find me another fandom that can say that. Pablo Hidalgo (@pablohidalgo), Leland Chee (@HolocronKeeper), and Matt Martin (@missingwords) are all very active on Twitter and responsive to fans. But please be respectful and reasonable.

Hidalgo's Twitter bio used to read "2 rules: Don't pitch anything. Please don't ask me about the future."

You can bet they've heard it all.

— SYFY WIRE

[rabbittstewcomics]

Episode 313

Nov Solicits

Comic Reviews:

Batman Secret Files: Clownhunter 1 by Ed Brisson, Rosi Kampe, Andrew Dalhouse

Superman: Red and Blue 6 by Rex Ogle, Tom King, Darcie Little Badger, Matt Wagner, Sophie Campbell, Steve Pugh, Mike Norton, Paoloe Rivera, Brennan Wagner

Kang the Conqueror 1 by Jackson Lanzing, Collin Kelly, Carlos Magno, Espen Grundetjern

Miles Morales: Spider-Man Annual 1 by Jed MacKay, Saladin Ahmed, Luca Maresca Juan Ferreyra, Fer Sifuentes-Sujo

X-Men: The Trial of Magneto 1 by Leah Williams, Lucas Werneck, Edgar Delgado

Warhammer 40K: Sister of Battle 1 by Torunn Gronbekk, Edgar Salazar, Arif Prianto

Second Chances 1 by Ricky Mammone, Max Bertolini

Eat the Rich 1 by Sarah Gailey, Pius Bak, Roman Titov

Black Hammer Visions 7 by Cecil Castellucci, Melissa Duffy, Bill Crabtree

Killer Queens 1 by David Booher, Claudia Balboni, Harry Saxon

Warcorns: Birthday Bash by Garrett Gunn, Kit Wallis

At Death's Door 1 by Phil Jones

JISEI 1 by Miguel Hernandez

99 Cent Theatre

2100 Samurai 1 by Nick Keith Gibson, Ami Agisi, Brian Quiroga, Michael Ensminger

Project Axis 1 by Nick Keith Gibson, Jason Johnson

Stellar Death 1 by Frank Nivicela

Vyper by Dan Butcher

Additional Reviews: Mitchells vs. the Machines, Queens Gambit, Escape Room, Devs, Another Bad Film, Reminiscence, What If Ep2,  Gibson's Alien 3

News: Omninews, Captain America 4, Black Canary movie, second He-Man animated series coming, Wool series with Tim Robbins and Rebecca Ferguson

Trailers: Night House, Nightbooks, Eternals

Comics Countdown:

Ascender 18 by Jeff Lemire, Dustin Nguyen, 

Supergirl: Woman of Tomorrow 3 by Tom King, Bilquis Evely, Mat Lopes

Nocterra 6 by Scott Snyder, Tony Daniel, Tomeu Morey

Tales From Harrow County: Fair Folk 2 by Cullen Bunn, Emily Schnall, Tyler Crook

Snow Angels Season Two 3 by Jeff Lemire, Jock

Time Before Time 4 by Declan Shalvey, Rory McConville, Joe Palmer, Chris O'Halloran

Radiant Black 7 by Kyle Higgins, Marcello Costa, Melissa Flores, Eleonora Carlini, Mattia Iacono, Natalia Marques

Black Hammer Visions 7 by Cecil Castellucci, Melissa Duffy, Bill Crabtree

Bermuda 2 by John Layman, Nick Bradshaw

Killer Queens 1 by David Booher, Claudia Balboni, Harry Saxon

  Check out this episode!

[persinsala]

Sempre in fieri / Santarcangelo dei Teatri

Sempre in fieri / Santarcangelo dei Teatri

Una proposta meticcia nei linguaggi, un calendario fitto di eventi tra narrazioni, performance site-specific, dialoghi e installazioni: il festival di Santarcangelo è davvero ripartito? (more…)

[theatredirectors]

Carsen Joenk

Hometown? 

Chicago.

Where are you now? 

Brooklyn, NY.

What’s your current project?

Judy Doomed Us All! This is a piece created by my company Rat Queen Theatre Co. (for which I am the co-artistic director alongside Molly Bicks). It’s a piece that reimagines one of America’s most pervasive fairy tales: The Reagan Administration. Judy takes place on the fourth of July, when a tornado traps Nancy Reagan and her speechwriter, Anthony Dolan, in a particularly unsavory town, forcing them to reckon with the people they have always condemned at a distance. It’s an Americana musical wrapped in a tumbleweed and served on a tablecloth from Party City.  

Why and how did you get into theatre?

When I was a little kid, I was painfully shy so my parents enrolled me in a theatre program at the Old Town School of Folk Music in Chicago. There, I made my debut as a singing eagle where I sat in a tree for the entirety of the show. From that point on, I decided I wanted to be an actor and went to an arts-centric high school where I was a “theatre major” for four years. When I was getting ready to graduate, I worried I liked books much more than I liked performing. I thought maybe I wanted to become a professor, so I went and got a BA in Liberal Arts. Really, in retrospect, what I was realizing then, was that I was incredibly interested in world-building and narrative -more than embodying a character on stage. So, I spent my collegiate years making theatre in various capacities in various basements with many of the same people I make theatre with now!

What is your directing dream project?

There are so many projects tumbling around in my head, but I don’t know what my dream project is yet. Probably something Russian. It changes regularly.

What kind of theatre excites you?

Theatre that is collaborative and exploratory without being too precious. (Investigations of morality and aestheticism.) Theatre that bends the definition of what is understood to be “good” because it’s challenging something that been made canon by people whose perspectives are possibly too narrow. Musicals! Adaptations and revivals that explode narratives we think we are familiar with. The Square Root of Three Sisters directed by Dmitry Krymov was one of the most exciting things I’ve ever seen. What do you want to change about theatre today?

- I would like theatre to become more interested in and accepting of multi-hyphenate artists. Actor-Designers, Director-Designers, Writer-Actors- the list goes on. There is a real stigma placed around the definition of “success” in theatre. Many incredibly talented interdisciplinary artists I know are often told by other people that what they do should be synthesized to one area of focus in order to achieve said success. - It would also be great to see more development opportunities for directors and designers in American theatre, which is very playwright-centric. - Active examination of who is receiving opportunities in American theatre, whose stories are being told, who is being put in positions of leadership, etc. - Ticket prices.

What is your opinion on getting a directing MFA?

I do not have an MFA, so my scope of the actual attainment of the degree is limited to conversations and observations. I think it depends on what you hope to get out of it, and unfortunately, how it will affect your finances. At the moment, I do not have any plans to get an MFA, but I could understand the benefits. What is most attractive to me is the dedicated time and space to make work that an MFA program affords. And the networking opportunities. As someone who has struggled to overcome the social anxiety of networking, an MFA program is of interest because it is specifically structured to develop your connections. But also…money! So, really, I think whatever works for you is what you should do.

Who are your theatrical heroes? I love a list. Art heroes of various kinds: Tina Landau, Lila Neugebaur, Joseph Cornell, Sean Graney, Claudia Castellucci, Lauren Redniss, Lileanna Blain-Cruz, Dmitry Krymov, Liesel Tommy, John Gardner, Suzan Lori-Parks, Bella Brodzki, Jen Silverman, Charles Johnson, Maira Kalman, all of the Rat Queen folx.

Any advice for directors just starting out?

- Apply to everything that is of interest to you, even if you think you won’t get it. Find a bio and photo of yourself that you like. You are going to have to send it to so many people for so many reasons. It doesn’t have to be fancy, it just has to be something you are ready to attach to 1,000 emails and feel confident about. Be excited for your friends who are making new work, go see their stuff, work with them! If anyone has any advice for ME, my email is carsen.joenk@gmail.com Plugs!

JUDY DOOMED US ALL RAT QUEEN THEATRE CO

[lamilanomagazine]

Bologna: Al via la preview di Bologna Portici Festival

Bologna: Al via la preview di Bologna Portici Festival. Dal 26 al 28 maggio via Manzoni e via Galliera diventano un nuovo distretto culturale che vive da mattina a sera tra mostre, spettacoli e visite guidate ai bellissimi palazzi che su queste strade si affacciano e alle collezioni che gli stessi accolgono; molti gli eventi in programma che arrivano fino al Voltone del Baraccano diffondendosi in vari luoghi della città. La tre giorni costituisce la preview della prima edizione di Bologna Portici Festival, che si terrà dal 13 al 18 giugno, una grande festa urbana per celebrare il riconoscimento dei Portici Patrimonio dell’Umanità Unesco, con musica e spettacolo in molti luoghi della città e che sarà presentata nei prossimi giorni. Danza e musica animeranno il Cortile del Museo Civico Medievale, l’Oratorio di San Filippo Neri e il Voltone del Baraccano; tra gli spettacoli di danza più attesi Cosmo Panico, a cura di Gender Bender con la compagnia Igor x Moreno ispirato alle celebrazioni dei riti stagionali, DISTANCE a cura di Instabili Vaganti e frutto della condivisione di un’indagine artistica sul tema del “confine” e ancora All’inizio della città di Roma, a cura di Danza Urbana con la coreografa Claudia Castellucci, che va agli albori del vivere sociale organizzato e alla nascita dei concetti di diritto, giustizia e solidarietà. Tutt’altra atmosfera con le rievocazioni storiche di 8cento, che oltre al consueto appuntamento con il Gran Ballo dell’unità d’Italia, che per l’occasione farà sosta sotto il voltone del Baraccano, proporrà un corteo che da piazzetta della Pioggia attraverserà i portici di via Galliera fino al cortile del Museo Medievale. La musica spazia dalle sperimentazioni di bambini e ragazzi delle scuole elementari e superiori, all’Aida con l’Orchestra del Baraccano a cura di Persephone, passando per le suggestioni proposte da Arci Bologna, con il sound artist Giuseppe Cordaro che firma il progetto Sonitus - il suono delle piante (installazione che ha come tema l'indagine sulla biodiversità in relazione alle attività umane) e Sonic Landscape Orchestra con le inedite immagini raccolte da Luciano Osti – riconsegnate grazie ad Homemovies e con il commento sonoro di Valeria Sturba, che offrono uno spaccato inedito di vita bolognese attraverso i portici cittadini. Come intreccio dei grandi patrimoni culturali e saperi antichi, trova una collocazione importante in Bologna Portici Festival la mostra “La danza delle mani. Arte cultura, unicità: merletto, patrimonio universale” al Museo Civico Medievale che - grazie alla sinergia tra Comune di Bologna e rete dei merletti in Italia - espone preziosi manufatti provenienti da tutta Italia per celebrare l’antico saper fare candidato a patrimonio immateriale dell’umanità Unesco. Nella sala del Lapidario le merlettaie, attese da tutta Italia, mostreranno dal vivo le loro antiche tecniche e accompagneranno i visitatori alla scoperta delle specificità dei vari territori, degli strumenti e dei segreti di questa arte antica (comunicato in allegato). Tantissime le visite guidate, perlopiù gratuite, grazie alla collaborazione con partner istituzionali e privati, alla scoperta di edifici aperti eccezionalmente - come il Cinquecentesco Palazzo Bonasoni di via Galliera, da scoprire con la guida della Delegazione FAI di Bologna - o visitabili in modalità speciali come San Colombano, da scoprire insieme alla Direttrice Catalina Vicens, o Palazzo Fava, con la mostra dedicata a Lucio Saffaro che inaugura proprio il 26 maggio, fino al Grand Tour dell’Hotel Majestic già Baglioni, alla scoperta dei segreti di questo pezzo di storia della città con la guida di Anna Brini. Le diverse modalità di accesso alle visite guidate sono indicate nel programma. Ad arricchire il programma della preview anche il ricco calendario di Diverdeinverde, alla scoperta dei giardini nascosti in città, in special modo una trentina di giardini del centro storico, con particolare riferimento a quelli che prospettano direttamente sui tratti di portici riconosciuti patrimonio dell’Umanità Unesco. Cuore di questa anteprima del Festival sono le performance nate all’interno del grande ‘cantiere creativo’ aperto nell’estate del 2022 grazie ai fondi europei PON per azioni di inclusione e welfare culturale che ha coinvolto 35 operatori e più di 30 gruppi target a rischio marginalità, partecipanti alle attività laboratoriali. L’edizione pilota del Bologna Portici Festival è sostenuta inoltre dal Ministero del Turismo attraverso i fondi per i Comuni a vocazione turistico-culturale con siti Unesco e Città creative Unesco.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[gffa]

One of the reasons I haven’t read as much fic lately as I would like is because some of the STAR WARS novels have been absolutely killing it with how enjoyable and satisfying they are! While my fic recs are always and forever recs(rather than reviews), I wanted to do some book reviews. They can function much like recs, though, and I would love to encourage more people to read them along with me, they have some incredible moments, whether adorable or heartbreaking or hilarious or just plain awesome. If you need a fix of something to read or just want a place to start, maybe this can help start you on the path! STAR WARS NOVELS: ✦ Ahsoka by E.K. Johnston, ahsoka & ocs, 400 pages ✦ Wild Space by Karen Miller, obi-wan & anakin & ahsoka & bail & cast, 354 pages ✦ Thrawn by Timothy Zahn, thrawn & governor pryce & ocs & yularen & cast, 448 pages ✦ Leia, Princess of Alderaan by Claudia Gray, leia & bail/breha & cast, 416 pages ✦ Phasma by Delilah S. Dawson, phasma & brendol hux & cast, 400 pages ✦ Catalyst: A Rogue One Novel by James Luceno, galen/lyra & jyn & krennic & tarkin, 352 pages ✦ Bloodline by Claudia Grey, leia & ocs, 352 pages ✦ Moving Target: A Princess Leia Adventure by Cecil Castellucci and Jason Fry, leia & ocs, 240 pages ✦ The Weapon of a Jedi: A Luke Skywalker Adventure by Jason Fry, luke & ocs, 192 pages ✦ Rogue One: A Star Wars Story by Alexander Freed, jyn & cassian & bodhi & baze & chirrut & k2so & galen & krennic & cast, 336 pages ✦ Lone Wolf by Abel G. Peña, obi-wan & luke, 76 pages ✦ The Hive by Steven Barnes, obi-wan & ocs, [short story] ✦ Guardian of the Whills by Greg Rucka, chirrut & baze & ocs, 240 pages ✦ Secrets of the Jedi by Jude Watson, obi-wan/siri & anakin/padme & qui-gon & adi gallia & cast, 208 pages ✦ The Force Awakens: Rey’s Story by Elizabeth Schaefer, rey & cast, 128 pages full recs under the cut!

STAR WARS NOVELS: ✦ Ahsoka by E.K. Johnston, ahsoka & ocs, 400 pages    Following her experiences with the Jedi and the devastation of Order 66, Ahsoka is unsure she can be part of a larger whole ever again. But her desire to fight the evils of the Empire and protect those who need it will lead her right to Bail Organa, and the Rebel Alliance.    About the only criticism of this book that I’ve ever seen that held any water with me is: NEEDS TO BE A DOZEN BOOKS LONG. It can’t possibly cover everything of Ahsoka’s story, not even just the time focused on her finding her way again back to a purpose in the galaxy at large, to how she finds her desire to fight again after she left the Jedi, but I thought it did a really good job of covering as much ground as it could about that time in her life. My other caveat is that I don’t think the “bleeding” crystals was done as well as it could have been, it took me a long time to come around on that through other material, but rereads don’t bother me as much. That’s it, that’s all I can think to nitpick about this book, because it’s absolutely in my top ten favorites and does such justice to this character I love so much. The mentions of Obi-Wan and Anakin were spot on, both hilarious and so true that it made my fannish heart ache–there’s a reason I’ve quoted this book a few dozen times! It nailed those two and the way Ahsoka saw them! But it’s also a book that has to do a lot of worldbuilding without losing sight of the story it’s telling, the character journey Ahsoka goes on, and how she finds her way again.    And, oh, I enjoyed that part of the story so much. I enjoyed that she connected with people, that she maybe had feelings for a girl (who definitely had feelings for her), I enjoyed that she didn’t immediately know what she wanted to do or where to go, but when the Empire came, she couldn’t walk away, she couldn’t do nothing, because this was where she was supposed to be. Ahsoka may not be a Jedi anymore, but in some ways she’s a Jedi more than ever, she’s in touch with the Force and her path more than ever. The grief she’s slammed with when she feels the lights go out in the galaxy as the Jedi are murdered, the sadness at how lost and alone she is are beautifully done. All of it was a solid, engaging, feelings-laden read, with moments of absolute greatness that really shone. It’s a book that I think I could reread someday (I’m not a big rereader of things) and absolutely on my list of recommended Star Wars books in general, and a must-read for fans of Ahsoka’s character. ✦ Wild Space by Karen Miller, obi-wan & anakin & ahsoka & bail & cast, 354 pages    When Senator Bail Organa reveals explosive intelligence that could turn the tide of war in the Republic’s favor, the Jedi Master agrees to accompany him to an obscure planet on the Outer Rim to verify the facts.    I had a hard time figuring out what to ultimately say about this book, because I loved it a lot… but not precisely in the way I expected to. I think the best way to put it is: It’s not a very strong story, but it’s an incredible collection of character moments. If you’re looking for something to quote or just to spend some time with the characters, then this book is going to be a lot of fun!   It took me awhile to put my finger on my biggest problems with the book, but I think my #1 frustration was: The first half of the book was absolutely amazing, it was catching us up to speed on the moments around the Clone War starting on Geonosis, it dealt with the aftermath of Anakin losing his arm, of the rift that had grown between him and Obi-Wan, how they work on trying to bridge it back, how Anakin deals with the first days of Ahsoka being his Padawan and her observations on the Obi-Wan/Anakin relationship, and Obi-Wan discovering yet another plot that needs taking care of. There’s some great h/c where Anakin just about loses his mind when Obi-Wan is injured, there’s some great banter, there’s some really fascinating parallels between Obikin and Anidala (and several Obianidala hints, if you want to see them that way), and so much more nuance about the PT Jedi’s role in the war than I’m used to seeing!    All of that was great. It takes up about the first half of the book, then the war separates Obi-Wan and Anakin, they go off in different directions, and the plot shifts to focus on Obi-Wan and Bail Organa working together to uncover a Sith plot. And that’s where things just sort of fizzle for me–because it starts promisingly! So much debate between Obi-Wan and Bail! So much nuance and so many quotes I’m going to pull from it! Awesome! And their storyline builds up really nicely, culminating in them crashing on a Sith planet and having this arduous trek to get help. Still awesome! Obi-Wan is a goddamned tank in this part of the book, he’s under constant physical and mental assault and he still keeps going, the amount of damage he can take and still keep fighting was awe-inspiring! I am all for this!    But then it just kind of… ended. The entire second half of the book (which felt like a separate book from the first half) was a three day walk across some deserted planet. It was a long, grueling slog of a walk and the writing does justice to that, but… that’s it. They get to the Sith shrine and it’s over in a handful of pages. There’s plenty of cool character moments on this walk, but I never felt like Obi-Wan and Bail actually earned their new friendship, they hardly talked about anything other than “We have to rest.” “No, we have to keep going.” And there was hardly any actual action, the plot was just sort of thinly there to provide long sections of whump writing. Which made me feel that… as a story, it wasn’t put together that well, it was the strength of the author’s take on Obi-Wan’s character and the relationships he has that really made the book an interesting read for me.    That said, it’s absolutely and totally worth it for every moment between Obi-Wan and Anakin, while it started out with me making some unsure faces (because I don’t buy for once second that Obi-Wan would have been fooled about Anakin and Padme ending their relationship), by the end I was entirely onboard with these moments, the depth the author added to their relationship, the moments of insight that felt spot on, the subtle undercurrents or the things that smacked me in the face (like the realization that Obi-Wan didn’t know the content of Anakin’s dreams, that they were dangerous, rather than regular dreams) or just gave me a lot of feelings about how co-dependent they could be with each other. It’s a great book for getting a better understanding of Obi-Wan’s point of view while still keeping him distant from those around him, it does a great job with showing the weight of his thoughts and feelings while keeping his iron will intact. And it really is entirely, entirely worth the read for the Old Married Couple banter between Obi-Wan and Anakin! ✦ Thrawn by Timothy Zahn, thrawn & governor pryce & ocs & yularen & cast, 448 pages    “I study the art of war. Work to perfect it.” —Grand Admiral Thrawn    Reintroducing a character like Thrawn to the current canon of Star Wars can be tricky, especially after the character was already introduced via season three of Rebels, now Zahn had to write backstory for him. But this book was everything I could have asked for from it–it was an engaging story all on its own, but also that it balanced having little nods and winks to old EU canon with keeping firmly in the now, that this is still a character who needs establishing in this version of continuity. This book also does a really good job of showing Thrawn’s point of view, which isn’t easy with a character like this, one who is always supposed to be at least three steps ahead of everyone else, but I enjoyed every moment of it and I found the character to be incredibly engaging and charismatic, in that sense of how I always wanted to be reading more about him. I read through this book fairly quickly and while it was perfectly paced for what it was, I also found myself thinking that I would very easily read another five in a series of books about this character from this author and that I hope there really is a sequel in the works!    A good chunk of the book is also dedicated to Governor Arihnda Pryce, we get to see her go from being reasonably morally decent to where she is in Rebels and she’s fascinating for it! While I still was more interested in Thrawn, by the end of the book, I saw what she brought to the table of this story and how everything was solidly woven together and so I don’t begrudge her being there at all! (Plus, it’s hard to begrudge a female character getting in on the titular character’s action, when I’ve seen so many male characters do the same to female central characters.) The use of the OCs was also nicely done and I came to care about Eli Vanto by the end, I enjoyed his character and seeing Thrawn through his eyes as well! But, yes, ultimately this was Thrawn’s backstory and the tale of his rise through the ranks to Grand Admiral of the Imperial Navy and it very much hit all the notes I wanted it to hit.    By the end of the story, it had caught my imagination (I spent a few minutes wondering what it would have been like had Thrawn been on the other side), I found that I liked the explanation for his character, why he joined and worked so hard for the Empire, the way he dealt with people, that he could have such honor and morals, while still doing terrible things, while still absolutely being a villain. For all that he’s very thoughtful and engaging, for all that Thrawn values lives, I don’t think the book ever forgot that he was ruthless and would not hesitate when it came to what needed to be done, that combination endeared the character to me and now I would genuinely like an entire series about him or for him to have the same prominence post-ROTJ that he did before, even if I know that may be impossible with Disney’s new canon. This book won’t quite unseat Ahsoka as my favorite of the new canon, but it sure as heck is on my top five list now. ✦ Leia, Princess of Alderaan by Claudia Gray, leia & bail/breha & cast, 416 pages    Sixteen-year-old Princess Leia Organa faces the most challenging task of her life so far: proving herself in the areas of body, mind, and heart to be formally named heir to the throne of Alderaan.    I really, really loved this book a lot, I thought it achieved everything it set out to do, and was just a really good look at a young Leia, where she came from, and how some of the pieces of her life started sliding into place. I love it because there are a lot of little moments that work well for me, the ways Leia unknowingly touches the Force were some of the best, that they made sense in the moments they were used and weren’t too heavy-handed to make you wonder why she herself didn’t notice–that’s not an easy balance to strike! But it’s also that this makes so much sense as a young Leia story, where she’s struggling with wanting to do more for the galaxy around her, but not having the maturity to understand some of the more long-term plans that are out of her reach, to understand why her parents haven’t told her about them. And this story is about her struggle to grow up into someone they can trust with that, her struggle to become that person as much as it about the struggle of trying to decide how much to risk Alderaan in this Rebellion, to risk the one safe place the galaxy has. And that dilemma felt much more organic and meaningful than the dilemma she faced in Bloodline, I felt.    I enjoyed the new characters, for all that they were fairly predictable that didn’t take away from that I liked reading about them and that their story had meaning to help support Leia’s–and I’m looking very much forward to seeing some of them show up in The Last Jedi! The familiar characters (like Tarkin and Mon Mothma) were well-used, they’re important figures that we know Leia knew, but they weren’t overdone–a lot of the references to things we know about canon or the use of various bits of trivia (like when we briefly see Eriadu from Rogue One) were all well done! I enjoyed that this is a character who is very much her bio-father’s daughter, but is also even more Bail Organa and Breha Organa’s daughter, that the pieces we see of Alderaan, the bits of worldbuilding that we get are really lovely. And, oh, Bail and Breha are used very well here, they may not be main characters, but they certainly feel human and weighty in the narrative. Basically, this book is all I could have asked for from it and I would enjoy seeing Claudia Gray write more of her! ✦ Phasma by Delilah S. Dawson, phasma & brendol hux & cast, 400 pages    One of the most cunning and merciless officers of the First Order, Captain Phasma commands the favor of her superiors, the respect of her peers, and the terror of her enemies. But for all her renown, Phasma remains as virtually unknown as the impassive expression on her gleaming chrome helmet. Now, an adversary is bent on unearthing her mysterious origins—and exposing a secret she guards as zealously and ruthlessly as she serves her masters.    This book is not at all what I expected it to be. When I picked it up, I thought it would be a book that would try to get into Phasma’s head–an odd proposition for a character we know very little about at the moment. But instead it’s a book that looks at her story from several outsiders’ views of her, it’s a story about her, not from her. And that’s also something I wouldn’t have thought I would enjoy, but yet I did. It balances how weird Star Wars can be with an unwinding story about showing who Phasma is at her core, that she’s mysterious and difficult to parse, but the more you see of her, the more you start to slowly catch glimpses of her. And by the end I felt like, yes, this is a Phasma I could see and understand and she made sense to me.    The book does have a lot of trivia pulled into it, but it’s all stuff I enjoyed and nothing I thought would stop a person from understanding it through context! And I really came to enjoy the new characters, I adore Vi Moradi like you wouldn’t believe, I thought the First Order was shown as reasonably understandable how they don’t recognize what they’re in the middle of, yet it’s unquestionably a horrible, poisonous organization. I wound up enjoying the structure of the story about Phasma rather than from her, I found the adventures the characters all got into to be engaging, I found the world ultimately made sense to me (despite my early misgivings about how I wasn’t sure things worked like that), and it was just one of those books that maybe I don’t have a ton to say about, but I felt served the character and the franchise really well. It’s just engaging, I could pick it up and read for an hour no problem, and it was an entertaining ride. Honestly, that made it one that I absolutely would recommend it for! ✦ Catalyst: A Rogue One Novel by James Luceno, galen/lyra & jyn & krennic & tarkin, 352 pages    For years the Republic and the Separatists have battled across the stars, each building more and more deadly technology in an attempt to win the war. As a member of Chancellor Palpatine’s top secret Death Star project, Orson Krennic is determined to develop a superweapon before their enemies can. And an old friend of Krennic’s, the brilliant scientist Galen Erso, could be the key.    I read this novel before I saw the movie (as there are no real spoilers for it, only backstory) and it’s one of the best decisions I could have made, because what this novel does is draw many more connections to the greater Star Wars galaxy than the movie does. I think even reading it after you’ve seen the movie will do the same, it will explain a lot of how the characters got to where they are, especially Lyra, Galen, and Krennic, because it does a really good job of bridging the gap between the Clone Wars and the state of the Empire ~20 years later–well, as much as any one novel can. It draws in planets like Coruscant and Geonosis, it creates new ones that still feel like Star Wars planets, it touches on the use of kyber crystals, it’s about the building of the new Empire, it’s about trying to draw Galen Erso in to work for them and how exactly that happened, when he’s not someone who would have knowingly done so, but he was manipulated and lured in and felt that he had to work on the Death Star, otherwise they’d complete it without him much sooner, especially since they had his notes on kyber crystals from before.    The book isn’t really so much a story in and of itself, it’s more of a backstory and filling in the gaps, connecting the dots, kind of story, but I loved it for that, given that I felt Rogue One (for all its cameos and being centered on the Death Star plans) felt like it was very detached from the larger galaxy that I knew and loved. It does a great job with the three characters it centers on, it breathes some life into Lyra, it explains Galen better, and it writes an absolutely hilariousKrennic (his cat fights with Tarkin are amazing), as well as has the single greatest premise: That Galen Erso used so much ineffecient bureaucracy to make the higher-ups so sick of looking at reports that they just went Okay, fine already! and let them keep the tiny flaw in the plans. It’s a book that’s very much meant to go along with the movie, but I think it’s one that achieved exactly that goal and made the whole experience stronger! Luceno is one of my favorite authors and this book definitely did not disappoint me. ✦ Bloodline by Claudia Grey, leia & ocs, 352 pages    As the daughter of Darth Vader, Leia faces with distrust the prospect of any one person holding such a powerful position—even when supporters suggest Leia herself for the job. But a new enemy may make this path Leia’s only option. For at the edges of the galaxy, a mysterious threat is growing….    I definitely could not put this book down and I think Claudia Gray has a great grasp on Leia’s character, so reading this book as a Leia story was absolutely a worthwhile time! It especially understood her complicated relationships with both her fathers, both Bail and Anakin, and her difficult to untangle feelings there. It doesn’t shy away from that Leia is the goddamned boss, that she’s not afraid to get her hands dirty by digging into the hard work, even ~thirty years later. The only complaints I have about this book are in the political and structural stuff–one of which isn’t the author’s fault, as this book was published not long after The Force Awakens, so it couldn’t really contain anything with Luke or Ben, it had to dance around actually dealing with those things, when it clearly would have been important to do so. It does what it can with the Han/Leia relationship, but it’s still chained to what the movie put down, so I don’t blame it for that.    However, the politics of the book were terrible and made zero sense–the idea was that, because Palpatine had abused his power via the Empire, there should be no central government anymore and that’s just bullshit. By that logic, there shouldn’t be any planetary government, either. Or any country-level government. Or city-level government. All government is open to potential abuse, if you vote the wrong person in, that doesn’t mean you scrap the whole idea. Especially not when Leia then leaves the Senate and founds the Resistance, which I’m pretty sure has a heirarchy that’s open to potential abuse if the wrong person gets in. It also contained references to how apparently the New Republic allows “indentured servitude” and Leia witnesses this and barely thinks much of it. It also relies heavily on characters acting for the plot sometimes, rather than acting how a reasonable person would. And I wish the balance between the plot of uncovering the First Order (which can only do so much, since we know where this has to go) versus the moments of just pure Leia had been better.    Okay, I’m being pretty harsh on this book and I don’t mean to be, because I absolutely think it’s worth reading for the Leia moments, where she’s so solidly herself, where she has all this passion and anger, but she’s so thoroughly goodthat even the galaxy being unfair to her cannot shake her core foundations. It was a book I couldn’t put down and it felt like Star Wars (which is a hugely important thing to me!), especially in that there were lots of aliens, some that I recognized and some that I didn’t, that there were tons of planets and different cultures that truly felt like a space opera. And for all that I criticize the political philosophy here, that the politics were important to the story, just as much as the action was, was very well done!    It’s a bit of a slow start, but by chapter 5 or 6 I had trouble putting it down and I had that experience of feeling, “Ahhhh! I need to talk to people about my feelings about this book!” in a good way, which is something I also treasure. It’s a book that balances Leia’s incredibly caring nature, her huge heart, and her deep wells of anger. It’s a book that had engaging new characters that I cared about while I was reading about them. I wish there’d been more introspection on Leia’s feelings about Anakin as her bio-dad, but it’s also a story that captures how she’s such an iconic character, and it’s an incredibly engaging read. I absolutely recommend it, no question. ✦ Moving Target: A Princess Leia Adventure by Cecil Castellucci and Jason Fry, leia & ocs, 240 pages    Set between Star Wars: The Empire Strikes Back and Star Wars: The Return of the Jedi, the story follows the warrior princess as she leads a ragtag group of rebels on a dangerous mission against the evil Galactic Empire.    I enjoyed this book! It’s not particularly game-changing in any way, it doesn’t involve a lot of introsepction and it’s almost entirely action, but it’s a fun filler type of story where Leia has to run a mission for the Rebellion to distract the Empire while they work on something else. It has some fun moments and it was easy to pick up and put down, it had moments of solid characterization–and that’s really what this is. A very solid read, especially if you like Leia as a character and want to see her leading a team on an adventure. It has a solid cast of supporting characters (including some recognizable and some new alien species!) and it does a solid job of adventuring around the galaxy, really feeling like Star Wars, as is always important to me. It’s just all the way around a solid, solid story that I easily read through in just a couple of days because it was engaging enough that I sailed right along. ✦ The Weapon of a Jedi: A Luke Skywalker Adventure by Jason Fry, luke & ocs, 192 pages    Set between Star Wars: A New Hope and Star Wars: The Empire Strikes Back, the story finds Luke Skywalker, C-3PO, and R2-D2 stranded on a mysterious planet, and explores a dangerous duel between Luke and a strange new villain.    My feelings on this book are pretty much identical to how I felt about Moving Target, in that it’s a very solid story that is a fun filler piece (and that’s not a slam, because filler pieces often make a world feel richer and more fleshed out) with some adventure and some solid characterization moments. It’s a story that I read when I was incredibly hungry for anything Star Wars related and so I inhaled it in just a couple of days, because it was engaging and easy to read, it’s solid and worth the time, if you’re a fan of Luke Skywalker’s character. ✦ Rogue One: A Star Wars Story by Alexander Freed, jyn & cassian & bodhi & baze & chirrut & k2so & galen & krennic & cast, 336 pages    The Rebellion has learned of a sinister Imperial plot to bring entire worlds to their knees. Deep in Empire-dominated space, a machine of unimaginable destructive power is nearing completion. A weapon too terrifying to contemplate … and a threat that may be too great to overcome.    I enjoyed Rogue One as a movie, but the characters never really spoke to me until I read this novelization. It’s the kind of book that does exactly what I want from novelizations–where it adds all these little, tiny moments to the story and it allows for a better understanding of the characters because it gets into their heads, while still sticking to the story that I saw on the screen. This novel especially did incredible things for Jyn’s character for me, she is so messy and complicated and jaded and cynical and hurt and damaged here, shown through her pov in a way that helped me to understand why she behaved the way she did in the movie, why she was so cold on the surface and seemed so flat, all while there’s such a great character that appealed to me under the surface.    Jyn alone is what I would have enjoyed this novelization for! But it really did a lovely job with the Cassian and Bodhi scenes as well, there were a couple of devastating lines about Baze and Chirrut as well, even K2-SO wasn’t immune from breaking my fannish heart in this book. The highlight of this one is how it added depth to the story that was already there, especially with Jyn’s character (I wanted to quote so many lines!) but it’s pretty much everything a novelization should be–it was interesting and engaging even while telling a story I already knew the details of. ✦ Lone Wolf by Abel G. Peña, obi-wan & luke, 76 pages    A narrative of Obi-Wan facing the realities of a Jedi outcast at the twilight of the Clone Wars.    I have very complicated feelings about this short story–on the one hand, I wrote like half a dozen blogging posts about it because there were moments in it that absolutely sent me over the moon! There were some great details that I will cherish forever! But the tone of the story was incredibly grimdark in a way that was trying too hard even just post-ROTS would warrant, it was a little too over the top trying to be serious and edgy, as well as there are a lot of descriptions of how gross and yucko the women in this story are. As a fan of Obi-Wan Kenobi and the grief he was working through at this point in time, I don’t regret reading this book, there were some goddamned stellar quotes from it! But it comes with a whole lot of caveats and side-eyeing of certain elements and… well. I have a reaction post from it, if you don’t mind spoilers! There was potential here and I would be happy to see this author take another crack at SW stuff, but this one didn’t hit the mark for me–and that may be a personal thing! (Aside from the way the women in this story were described.) But, well, this is a list of reviews for like-minded fans, so I can’t say I really recommend it for my crowd personally. ✦ The Hive by Steven Barnes, obi-wan & ocs, [short story]    Dispatched as a Republic envoy to the Outer Rim planet Ord Cestus — in a bid to halt the sale of potentially deadly “bio-droids” to the Confederacy — Obi-Wan Kenobi finds himself enlisted in a mission more desperate, and dangerous, than diplomatic.    This is a short story that was a companion piece to the Cestus Deception, I believe, and it’s one of those that’s solid for what it is, but I wish there had been a bigger scope to it. It’s a fairly routine (for this character, anyway) mission where Obi-Wan is on a planet trying to help a race of insect-like people regain their royal eggs, and the world-building and culture and original characters are all well done! I was never bored by anything that was here! My only caveat is that I wish there’d been more, more to the aspects I already knew and cared about, like Obi-Wan thinking more about Anakin or the Jedi or having others show up. If you’re going in for a look at an alien society in the Star Wars universe, this book is really great! And I do like what’s here of Obi-Wan’s character! And I saw a review once that likened it to a lost episode of The Clone Wars and I felt like that was a good description of it, that I wanted more, but for the focus of this short story being what it was, it was solidly done. ✦ Guardian of the Whills by Greg Rucka, chirrut & baze & ocs, 240 pages    On the desert world of Jedha, in the Holy City, friends Baze and Chirrut used to be Guardians of the hills, who looked after the Kyber Temple and the devoted pilgrims who worshiped there. Then the Empire came and took over the planet.    This is a middle-grade novel and I think a lot of the enjoyment of it depends on what you’re looking to get out of it. I had been hoping for something that delved into Baze and Chirrut’s background a little more, to get something of their history as Guardians of the Whills, to develop that aspect of the SW universe again, but instead this novel is set a handful of months before the Rogue One movie, so it’s dealing with the Empire taking over their city and what leads them to the fight against it. That said, it’s a solid story and has some great lines between the characters, the old married couple dynamic (while I wish they’d been made canon, I felt like there was at least a very, very easy time to read into them that way here) is a highlight and a joy, and it’s a solid story with engaging characters. While I wish there had been more depth to the characters and their history, Rucka does a great job at showing them in the moment, that they felt very much like the characters I saw on the screen, and felt very true to how I imagine they would have been drawn into the fight against the Empire on Jedha. If you like these characters, I would say that this is absolutely worth the read! ✦ Secrets of the Jedi by Jude Watson, obi-wan/siri & anakin/padme & qui-gon & adi gallia & cast, 208 pages    To be a Jedi is to safeguard peace in the galaxy. To be a Jedi is to defend justice against tyranny. To be a Jedi is to rely on the Force. To be a Jedi is to not love or live as normal people do … at whatever the price.    I have such a complicated relationship with Jude Watson’s writing–it’s very much written at 13 year olds and I think the pacing and worldbuilding often suffer for it, that little has much room to breathe or let the impact be felt, that the logic of the Jedi doesn’t hold up on a worldbuilding level/doesn’t fit with the higher level canon, and the characters aren’t always how I see them. But, at the same time, when she nails a moment, she absolutely nails it, her writing can be incredible quotable and I really do love the characters that inhabit these novels (I especially love Siri and Bant!) and the underlying story is often one that has a lot of potential, if you want to explore it more, it’s often practically made for character-exploring fic pieces, practically! It is a book that is centered on romance–that each of the stories being told here (about Qui-Gon, about Obi-Wan, about Anakin) is about romance at the heart of it, which can be frustrating when there are so many other important relationships, but the book did well with the comparisons and contrasts between them.    I’m kind of hard on the book, but I’m reading it as an adult and I’m not really the target audience for this story anymore (even as I think kids’ books can appeal to adults in the right author’s hands) and that’s not to say that I don’t see the appeal of it to a lot of people. I actually enjoy reading other people’s enjoyment of this book, even if I often feel like I think these books work better if you read them when you were younger, rather than looking at them through the eyes of current canon, especially since the book came out in 2005. Would I recommend it? Depends on the person and how much you’re invested in various characters–Obi-Wan fans will enjoy the book more than Qui-Gon or Anakin fans, I suspect. It’s not one that I consider to be particularly true to Star Wars, but the handful of moments that were worth reading for are incredibly worth reading for! ✦ The Force Awakens: Rey’s Story by Elizabeth Schaefer, rey & cast, 128 pages    Rey never thought she would leave the desert planet of Jakku, but her life is turned upside down when she meets BB-8, a small droid with a big secret. Like it or not, Rey is about to be caught up in something much larger than herself: a galactic war between the evil First Order and the fledgling Resistance.    While this book is almost entirely going over the events of The Force Awakens–well, her parts of the story, that is–I suspect it would go over best with those who really enjoy her character already! But I found that it was worth the read because I really do love Rey a ton and there were bits and pieces that were new (like a bit more of what she filled her time with while on Jakku), as well as moments where she connected to the Force or her feelings for Finn or little touches that could mean more, were nicely present. It’s a short book, a light read that’s mostly just going over something we’re familiar with already, but it was a very sweet one for that.

[iltrombadore]

Katy Castellucci, la realtà e il sogno della pittura

Conobbi nei primi anni Ottanta la persona di Katy Castellucci (1905-1985) per poco tempo, quasi di sfuggita: quella fu l’unica occasione, e non saprei dire se la vidi lungo la Via dell’Oca, dove lei abitava accanto a suo nipote Sandro Pagliero, mio caro amico, oppure durante una di quelle provvide esposizioni che all’epoca misero in evidenza le migliori qualità artistiche della Scuola Romana tra le due guerre mondiali, grazie all’opera di galleriste fuori del comune quali sono state Netta Vespignani e Lucia Stefanelli Torossi. Fu un breve incontro, certo, il mio: che tuttavia ricordo sempre vivido ed eloquente perché l’immagine di Katy Castellucci mi si stampò negli occhi come fosse il tipo di una presenza antica e, chi sa perché, a me del tutto familiare. Lei era una donna in età avanzata, e portava i capelli incanutiti affioranti appena dal copricapo che li raccoglieva, in modo impertinente e un poco, quasi, sbarazzino. Era una figura in ogni caso distinta e ben composta, la sua, figura discreta d’altri tempi, di una vanità giovanile raccolta e spiritosa, dal punto di sorriso piegato sui labbri appena mossi, fino alla fresca agilità di un corpicino minuto, esile, ma asciutto, sicuro e ben piantato.  

Poi, la chiave esplicativa di quel fascino che da lei emanava mi fu, a poco a poco, abbastanza chiara. Katy, nella persona vivente, era come lo stampo animato di uno di quei suoi personaggi femminili, di quelle signore e signorine che aveva saputo così bene ritrarre, dipingere e incastonare in effigie dalle pose diverse di quasi mezzo secolo prima: nude, vestite, azzimate o semi-discinte, con lo sguardo breve, il dialogo dell’ occhio spalancato e interrogante, la spalla enunciata in aggetto di movimento vibrante e sospeso. Presa dal vero, la pittura diventava sogno, e la vita a sua volta diventava sogno della pittura. Sopravviveva, nella presenza e nei modi di Katy Castellucci, lo spirito germinale di quella bohème romana che aveva animato gli studi di Via Margutta e tutto intorno le vie del Tridente, dall’Accademia di Belle Arti, alla salita di Ripetta, a piazza del Popolo, nel pieno degli anni Trenta fin lungo tutto il buio tunnel della guerra e le genuine e  fin troppo ingenue speranze di rinascita che ne seguirono. Una parziale suggestione, era forse la mia, assuefatta e attirata dall’occhio di Mafai e Ziveri penetrante nel mondo cantabile delle comari romane, stenditrici di panni al sole, o in quello abietto e disperato dei bordelli popolari, con le donne sulle scale di Pirandello, quelle popolane alla finestra di Guttuso, oppure le fanciulle velate dal mesto colorismo crepuscolare di Cavalli, e da tutto quel tesoro di immagini femminili ricavato dalla più intensa delle cronache familiari: era come la stenografia o la memoria di un racconto ininterrotto di esperienze vissute e trasposte sulla tela, coi volti e le trepidanti movenze delle adolescenti dipinte da Antonietta Raphael, l’elegante tratto luminoso delle vesti ricamate da Adriana Pincherle, certi corpi accucciati e torniti dal veloce pennello di Toti Scialoja, nei primi anni Quaranta, con una giovanissima Titina Maselli a fare da modella e figura emblematica di  espressività contenuta nelle volute fisiognomiche dei contorni e nell’implorante apertura dello sguardo. 

Pure tra diverse maniere di vedere, ad inseguire varianti e regole di stile, lo spirito veramente originale della “Scuola Romana” di quel tempo si riconosceva nell’approccio narrativo e autobiografico, nel viatico  non retorico di una pittura moralmente intesa come pietra di paragone della vita: una naturalezza espressiva della generazione artistica che si allontanava dai moduli e precetti estetici del “Novecento”e dalle risultanze spettacolari del dinamismo futurista, per ripiegare invece sul crinale di un racconto figurativo più intimo e molto umano, legato ai valori emotivi della composizione d’immagine. Era il segno di una attenzione meticolosa per la formulazione del dipinto come testimone e contrassegno di un autentico “essere nel mondo”, un vademecum spirituale che andava ben oltre la tecnica e i rituali del professionismo e di ogni qualsivoglia retorica celebrativa e ufficiale. Di questo approccio alla pittura “come vita” -la cui lezione principale veniva da Scipione, e seguiva sul piano letterario il movente poetico delle “occasioni” montaliane- l’animo gentile di Katy fu tutto preso e determinato: la sua radice espressiva si circondò così dei sentimenti immediati e vivamente fissati sulla tela travalicando le più veloci traduzioni impressioniste per tornire a fondo l’impasto sintetico degli effetti cromatici  che miravano a modellare una forma sospesa, incantata, e pure fedele al vero, senza accorgimenti artificiosi, senza soverchie magìe, tutta aderente al motivo esistenziale e psicologico del soggetto figurato. 

Della pittura di Katy avevo avuto notizia, all’epoca in cui la conobbi, solo per sommi capi: me ne ero fatta l’idea sommaria di una valida e meticolosa seguace della “scuola di Via Cavour”, per quell’impaginato semplificante tutto su di un piano e la stesura calibrata dei colori giunti a tono per condensare l’immagine in superficie, secondo che avevo visto in alcune sintomatiche tele di Mafai alla metà degli anni Trenta. Il tonalismo e la passione per il timbro del colore mi pareva allora lo scopo dominante la pittura di Katy. Ed era solo in parte vero, poiché era un giudizio approssimativo. Solo quando di lei si fece una prima retrospettiva, qualche anno dopo la sua scomparsa - promossa da Lucia Torossi, con gli scritti di Claudia Terenzi, Fabio Benzi, Romeo Lucchese e Federica Pirani- fu possibile, almeno a me, di avere una sensazione più esauriente di quella volontà d’arte condensata sulla tela, secondo un percorso che è assieme stilistico ed esistenziale.  Molta cultura visiva passa per le pitture di Katy; molta esperienza umana, molto vissuto. Siamo nel pieno degli anni Trenta. Roma trema al cospetto delle demolizioni, e si risveglia al clamore futuristeggiante di un gusto razional-classicista che rimodella l’Augusteo, la spina di Borgo, l’area dei Fori, i campi aperti all’atletismo, dallo Stadio dei Marmi alle palestre del Foro Mussolini. Sotto la traccia delle immagini ufficiali, costeggia in silente conflitto il profilo inquieto di una nuova generazione che tenta di riconoscersi chiusa in sé stessa,  sul filo di una vitalità pittorica che trasfigura il dato esistenziale in un ermetico lirismo della realtà.  

La pittura non è documentazione. Altro è la pittura, altro la fotografia. Il vero diventa fantasma dipinto, prensile immagine, sintesi di forma e colore. Ecco Scipione, ecco Raphael e Mafai, ecco Marino Mazzacurati e Ziveri, ecco Cavalli, Cagli e Capogrossi, Afro, Mirco e Janni, mentre si fanno strada Fazzini, Montanarini, Savelli e De Felice, Omiccioli, Scialoja e tutti gli altri, assai sensibili alla versione formale di una pittura da cui possa traboccare un contenuto emotivo, fin troppo umano, anche quando presentato in forma di mitologema “primordiale”. Abbinando il vezzo femminile alla forza di carattere, con il beneficio di una grazia spontanea, il vocabolario estetico di Katy trasfigurava così l’esperienza del quotidiano nello smalto di un armonico cammeo, il cui effetto visivo travalica il tempo storico conservandone i lineamenti. Alle eleganze tonali raggiunte nel 1935-1936 (al tempo in cui espose alla Cometa di De Libero le sue opere insieme a quelle di Adriana Pincherle) si affiancano le vibranti e scabre pulsioni sentimentali di certi nudi raggomitolati, e i successivi autoritratti, l’accento realistico ed espressivo nel dialogo intimo intrecciato con il volto di sua sorella Guenda, compagna di vita e prove morali, mettendo a frutto un bagaglio stilistico (Ziveri, soprattutto) per conferire al dato narrativo l’incanto della pittura. Katy viveva così il sogno della pittura tanto quanto viveva la sua vita di donna moderna immersa nei fragori del secolo. E d’altra parte che non fosse solo un mondo inventato, ma piuttosto un diffuso tessuto di umanità e di vita culturale, ce lo ricorda Romeo Lucchese, quando descrive per esempio la comunità di “piccola Atene, lontana dal regime”situata ai bordi del Tevere sul galleggiante a due  passi dalla salita di Ripetta dove si incontravano quasi tutti gli artisti che sarebbero stati  associati alla “Scuola Romana”, assieme ad architetti, galleristi, scrittori e poeti. 

Forse, il garbuglio di stili e personalità emerse con i cento fiori della “Scuola Romana” trova il suo epicentro espressivo nel comune bisogno di testimoniare, l’accento di vitalità che si racconta incastonata nella pittura e in un disegno febbrile di corpi, volti, brani di scenario e paesaggio urbano immersi nella luce di Roma, quando limpida, quando corrusca, come tela di fondo di drammatiche, inesauste e impredicabili attese esistenziali. Era così tratteggiato il clima culturale di quella sovrabbondante inquietudine “ermetica” d’anteguerra, che si sarebbe risolta per diverse diramazioni espressive e riduzioni stilistiche dopo le prove morali del traumatico crollo del regime fascista, nella attività di resistenza, di cui molti artisti furono interpreti appassionati, e anche Katy ne fu partecipe, col tratto di una fedele e costante attenzione, quando fece la spola per collegamenti informativi tra Roma e Milano, dove il marito Corrado De Vita era impegnato nella clandestinità. Il segno della fedeltà alla pittura intesa come sogno della realtà era la conferma di un’adesione alla vita intesa come sogno della pittura. 

Quel sintomatico scambio di arte e vita venne messo ancora più alla prova nel tumultuoso secondo dopoguerra che moltiplicò le energie artistiche e l’incanto narrativo autobiografico -temperie distintiva della “Scuola Romana”- si venne ad affievolire cedendo il passo alle prevalenti tendenze del neo-formalismo astratto e del realismo ideologico, con la minuta compagine dei “pittori fuori strada”(Scialoja, Sadun, Stradone, Ciarrocchi) a tentare la via d’uscita di un palpitante esistenzialismo figurativo. Katy Castellucci, dal canto suo, restò legata alla scelta originaria di una pittura pervasa di sognante “figuratività” che sembrò riemergere quasi intatta quando nel 1951 si presentò come quasi vent’anni prima ad esporre con Adriana Pincherle  presso lo Zodiaco di Linda Chittaro. Di quella mostra, l’ occhio arguto di Alfredo Mezio colse soprattutto il “bagaglio romano e marguttiano” rilevandone la “cartavelina tonale, neopicassiana, purista”, accanto alle sentite derivazioni da Mafai e Ziveri. Quella occasione fu, che io sappia, l’ultima impegnativa  comparsa pubblica dell’ opera di Katy, che non mutò di stile, se non per poche varianti, vicine alla parallela attività di insegnante, costumista e scenografa. Era la conferma di un comportamento morale oltre che estetico: poche in vita furono le esposizioni, poche le sortite, ma costante fu l’impegno  custodito, come messaggio di serietà e sincerità, nella bottiglia della pittura. Peccato, ma non è forse un caso, se  Katy non compare nel film-melodramma “Le modelle di Via Margutta” girato da Giuseppe Scotese nel 1945 dove altri suoi amici artisti -Fazzini, Montanarini, Tamburi, Guzzi, Tot, Scordia- si avvicendarono a recitare la parte di sé stessi negli studi del n.51. In quel clima di nascenti speranze nate dopo il trauma della guerra, avremmo visto volentieri la sua elegante figuretta, così emblematica della “Scuola Romana”, in movimento sullo schermo. Eppure oggi anche quell’assenza ci dice molto, ci racconta di lei, della sua discrezione e gentile ritrosia, e suggerisce sul suo temperamento artistico molto più della presenza.

[poetrificationfestival]

Cominciamo a introdurre i finalisti del 𝗣𝗿𝗲𝗺𝗶𝗼 𝗥𝗼𝗯𝗲𝗿𝘁𝗼 𝗦𝗮𝗻𝗲𝘀𝗶 di poesia e musica che si sfideranno l'11 settembre a La scimmia in tasca

Gaia Ginevra Giorgi (1992) è autrice e performer. Laureata in Filosofia presso l'Università di Torino, attualmente studia Teatro e Arti Performative presso l'Università Iuav di Venezia. Nel 2016 pubblica "Sisifo" (Alter Ego Edizioni). Partecipa a diversi Festival Internazionali, come quello di Istanbul, Sibiu, Madrid e Lubiana. Tradotta in turco, romeno, spagnolo e sloveno, nel 2017 pubblica "Manovre segrete" (Interno Poesia) - edito in Spagna da La Bella Varsovia, con una traduzione di María Martínez Bautista - e realizza il suo primo progetto di videopoesia. Del 2019 è "Proprio come per le formule magiche" (progetto selezionato per Asolo Art Film Festival), una performance/dispositivo di messa in crisi del testo poetico, che mette in relazione corpo, parola e macchina. Nel 2019 pubblica il saggio biografico "Sylvia Plath. L'altare scuro del sole".

Riccardo Santalucia (1994) laureato in Design del Suono presso lo IED di Milano nel 2017, sviluppa processi e drammaturgie del suono all’interno di collaborazioni con realtà performative, installative, per danza e teatro; spesso confrontandosi con tecnologie interattive e programmazione generativa di contenuti audio/visivi. Accosta la ricerca elettronica e multimediale alla pratica di performer ponendo particolare attenzione al corpo della voce, collaborando tra gli altri con Radice Timbrica Teatro, Valdoca, Teatro Magro, Socìetas Raffaello Sanzio, partecipando ai workshop di Chiara Guidi e seguendo il corso triennale di tecnica della rappresentazione diretto da Claudia Castellucci, Madison Bycroft.

[persinsala]

Il Regno profondo - Perché sei qui?

Il Regno profondo – Perché sei qui?

Apparizioni. A partire dall’entrata in scena, semivisibili, poco percepibili per via della nebbia e del gioco di luce. Un podio, un palco per oratori. Un mondo post moderno o la fabbrica, la fucina di Dio. Il Regno profondo – Perché sei qui, in scena al Dialma Ruggiero a La Spezia, è una grande prova di teatro, un’esperienza estetica unica: magia della voce, costruzione spaziale, ironia. (more…)