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do not know a title, are as empty as an abandoned tank

Are you a young French intellectual, curious, open, pounding in Paris this bored bourgeois culture and the anxieties of the beginning of '800. Decide to go out and wander aimlessly through the city in search of a living or a helping hand. Your feet pull you involuntarily start to see strange lights and colors .. 're at the Chat Noir. Already the entry you notice that something has changed in the world: the shadows of Caran d'Ache Chinese stand on the huge white canvas hoisted for the occasion, the audience is fascinated and excited by the winged cat that can be glimpsed in the act scratching the bourgeoisie represented by academics in evening dress.
The Chat Noir is packed with artists, comedians, chansonniers .. you sit down and start the show. Today is Sunday, the day is open to anyone who wants to perform .. you can almost do it too.
As we think, do you prepare for the event tomorrow. The Chat Noir, because of his enormous fame and enormous number of visitors, must move. Already files, a long column of people in party, which winds through the city streets, trying to revive her and shake her from her slumber .. will be the case, in fact. The joy will be great, even trying to emulate. Still do not know, but it could happen that for a while 'time you're so busy with your mental ruminations have no time to go back. At that point you will be curious to know what happened to the old satirical actors, those madmen who exchanged jokes with the audience. While you were in your office to try to change the world from within, have been replaced by commercial music and comic performances, which will run all over France looking everywhere to recreate the magic which, unfortunately, will be removed.
years pass, you'll be dead, but the Cabaret continues its run parallel to reality, trying to assert itself without attracting attention. Kabarett
The German is now the new lifeblood of the opposition to everything and to nothing. Locations anti-Nazi, they saw among their fans / contributors and Brecht and Reinhard, for their activities, were obviously involved in the order that Hitler forbade that kind of representation. Here we make two great minds of the comedy of the absurd and nonsense: the comic (which has hosted in his small orchestra, a young Brecht) Karl Valentin and the lover of beautiful scenic cross-dressing, Kurt Tucholsky.
The brilliant mind of Reinhard could only give birth to other fans of Cabaret. From his student Hugo Ball was born and then a new structure in Swiss land: the Cabaret Voltaire. Famous for giving refuge to writers, poets, intellectuals, was one of the ideological and artistic centers of Dada, with all that that entails: distance from the logic of traditional art, appreciation of spontaneity, improvisation and chaos, as prerequisites for a new worldview. Perhaps it would be like you.





proposed rents for the title?
however between the two images I choose .. the third

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Hello everyone! Those above are two pictures taken by Antonio, my boyfriend had the pleasure to work fanzine. It 's the result of a long rumination and careful selection of five drawings-drawings of departure. We thought we'd take our democratic processes, and then a vote for that to be included in the zine:)

This however is my article-biography of Kurt Weill:)

Meine Frauen und Herren, round heads and elongated heads, followers believe veterans or novel Brechtian punk cabaret, and store the bowler fashion socks with white stripes and black, you go to the theater. And it's not cheap to see a play, but a work of exception: on stage, one actor. Single Act. Subject matter? Of the best: no names, only real last name, Weill. You're listening to.
If you were told you have to live only 50 years and one month alone, and I urge you not to waste a moment, probably some of you die obese and wrinkled after a life of excess, more slender and dissatisfied, the parchment skin from too many cigarettes smoke because of stress of a life spent thinking of doing something, but do nothing. Indeed, none felt Kurt Weill, as soon as he can sound mind, who would die died of a heart attack (As Bertolt Brecht comrade in arms), but he probably belongs to that kind of Ubermensch, in this absurd event, has distilled a little more to our advantage 'of his creativity, he wrote a few short score. But these are only allegations made by my perpetual dissatisfaction. Weill would not appreciate and he was even used to say: "To hell with posterity, I want you to hear my music now, while I'm alive." So I do not even imagine what it would be able to think if a little pain in the ass, more than half a century later, would dare to thwart so openly. But despite what he says, since the success it is decreed that by posterity, we can only assume the right to proclaim one of the major players in the music scene of the last century. Significant in this regard are the two contributions made in 1985 and 1997 respectively, the latter a short time away from the 70th anniversary of the first performance of "Die Dreigroschenoper", "Lost in the Stars", produced by Hal Willner, uses the collaboration (among others) of Sting, Tom Waits, John Zorn, Lou Reed and Carla Bey, "September Songs" as well as being an album released by Sony Classics label, is an innovative project cincematografico directed by Larry Weinstein, which contributed the most faithful Lou Reed, PJ Harvey, Nick Cave, Betty Carter, Elvis Costello and even the beat poet William S. Burroughs. It would be nice if also in international politics there was a lowest common term in a position to reconcile figures from disparate areas. The same Weill's career, on the other hand, combines classical music and folk, and jazz expressionism, images of dark, smoky cabaret with blazing scenes of Broadway. It is Gebrauchmusik dipanò linearly to the two contexts in which Weill works: Germany, the birthplace, home of the fragile Weimar Republic, which soon succumb in the face of National Socialism, and the U.S., where he settled in 1935 along with Lotte Lenya, forced by his Jewish ancestry as well as his political activism.
The musical talent of Kurt Weill emerged peremptorily adolescence: the Great War took place even in the occupation of a substitute teacher at the theaters of Dessau and Ludenscheid, after taking his first lessons in theory and composition with Albert Bing. Later he was a student at the Musikhochschule in Berlin in 1926 his first play debuted in Dresden with great success: it is "Der Protagonist", one-act opera on a libretto by Georg Kaiser. In the same work in 1927 for the playwright's comic opera "Der Czar laesst sich photographieren. In the same year dates the first collaboration with Bertolt Brecht, with whom he will life in "Mahagonny (Ein Songspiel)", commissioned by the Baden-Baden Music Festival, to be followed "Aufstieg und Fall der Stadt Mahagonny", represented for the first time on stage in Leipzig in 1930. Probably the most famous fruit of the duo was "Die Dreigroschenoper", which debuted in Berlin two years earlier, in 1928: the scores of exciting Weill were interpreted by his wife, singer Lotte Lenya, the Weimar Republic shook his numbness and received vitality and raison d'être: the work was the most successful theatrical run. Also on texts by Brecht Weill composed the cantatas Das Berliner Requiem "and" Der Flug der Lindberghs " the work "Happy End" and "Der Jasager" between 1929 and 1930, abandoning the strong structural system of creative youth in favor of dance beats and "popular." The constant collaboration with Brecht Weill stopped when he turned to another dramaturg, disappointed by the reduced role that Brecht was relegating the music in his political theater. In 1932 it achieved "Der Burgshaft", to a libretto in 3 acts of the famous stage designer Caspar Neher, Brecht's former collaborator. After renewed alliance with Brecht for "Die sieben Todsunden" and have composed a series of cabaret chanson, Weill will be established in the United States to escape persecution Nazi. In Germany, his works were banned, while overseas began the prolific period of Broadway and Hollywood. Already in 1937 his innovative score for the musical "Johnny Johnson" testimony that Weill was perfectly integrated into the new world. Among the most important emerging the soundtrack of "You and Me" by Fritz Lang (1938), the musical "Knickerboxer Holiday" (which appears in the 'now evergreen "September Song"), "Love Life" (1948) and "Lost in the Stars," the last play to Broadway. But not definitive in its plans: before his death in 1950, the versatile composer was in fact planning to make another work for the American stage, written specifically for the baritone Lawrence Tibbett.
Probably, in the international music scene today, the Dresden Dolls are a good hope for those who dream of an art versatile and 360 degrees in some respects, can return to the path traced by the good Weill. And God rest his soul.

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Translations number 0

So, I have finished the translations of my articles over the story of Ale (ayakol), on this I would appreciate corrections from changes the latter because I have changed pretty phrases in places ... Anyway, I left a couple of sentences to be translated (in the story and in the concert) for which any advice is welcome. I put everything in a zip file downloadable here http://www.megaupload.com/?d=9ZVWMJZ2 . Let me know what you think, what to correct, etc.. And above all, to what extent are the other translations?

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Jason Lutes: BERLIN, THE CITY OF STONES

my article for the fanzine on Lutes

comic is rarely given to history, even more rarely in recent times, except for that of Art Spiegelman's Maus, a pedagogical work to explain the Holocaust through a community of mice.
And it is undeniable that from Maus, and only work with all elements of the novel and film copyrights, starts with The City of Rocks, which Spiegelman takes a step forward towards a more realistic and courageous history.
Although the European comics scene is by far surpassed by the American school, our designers who look more to the east or to members of the pulp stage, should learn the lesson of these two American designers who have gutted the European culture ' 900, assimilating and making her own Berlin has never been told with the same effectiveness from the eyes of an American author, moreover, was born forty years after the events narrated. Hardly authors are in the old continent the awareness of the multiplicity of cultural and artistic trends that have impacted against the second world war and that after this, were lost.
Lutes The lesson for us Europeans, this work contained in the processing of which has lasted five years, is a warning not to forget the huge feature that Europe brings with it and have a wealth of essential identity , from the time when the cultural diversity in the continent has found his greatest progess, and it is strange to recall now that is really an American. Is not the same skill in the reconstruction of the details in any other contemporary work and an equally well-made historical conspevolezza: without too many engraved the author is a two-year period 1927-29 in Berlin, accessible even to those who does not know too much history.
And the many souls that make up the German society during the Weimar Republic, at the dawn of Hitler's rise to the Chancellery, live again through the different cultural backgrounds, social classes, expectations and ideals of the characters that intertwine in harmony perfect throughout the course of more than 200 pages of this little slice of history. The section in China is minimal but the sculpted features and essences of the characters in the game, but without doing justice to the beauty special grooves in the sufferings of a country to hunger after a decade the end of World War II, a trait that is not by chance remember the cartoons in some of Daumier lithographs of social report, a representative of French realism of the late '800.
a republic and a political class that has been a tremendous cultural freedoms and has encouraged the emergence of a new breed intellectual in Germany for decades the victim of a dark and fatalistic nationalism: the Academy of Berlin in which moves of the characters , Cabaret, the liberation of female sexuality, the role of writers and journalists working to hold the prestige of the institutions which guarantee this order despite the severe economic crisis and growing social context. Lutes does not fall into the error of many Americans in recounting the clash between communism and Nazism and the ideals of justice and anger of the working class, moving the cross-section in which workers find themselves clandestinely at night to commemorate the murder of Rosa Luxemburg in front of the famous home of the German Communist Party. A Republic under attack from two fronts, that of the Communists and the Nazis who occupied the streets hard slowly collides head and swallowing the weak isituzioni the country overwhelmed by the Wall Street crisis of 1929. It is in that city of the stones used as weapons in the clashes, the dish of this graphic novel closes on 1 May 1929 where all our characters find themselves, with roles different way, by choice or by chance to come to terms with history.

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BB and MK

as you may have guessed I like Brecht. And as some of you know I like Marlene Kuntz ... Look what I found on the official website of MK ...

"A month ago, were called by Marlene Kuntz Teatro Strehler in Milan to give a personal re-interpretation of a piece, part of the work" Mother Courage and her children "by Bertolt Brecht. The piece in question is" The Song of Mother Courage, "the German playwright asked to write at the time of writing the musician Paul Dessau. The director called the theater to stage the show is Canadian Robert Carsen, a character particularly in view in the international arena and from the world of opera, which has opted for a modern and updated approach work. In rock music it will appear already published in various international groups as the performance of the said Marlene, a study completed in Cuneo on Sunday afternoon, Jan. 8, in its final version, after some corrections and adjustments as needed to the scene. This version has been asked to Marlene by the director himself after hearing a list of discrete groups: the piece that he has decided to opt for them was "Retractable", whose sound expresses the kind of atmosphere in his head.
The show will be staged on January 12, 2006 and will remain there until February 26 2006. "It might be interesting to

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affected (sick)

As this article had in mind to write a bit '(the show I saw anovembre) I have here some possible vrianti, tell me what you think and what seems the best , so I can see to fix it (these are just sketches), maybe I had a bit long, tell me where and what if I could cut.
[Possible Introduction 1] What does the Suffering Sick Punk Cabaret? This is the question that arises, but first of all we must ask what has this to do with queso ... Chuck Palahniuk Chuck Palahniuk does not present as the writer of the novel on which it was derived the well-known film of the same name David Fincher's "Fight Club" with Brad Pitt and Edward Norton, because this would be an understatement. Palahniuk is not even a failed homosexual writer who suppresses his anger spewing all kinds of social criticism in their books, oh no, this would be nothing short of outrageous, as well as reductive. But Chuck Palahniuk is a good writer in Oregon capable of churning out stories so improbable as to be frighteningly realistic, all seasoned with an excessive dose of cynicism, sarcasm, black humor and dotted with small cruel truth you will never find mentioned in a reality show or a newscast. That said you seeking an Italian theater actress who decides to bring on stage a show dedicated to a book said. Well I would really talk about this.
[Possible Introduction 2] The show is inspired by a sick Affections book. Choke, Choke, Chuck Palahniuk. So it seems only right to speak first of all a bit 'of Palahniuk. Chuck Palahniuk is an American writer in Portland, Oregon. That's it, no need to say the least. Many remember him as the writer of the novel "Fight Club" from which the well-known film of the same name David Fincher's "Fight Club" starring Edward Norton and Brad Pitt, but here we will quote the recent release of his book "guinea pigs" (Haunted) referred to the comment "Chuck Palahniuk is worse than an octopus. grabs you with its tentacles and drags you into a scary hole. leave him if you have weak stomach" by Nicola Ammaniti is sufficient to show that kind of writer is.
[Possible reference to choke on how and where you want to insert in the middle part] Choke, Choke. This novel is perhaps the most raw of Palahniuk, of course the fact that the protagonist is a sessodipendente, devoted to fraud, under the thumb of his mother and ex-medical student failed reactionary, certainly does not help. The plot is rather complex and tragic in the tradition Palahniuk, say that the title is, in part, by the fraud of the protagonist that usually go to restaurants and pretending (not too) to choke on food that was ingested, some attending Compulsory improvise a hero of the day and save his life. Well after a number of these "tricks" Victor is found to receive money and postcards from people who do not even remember that I am grateful for giving meaning to their lives. Victor has also unlikely to work (has the role of auctioneer in a reconstruction of a town in 1754 for tourists), her mother is now mad at a clinic and attended a group for the type of sessodipendenti aloclisti anonymous. Well, not life that everyone dreams. These are the premises of the book, and believe me, would never imagine what developments could take the book progressing in his reading. Suffice to say that eventually the terms "Blue Danube", "" robin and quarter "," auction and pasta, "" see also "," peptide phenylethylamine "and" castle Stone "takes on a very special meaning to your eyes ...
[Information on the show]
affected (sick) loosely based on the novel" Choke "by Chuck Palahniuk Directed by Angela
MalfitanoDrammaturgia Angela Malfitano with the collaboration of Mars from ViaLuci Matteo Nanni, lighting consultants, maurizio VianiMovimenti, Enzo PezzellaMusiche, Francesco BriniAssistenti director Caterina Grandi, Nicolas HermansenMontaggio video, marco RebecchiCon Angela Malfitano, Marta Dalla Via, Mark Rebecchi, Stephen Detassis9-November 20 at the Teatro San Martino di Bologna
[ comments referring to a pamphlet got theater] In short the show, one-act, is set in a clinic: "Welcome Open Day at Villa Dolce Villa! Every night we meet here at Villa Dolce Villa, to deal with one of your other addictions! If you are sick over here can heal. "" Dedicated to all coloroche wasting their lives working just to get away, in the absence of air ... "The main themes of the work are the dependency, as an expression of a reaction to life and human relations, especially the mother-figlio.La same Malfitano stated that incorporate the work of choking in the theater was a great challenge. I started with some ideas of the novel tralsciandone many others, and have worked on employed mainly due to incurzioni some videos projected on stage, often divided into panels. But it all comes back to human beings, to the discomfort of existence and, in particular, the survival of vital force and "healthy" in an era in which we live. Malawi is suffering a quest for beauty even in the horror of addiction as a representation of current reality and universal society, but most of the individuals only in desperation find the strength to react and find a way toward healing, toward salvation.
[The show] Surely this can not be called a play in its classical definition of the term, is a modern reinterpretation of the concept of theater. So, enter the hall in the dark with pounding disco music and two are the cubist to the lapdancing colorful flashing light, you certainly begs the question "But is this theater? mica I will not wrong door?". But when, having found a place groping in the dark, sitting in his seat, looked back on the stage no longer saw the nightclub shortly before we felt reassured in part on concerns precdenti. The scene was quite empty, there were just a few items, including a shopping cart used as a chair and a strange rectangular feet tall. Just by him at the beginning of the show Dr. alcatel we explained the rules of conduct of Villa Dolce Villa, helped by the assistant who acted in all respects as a flight attendant on board during the instructions. All The performance was full of little technical finesse, including: the introduction of characters, Victor and his best friend, sitting and unable to look away from a camera while they continued to talk to each other. A scene set in a disco where DIALOGUE were subtitled (in fact he did not feel very well what the actors shouting), with a partocolarità, the diaolghi were offset by about ten seconds, but in advance, then read what they said little afterward. Or the arrival on the scene of the mother of Victor from the door located to the right of the stage, and sprayed with a spray, which certainly could file the first to say something ... Of course the acting was sometimes interrupted by brief video sequences projected on stage. In short, all these elements, vaguely reminiscent of the effect of alienation, contribute to make this show a representation rather sui generis. The audience found itself faced with a rather complex Tramma and the story that you gave was also complicated and fragmented. Finally, we must make a good effort for the restructuring to be able to find their way into that puzzle. Of course, in my opinion, the book was a requirement to follow sick patients, partly because several scenes were poorly explained, and omitted many details which, although not essential for the subjects treated, helped to better characterize the characters ( For example, in patients with does not discuss the fraud of which Victor is the novel's title). In short, the show is very interesting, especially because it is a valid implementation which must be recognized in a very inventive re-interpretations that can fully capture a big problem without feeling the transition from paper to the theater. Truly a great trial that surely is more than a mere imitation, but a clear expression of personal drama as a tool for awareness of reality.

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Good For Nothing on Fanzineitaliane.it

Italian:

Our magazine has been reviewed on the portal fanzineitaliane.it
you can see the post for presentation at the following addresses:
http://fanzineitaliane.splinder.com/
http://fanzineitaliane.blog.excite.it/

Inglese:

A post about highlight Good For Nothing appears on www. fanzineitaliane.it, an italian national directory fanzine dedicated to the main productions. Direct link:
http://fanzineitaliane.splinder.com/
http://fanzineitaliane.blog.excite.it/
(no use to say it's italian version only).

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draft article - Bertold Brecht - numero 1

-here's the draft of my article ... nothing more, if you have commeti, additions or corrections to comment;) -

Brechtian Punk Cabaret

. Yeah. "Punk" because out of the ordinary, unusual, certainly original. "Cabaret" because it is not easy music, but theater of body, words and forms. But why "Brechtian"? What binds our Dresden Dolls at the German poet and playwright Bertolt Brecht?

Brecht was born in Augsburg (Bavaria) in 1898, and soon discovered his passion for literature and theater, initially influenced by expressionist some 'wherever I put the roots in German culture. However there is now a spokesman for trend antithetical to Expressionism theorising a type of theatrical performance in which the goal is not to empathize with the protagonists, but cut off from each other, to take a reflective and critical attitude. This theater, Brecht called "epic" for its educational, is strongly influenced by the Marxist thesis that Brecht embraces a young age, and covers topics such as social exclusion and poverty, surely inspired by the harsh conditions that raged in Germany early 900.

But what characterizes the work as "The Threepenny Opera" (1928), "Mother Courage" (1941) and "Life of Galileo" (1943) is particularly the atmosphere in which they are immersed characters and stories, illustrated more than telling, accompanied by music (often composed by famous composer Kurt Weill) and folk songs.

It is this aesthetic universe in which the thieves are respectable examples of honesty, moral authority and a symbol of corruption to make it interesting Brechtian theater, now in the 30s if not prophetic, and certainly fascinating to this day.

In 1933, when the Nazis came to power, Brecht was forced to leave Germany for his political views, settling first in several European countries and the United States then. Only in 1949 could return to Germany where he founded the theater in East Berlin “Berline Ensemble”: qui potrà, fino al 1956 (anno della sua morte), portare avanti la sua ricerca teatrale.