What Does Pain Feel Like In Ectopic Pregnancy

So is (if you like), directed by Massimo Castri

We are in a ballroom during a carnival twenties. Between the loud music, a background chatter, already tipsy couples in the room who draw silver confetti and parade, to present themselves as the participants, expose, in anxious conversations and deliberately to really understand the background to the comedy "So if (if you like). There are sharp hearing, we would like to move closer to the point of finding there, inside the ballroom, including the actors. At the heart of their chatter, there are the obscure story of the spouses Mrs. Frola and Ponza.

A dance of puppets in the flesh and in evening dress, eccentrically dressed, highlight the stark image of a company but also comic alarmed by the arrival of something or someone that you do not know.

This " So it is (if you like)" stands out above all the motivation and purpose of the show arising from a course for young actors. The skills and enthusiasm of the performers, Massimo Castri, has found an ideal habitat for digging to the bottom of the pages of the Nobel Prize island.

A whole country is anxious to know what the truth about the strange behavior of the family Ponza. The curiosity stems from the fact that the so-called mother of Mrs. Ponza, Mrs. Frola , does not live with her daughter and her husband, indeed not even enter into their home, communicate with her daughter only through the cards exchanged by means of a basket lowered from the window. The scene is split in two. On the one hand the group of suspects, the other suspects. Each with its own "truth", and indeed within each group with a myriad of facets that make it difficult, until it becomes a "non-truth."

Pirandello was inspired by a true story. But here, as in the whole drama Pirandello, objectivity is impossible to know and looks very different depending on your point of view. With the result that the mystery of where the story was started - the wife of Signor Ponza is the daughter of Mrs. Frola, or another? - Is always busy. Even and especially when, with that great shot of the theater, it appears the young woman, the wife of Ponza. The tone of the grotesque, with whom Castro has played to excess, may serve to expose something else, more difficult to say. Perhaps there is a ménage à trois, even incestuous. One topic that is discussed in more detail by Pirandello in a little farther on, "Six Characters in Search of an Author. Even at the end when the intervention of the Prefect requires the presence of a recluse, the truth will come out, or, rather, we must satisfy the affirmation of Mrs. Ponza, they are simultaneously all things have been said and nothing. The truth is no object, but in the perception of it.

Castri us closer to the pages of Pirandello without escort, without guidelines, and any audience will respond as it sees fit. May, in total freedom, get out from the show any more personal interpretation, never forgetting though, that every truth, even the most convincing, conceals another, more difficult to say. A freedom that knows so much about loneliness.

Hot Install Windwoblinds 7

God of Carnage with Anna Buonaiuto, Silvio Orlando, Alessio Boni and Michela Cescon

An internal family populated by two couples. Many comfortable sofas. Art books well arranged on the table below. Fresh flowers in a frame. Besides tea, coffee and freshly baked fruit cake, to be offered to the guests. There are all the ingredients to describe the best, from the inside, the obsessions, cravings and the psychological condition petty bourgeois family of a fresco.

clever and careful play by Yasmina Reza , one of the most representative French authors in the world, with this The God of Carnage, collects and extends a trend that has seen dramatic and sees the family ( understood in its most classical) center stage, exposing the mold of stern bourgeois respectability. Many times, the theater has done just that subject. Are now in mind the lyrics, Who's Afraid of Virginia Woolf? of Albee 1962, Saturday, Sunday and Monday De Filippo, 1959, and then the works of Ibsen, Strindberg, Chekhov, not to mention the cinema, with its Fists in the Pocket of Bellocchio, 1965 , Loach's Family Life in 1971, Group Conversation Piece Visconti, 1974, Scenes from a Marriage of Bergman, 1973, and so on.

The originality of this text the writer of Iranian origin, is in having excluded from the scene, the real protagonist of the play, the children. We hear about them only through the stories of their parents. But children are not the creation of a projection that the parents have them? Maybe they do not act, especially at a young age, and according to the desire to equalize the stresses that come from their "outside" more closely? Then what wonder? But let's order. Véronique and Michel Houillé (two fabulous Anna Bonaiuto and Silvio Orlando), parents of young Bruno , receive in house Annette, Alain Reille (Michela Cescon and Alessio Boni), the parents of Ferdinand, who has struck at the face their son in a street fight. The two couples seem well-intentioned, have agreed to meet for regular civil thing. But soon their conversation takes on tones aggressive, quarrelsome. A pair against each other. Disputes and grievances that are unleashed in the first, then the second. The two men join forces against their wives, the two women who fight back by doing the same. All united to conceal the bitterness born of the wrong choices. In having tried in the emptiness of others something that he could fill his own. In this we are truly united. Aggression, cynicism and perpetual restless delirium, brings out their most animalistic, barbaric, son, this is, of our primal fear of the end, death. Already the children. We left them absent from the scene, we are convinced that their aggressive actions come from elsewhere. With their eyes wide open to the world, acting through insane shortcuts. But the cries of them which sounds to us like animals by the alarm bell, and this is the witness that they are looking for a true "theater" of life, who can still enchant.

The final curtain, with that hysterical gesture in the living room and make an uproar from flying flowers in the decor, has all the features of inviting exhortation to reinvent and rethink family. From principle. Already from its original etymological meaning.

An intelligent scene, the one created by Gianni Carluccio, sloping towards the public and the circular base, which was placed inside this family puts even more bitter aftertaste in your mouth with laughter in this comedy.

How To Make An Ho Scale Ship

Hedda Gabler - Elena Bucci, Marco Sgrosso

A game to the massacre. A comforting home environment set up by the appearance of a bourgeois living room. Nothing is ever true to the end, of what they say. These are the gestures, the obsessions, the lies to cheat people.

Hedda, the daughter of General Gabler, she married Tesman, a mediocre intellectual who aspires to a university. It bothered by itself, by its choices, its suitors frivolous and Thea, the old friend from college, became the muse of Lovborg, intellectually brilliant and bold, much more interesting than her husband. It compensates only when you can exercise a sadistically perverse influence on Lovborg, his former lover and thus afforded angelic love Thea. Hedda is pregnant. But not even her husband realizes it. She lives her pregnancy as an additional existential frustration. There is no place for life in the bourgeois salon. Maybe not even for death, if not practiced in secret, in a last act of extreme intimacy. It will be the night (mother mask par excellence), with its orgiastic do, to reveal the nakedness of our protagonists. After an evening of "good", Lovborg has lost its unique manuscript that has just finished. Tesman has found and would like to return it, but Hedda takes it. Then invite the brilliant intellectual but desperate to give themselves a good death. After burning the manuscript. Lovborg killed himself, but Thea has kept the notes of the lost manuscript. Tesman feels obliged, for the memory of his friend, to collaborate with Thea to rebuild the lost masterpiece. Hedda retires in a part of the living room, where they collected the memories of his father and kills himself.

The stage and lighting design of this show can do their ruthless sincerity of the theater: there is none of the named objects, no house, no room. There are only seven chairs and drawn on the ground forms of squares that become mazes. In these, our masks are chasing. There is no positive character in this drama of Ibsen. Good and Evil is flatter, sniff, they stage their orgiastic dance relegating human beings to mere onlookers. Marionette left there in the darkness of the theater.

A game in the massacre said. Where the theater is the real star of this show. A theater to mask and unmask his guests, they will be. We can do is to play the game.