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.