Epigraffihellip; ma piugrave; ancora graffi o graffiti; quelli che i poeti di strada incidono con le unghie dellrsquo;indignazione e della rabbia sui muri delle periferie urbane per imprimere eventi sociali del dissenso nella coscienza collettiva. Epigraffihellip; epitaffihellip; intesi a ridicolizzare il potere caricaturandolo; parole scherzose e solforose in chiave di invettiva politica che registrano la temperatura critico-insurrezionale di un popolo in epoche storiche particolarmente esacerbate.Occhipinti sigrave;; non risparmia nessuno; tutti cadono sulla sua parola patibolare come in una sentenza morale; etica; ma lo fa usando lrsquo;invettiva depurata da quei toni popolari aspri che sfiorano lrsquo;insulto; e rivestendola drsquo;una grazia gentilizia; fin troppo cortese nei modi e nel linguaggio.Assistiamo dunque a un duello elegante e nobile tra lrsquo;Autore e la controparte avversaria; una sfida che inizia con uno schiaffo guantato e finisce con un colpo di fioretto. Percheacute; egli non vuole di piugrave;; in fondo egrave; una persona perbene; un gentiluomo drsquo;antico stampo; non lancia uova marce e pomodori contro le figure nefande del nostro tempo che meriterebbero ben altro; non si sporca le mani abbassandosi al livello di questi mascalzoni.Malgrado il ripetuto ldquo;io io iordquo; dellrsquo;Autore; questi versi smembrano lrsquo;individualitagrave; per diventare gli interrogativi e gli aneliti di ogni uomo; impotente a cambiare il proprio destino. E lrsquo;uomo al tramonto; sospinto dallrsquo;etagrave;; egrave; ancor piugrave; propenso a redigere un bilancio esistenziale. Ma Occhipinti lo fa con tale vigore che la sua giovinezza forse egrave; appena allrsquo;inizio.
2015-03-17 2015-03-17File Name: B00UTRNZNS
Review
2 of 2 people found the following review helpful. "Theatre: A gymnasium in which we can rediscover and exercise that underused muscle: the imagination."*By Sharon IschBenedict Nightingale is a terrifically entertaining writer; best known for his 20 years as theatre critic for the London Times; who also spent a year in the 80s writing about theater for the New York Times.He kicks off this collection of essays--most of them running just 2 or 3 pages--with the Athens of 458 BC and Aeschyluss trilogy of tragedies known as "The Oresteia." Next up: Londons Globe Theatre in 1601 and Richard Burbages "Hamlet." He winds up a little over 200 pages later with Jez Butterworths 2009 "Jerusalem." In the 200+ pages in between well learn: Why "Twang!!!" gets his nomination for the most memorably awful musical hes ever reviewed...and why 1982s "Noises Off" is still the funniest farce of this era...what made Peter OTooles Macbeth at the Old Vic in 1980 such a fiasco...and why he labels Sondheim "the bard of emotional ambivalence"... and regards Paul Scofield as the greatest actor of his lifetime. He describes "Hair" as "an attempt to evoke a counter-culture whose hope was to stop a Vietnam War in which "white men are sending black men to fight yellow men in defense of a country stolen from red men." And he remembers an especially magical moment on Broadway in 1984: the sounds of sniffing; gulping; suppressed sobbing from a rapt Broadway audience as Dustin Hoffmans Willy Loman and John Malkovich as Willys son Biff hugged each other for the first and last time in Arthur Millers "Death of a Salesman."And then there are those dreadful opening nights that did spectacular turnarounds. For example; the 1955 London premiere of "Waiting for Godot" which started out with waves of hostility in the stalls; followed by a mass exodus; but then went on to win a National Theatre poll as the twentieth centurys most important play....And the 1943 Broadway premiere of "Oklahoma;" which Producer Mike Todd dismissed as "No gags; no gals; no chance;"....and the 1985 London premiere of "Les Miserables" which one London critic wrote off as "A load of sentimental old tosh" and another summed up as "You have to go through an awful lot to get very little." Little did they know!Lots of good reading here. Highly recommended for everyone who loves theater (as we spell it) and theatre (as the Brits do.)*quoted from Nightingales introduction0 of 0 people found the following review helpful. Opening NightBy Chadwick Henley EssexA great art form produces great critics; a minor art form produces hacks. Here a former critic for The Times takes us to 103 opening nights from the THE ORESTEIA in Athens; April 458 B. C. to JERUSALEM in London; July 2009. Of special interest to those of the American persuasion are his takes on THE GLASS MENAGERIE in Chicago; December 1944; LONG DAYS JOURNEY INTO NIGHT in New York; November 1956; GLENGARRY GLEN ROSS in London; September 1983.0 of 0 people found the following review helpful. FILLING A GAPBy peter lewisThis a a comprehensive survey of the opening performances of outstanding plays in the repertoire from ancient Greek authors to contemporary English and American playwrights. This has not been done before. Though well researched the writing is not in the least academic; thank heavens; Nightingale gives vivid impressions of what it was like to be there when dealing with his own era. I can vouch for his accuracy as on many occasions I was there myself as a fellow critic. Triumphs and disasters both get fair judgement and vividly entertaining description. Peter Lewis
