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genziana



Registrato: 22/03/04 13:40
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MessaggioInviato: Sab Set 16, 2017 19:24    Oggetto: PROMETEO, reading di PREZIOSI 17/11/2017 Teatro Palazzo BARI Rispondi citando




"PROMETEO" reading di e con Alessandro PREZIOSI

produzione: KHORA.teatro - live set di Paky Di Maio

ven. 17 novembre 2017, BARI Teatro Palazzo 21:00








Alessandro Preziosi dà voce e corpo ad uno dei personaggi più ammirati e discussi della mitologia greca: Prometeo, il titano che ruba il fuoco agli dei contro il volere di Zeus per donare conoscenza, pensiero e facoltà di azione agli uomini. Proprio per aver combattuto con coraggio e generosità la sua battaglia in favore degli uomini, Prometeo verrà condannato da Zeus ad una terribile punizione.








"PROMETEO" rientra nell'Abbonamento 1 in vendita on line come i biglietti singoli: ►https://www.bookingshow.it/AbbonamentoFisso/Abbonamento-1-Teatro-Palazzo-Abbonamenti/3591
►https://www.bookingshow.it/Alessandro-Preziosi-Prometeo-Biglietti/101813

presso i punti vendita bookingshow e presso il botteghino del Teatro PALAZZO di
BARI in Corso Sonnino 142D - PER INFORMAZIONI: 0809753364 - 3661916284
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PATRICIA 22



Registrato: 27/08/16 08:28
Messaggi: 283
Residenza: USA

MessaggioInviato: Sab Set 16, 2017 21:55    Oggetto: Rispondi citando


Alessandro, in this letter, Gauguin tells Vincent that he would have plenty to amuse himself, seeing all these painters here, pickled in their mediocrity like gherkins in vinegar. He says, "they’re still, and will always be, nitwit gherkins." Ha! He also questions whether it was "worth the trouble that Jesus died for all these lousy buffoons?" As an artist, he thinks yes; as a reformer, He doesn't believe so. Laughing Lastly, "Pauly" ends the letter with a rhyme that he wrote himself. Better grab the tissues Alessandro. It tugs at the heartstrings. Wink


From: Paul Gauguin
To: Vincent van Gogh
Date: Pont-Aven, Monday, October 1, 1888

My dear Vincent
We’ve satisfied your desire; in a different way, it’s true, but what does it matter, since the result is the same? Our 2 portraits.

(Note: Self-portrait with portrait of Gauguin, and Paul Gauguin, Self-portrait with portrait of Bernard. van Gogh received the portraits soon afterwards.)

Having no silver white, I used lead white, and it could well happen that the color becomes darker and heavier.

(Note: Lead white has a tendency to darken to black, particularly when it is left unvarnished in a film of oil.)

And besides, it’s not done exclusively from the point of view of color. I feel the need to explain what I was trying to do, not that you’re not capable of guessing by yourself, but because I don’t believe that I’ve achieved it in my work. The mask of a thief, badly dressed and powerful like Jean Valjean, who has his nobility and inner gentleness.

(Note: Gauguin titled his painting ‘les misérables’ and dedicated it ‘to my friend Vincent’ (à l’ami Vincent). He also described it in a letter to Schuffenecker of October 8, 1888. At the beginning of Victor Hugo’s Les misérables the central character, Jean Valjean, has just been released after serving a term of hard labour. Because of his shabby appearance he is viewed with suspicion and regarded as dangerous.

This rejection and exclusion reminds him of the injustice of his prison term and brings his hate to the surface. He turns against the church. Through contact with the bishop, who stands by him in his moral reform, his goodness gradually returns. The desire for vengeance gives way to compassion. Valjean has now become a father to everyone and assumes the care of Cosette, the little daughter of a prostitute.

Merlhès believes that Gauguin derived the inspiration for his self-portrait from Hugo’s descriptions of Jean Valjean’s appearance. The contrast of warm and cool colors in the painting reflects the ‘dualism of light and shade, of good and evil’ (dualisme de l’ombre et de la lumière, du bien et du mal) which defines Jean Valjean’s character and plays an important part in Hugo’s oeuvre.)

The rutting blood floods the face, and the tones of a fiery smithy, which surround the eyes, suggest the red-hot lava that sets our painters’ souls ablaze. The drawing of the eyes and the nose, like the flowers in Persian carpets, epitomizes an abstract and symbolic art. That girlish little background, with its childish flowers, is there to testify to our artistic virginity. And that Jean Valjean, whom society oppresses, outlawed; with his love, his strength, isn’t he too the image of an Impressionist today?

By doing him with my features, you have my individual image, as well as a portrait of us all, poor victims of society, taking our revenge on it by doing good — ah! my dear Vincent, you would have plenty to amuse you, seeing all these painters here, pickled in their mediocrity like gherkins in vinegar. Makes no difference whether they’re fat, long or twisted and warty, they’re still, and will always be, nitwit gherkins. Eugène, just look at him! Eugène, that’s Habert, Habert’s the one who killed Dupuis, you know...

(Note: On April 29, 1888 the painters Félix Dupuis and Eugène Habert fought a duel with pistols in the Bois de Boulogne in Paris, and Dupuis was killed. The incident, which sparked off a national debate about the legality of duelling, received wide coverage in the press. Habert was acquitted by the court in June.)

And his pretty wife and his old mother, and the whole bloody lot! And Eugène paints, writes for the newspapers, travels free in First class, sir. There’s enough there to make you laugh till you cry. Aside from his art, what a lousy existence, and was it worth the trouble that Jesus died for all these lousy buffoons? As an artist, yes; as a reformer, I don’t believe so.

(Note: It is quite conceivable that Gauguin is referring here to the discussions about Christ between van Gogh and Bernard. In another letter which Bernard had shown to Gauguin, van Gogh calls Christ ‘an artist greater than all artists’ (un artiste plus grand que tous les artistes).

Our pal Bernard is working and making plans to come to Arles too. Laval, whom you don’t know, but who knows you through your letters and our little bits of gossip, joins us in shaking your hand.

Yours,
Paul Gauguin

Burning sun who settest all ablaze
halt thy furious race }For a penny
without ado I wish } whistle
to paint thine orange face.

(Note: Changes to the verse were made in a different hand; the final version reads:
‘Burning sun who passest by
halt thy scurvy steed
without sleight-of-hand I’d
paint thy face O chrome two!’
(Soleil ardent qui passe
arrête ton coursier scabreux
je veux sans passe passe
peindre ta face Ô chrome deux!)

(Note: According to Cooper, Gauguin wrote the little rhyme himself, and he probably made the changes too.)


"There's no art to find the mind's construction in the face."
―William Shakespeare

"Truth is by nature self-evident. As soon as you remove the cobwebs of ignorance that surround it, it shines clear."
―Mahatma Gandhi



Love ya Preziosi! Later! me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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mayte



Registrato: 25/09/15 20:30
Messaggi: 362
Residenza: BARCELONA

MessaggioInviato: Sab Set 16, 2017 22:21    Oggetto: Re: PROMETEO, reading di PREZIOSI 17/11/2017 Teatro Palazzo Rispondi citando


ENORME MI QUERIDO ALE!!!
GRAZIE CARA GIULY PER TANTA INFORMAZIONE


genziana ha scritto:


"PROMETEO" reading di e con Alessandro PREZIOSI

produzione: KHORA.teatro - live set di Paky Di Maio

ven. 17 novembre 2017, BARI Teatro Palazzo 21:00








Alessandro Preziosi dà voce e corpo ad uno dei personaggi più ammirati e discussi della mitologia greca: Prometeo, il titano che ruba il fuoco agli dei contro il volere di Zeus per donare conoscenza, pensiero e facoltà di azione agli uomini. Proprio per aver combattuto con coraggio e generosità la sua battaglia in favore degli uomini, Prometeo verrà condannato da Zeus ad una terribile punizione.








"PROMETEO" rientra nell'Abbonamento 1 in vendita on line come i biglietti singoli: ►https://www.bookingshow.it/AbbonamentoFisso/Abbonamento-1-Teatro-Palazzo-Abbonamenti/3591
►https://www.bookingshow.it/Alessandro-Preziosi-Prometeo-Biglietti/101813

presso i punti vendita bookingshow e presso il botteghino del Teatro PALAZZO di
BARI in Corso Sonnino 142D - PER INFORMAZIONI: 0809753364 - 3661916284
-

il botteghino rimane aperto dal martedì al sabato - orario: dalle 17:00 alle 21:00







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PATRICIA 22



Registrato: 27/08/16 08:28
Messaggi: 283
Residenza: USA

MessaggioInviato: Dom Set 17, 2017 19:42    Oggetto: Rispondi citando


Alessandro, this is Vincent's response to Gauguin's "excellent letter." Vincent talks about how he left Paris "very, very upset, quite ill and almost an alcoholic", (almost an alcoholic? Ha!), He also mentions Buddha, Greece, and the poets and artists of the Renaissance. Dante, Petrarch and Boccaccio and the painters Giotto and Botticelli, and of course, everyone's favorite new poet — Paul Gauguin! Laughing


From: Vincent van Gogh
To: Paul Gauguin
Date: Arles, Wednesday, October 3, 1888

My dear Gauguin,
This morning, I received your excellent letter, which I’ve immediately sent to my brother; your conception of the Impressionist in general, of which your portrait is a symbol, is striking. I couldn’t be more intrigued to see it — but it will seem to me, I’m already sure, that this work is too important for me to wish to have it as an exchange.

But if you wish to keep it for us, my brother will buy it from you, as I immediately asked him, at the first opportunity if you wish, and let’s hope that will be very soon.
Because we’ll try once again to urge the possibility of your coming.
I must tell you that even while working I never cease to think about this enterprise of setting up a studio with yourself and me as permanent residents, but which we’d both wish to make into a shelter and a refuge for our pals at moments when they find themselves at an impasse in their struggle. When you left Paris, my brother and I spent more time there together that will always remain unforgettable to me.

(Note: Gauguin left Paris for Brittany on January 26.)

Our discussions took on a broader scope — with Guillaumin, with Pissarro, father and son, with Seurat, whom I didn’t know (I visited his studio just a few hours before my departure). In these discussions, it was often a matter of the thing that’s so dear to our hearts, both my brother’s and mine, the steps to be taken in order to preserve the means of production (colors, canvases), and to preserve directly to them their share in the price that their paintings at present fetch only when they have long ceased to be the property of the artists. When you’re here we’ll go back over all those discussions.

In any event, when I left Paris very, very upset, quite ill and almost an alcoholic through overdoing it, while my strength was abandoning me — then I withdrew into myself, and without daring to hope yet. At present, dimly on the horizon, here it comes to me nevertheless — hope —that intermittent hope that has sometimes consoled me in my lonely life. Now I’d like to see you taking a very large share in this belief that we’ll be relatively successful in founding something lasting.

When we’ll talk about those strange days of discussions in the poor studios and the cafés of the Petit Boulevard, and you’ll see in full our idea, my brother’s and mine, which hasn’t in any way been carried out, in terms of forming an association.

Nevertheless, you’ll see that it is such that everything that we’ll do in future to remedy the terrible state of these past few years will either be just what we said, or something similar to it. So unshakeable a basis will we have given the thing. And you’ll admit, when you have the full explanation, that we’ve gone well beyond the plan we’ve already told you about. It’s no more than our duty as picture dealers to have gone further, because you perhaps know that I too spent years in the trade, and I don’t look down on a profession in which I’ve eaten my daily bread.

Suffice it to say that I don’t believe that even when apparently cutting yourself off from Paris you will cease to feel that you’re in fairly direct contact with Paris.
I have an extraordinary fever for work these days, at present I’m grappling with a landscape with blue sky above an immense green, purple, yellow vine with black and orange shoots.

Little figures of ladies with red sunshades, little figures of grape-pickers with their cart further liven it up. Foreground of grey sand. Once again square no. 30 canvas for the decoration of the house.

I have a portrait of myself, all ash-colored. The ashy color that comes from mixing Veronese with orange lead, on a pale background of uniform Veronese, with a red-brown garment. But exaggerating my personality also, I looked more for the character of a bonze, a simple worshipper of the eternal Buddha.

(Note: van Gogh’s reference to ‘the character of a bonze, a simple worshipper of the eternal Buddha’ may have been prompted by Emile Burnouf’s article, ‘Le bouddhisme en Occident’, Revue des Deux Mondes 58 (July 15, 1888), van Gogh was in any event familiar with Henry Cochin’s article on Boccaccio (‘Boccace d’après ses oeuvres et les témoignages contemporains’) in the same issue. Merlhès regards Burnouf’s article as the direct source for the self-portrait; however the words van Gogh used do not occur in the article. Loti’s Madame Chrysanthème might also have inspired him to depict himself thus.)

It cost me a good deal of trouble, but I’ll have to do it all over again if I want to express the thing. I’ll have to cure myself even further of the conventional numbness of our so-called civilized state, in order to have a better model for a better painting.

Something that gave me enormous pleasure; I received a letter from Boch yesterday (his sister is one of the Belgian Vingtistes), who writes that he’s settled in the Borinage to paint miners and coal-mines there.

(Note: Boch’s sister Anna was a member of the artists’ association Les Vingt from 1886 to 1894.)

He’ll return, though, to what he has in mind in the south — to vary his impressions, and in that case will certainly come to Arles. I find my artistic ideas extremely commonplace in comparison with yours.

I always have an animal’s coarse appetites. I forget everything for the external beauty of things, which I’m unable to render because I make it ugly in my painting, and coarse, whereas nature seems perfect to me. Now, however, the energy of my bony carcass is such that it goes straight to the target; from that comes a perhaps sometimes original sincerity in what I make, if, that is, the subject lends itself to my rough and unskilful execution.

I believe that if from now on you began to think of yourself as the head of this studio, which we’ll attempt to make a refuge for several people, little by little, bit by bit, as our unremitting work provides us with the means to bring the thing to completion — I believe that then you’ll feel relatively consoled for your present misfortunes of penury and illness, considering that we’re probably giving our lives for a generation of painters that will survive for many years to come.
These parts of the world have already seen both the cult of Venus —essentially artistic in Greece — and the poets and artists of the Renaissance. Where these things have been able to flower, Impressionism can do so too.

(Note: It emerges from the following paragraph that van Gogh is referring to the poets Dante, Petrarch and Boccaccio and the painters Giotto and Botticelli, whom he discussed in another letter after reading Cochin’s article ‘Boccace d’après ses oeuvres et les témoignages contemporains’.)

About the room where you’ll stay, I’ve made a decoration especially for it, the garden of a poet (in the croquis Bernard has there’s a first idea for it, later simplified).

(Note: At this point the decoration called ‘the poet’s garden’ consisted of The public garden (‘The poet’s garden’) and a now unknown painting of the park. van Gogh regarded the canvases as companion pieces and gave them the title of ‘the poet’s garden.' They were joined later by two more paintings: The public garden with a couple strolling and Row of cypresses with a couple strolling.
Bernard owned the drawing Newly mown lawn with a weeping tree which shows the same corner of the park.)

The unremarkable public garden contains plants and bushes that make one dream of landscapes in which one may readily picture to oneself Botticelli, Giotto, Petrarch, Dante and Boccaccio. In the decoration I’ve tried to tease out the essence of what constitutes the changeless character of the region.

(Note: Vincent had previously told Theo that he wanted to capture ‘the real character of things here’ in his views of the park.)

And I’d have wished to paint this garden in such a way that one would think both of the old poet of this place (or rather, of Avignon), Petrarch, and of its new poet — Paul Gauguin. However clumsy this effort, you’ll still see, perhaps, that while preparing your studio I’ve thought of you with very deep feeling. Let’s be of good heart for the success of our enterprise, and may you continue to feel very much at home here.

Because I’m so strongly inclined to believe that all this will last for a long time.
Good handshake, and believe me

Ever yours,
Vincent

Only I’m afraid that you’ll find Brittany more beautiful — even though you may well see nothing more beautiful than things out of Daumier, figures here are often pure Daumier. Now, as for you, it won’t take you long to discover, under all the modernity, the ancient world and the Renaissance, which is sleeping. Now, as far as they’re concerned, you’re at liberty to reawaken them.

Bernard tells me that he, Moret, Laval and someone else would do an exchange with me. I am really, in principle, a great supporter of the system of exchanges among artists, since I see that it occupied a considerable place in the life of the Japanese painters. So one of these days I’ll send you such studies as I have to spare, in the dry state, and you’ll have first choice.

(Note: In his influential book L’Art japonais (1883) Louis Gonse wrote about Japanese artists’ custom of exchanging prints known as ‘surimonos’: ‘Small sheets, drawn or engraved by members of societies of artists, poets and tea-drinkers, are called surimonos ... At New Year, the members of these societies were normally in the habit of giving each other presents. It was also good manners to make a drawing for the occasion, which one would have engraved and of which one would print a limited number of proofs for selection. In the hands of members, these proofs, called surimonos, perpetuated the memory of their periodic meetings.)

But I won’t exchange a single one with you if on your part it would mean costing you something as significant as your portrait, which would be too beautiful. For sure, I wouldn’t dare, because my brother will gladly buy it from you against a whole month’s allowance.


"The empty vessel makes the loudest sound."
―William Shakespeare

"You cannot change the truth, but the truth can change you."
―Buddha


Love ya Preziosi! Later! me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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mayte



Registrato: 25/09/15 20:30
Messaggi: 362
Residenza: BARCELONA

MessaggioInviato: Dom Set 17, 2017 19:55    Oggetto: Re: PROMETEO, reading di PREZIOSI 17/11/2017 Teatro Palazzo Rispondi citando


CUANTO DESEO PODER ALGÚN DÍA ASISTIR A UNA DE TUS LECTURAS...


genziana ha scritto:


"PROMETEO" reading di e con Alessandro PREZIOSI

produzione: KHORA.teatro - live set di Paky Di Maio

ven. 17 novembre 2017, BARI Teatro Palazzo 21:00








Alessandro Preziosi dà voce e corpo ad uno dei personaggi più ammirati e discussi della mitologia greca: Prometeo, il titano che ruba il fuoco agli dei contro il volere di Zeus per donare conoscenza, pensiero e facoltà di azione agli uomini. Proprio per aver combattuto con coraggio e generosità la sua battaglia in favore degli uomini, Prometeo verrà condannato da Zeus ad una terribile punizione.








"PROMETEO" rientra nell'Abbonamento 1 in vendita on line come i biglietti singoli: ►https://www.bookingshow.it/AbbonamentoFisso/Abbonamento-1-Teatro-Palazzo-Abbonamenti/3591
►https://www.bookingshow.it/Alessandro-Preziosi-Prometeo-Biglietti/101813

presso i punti vendita bookingshow e presso il botteghino del Teatro PALAZZO di
BARI in Corso Sonnino 142D - PER INFORMAZIONI: 0809753364 - 3661916284
-

il botteghino rimane aperto dal martedì al sabato - orario: dalle 17:00 alle 21:00







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PATRICIA 22



Registrato: 27/08/16 08:28
Messaggi: 283
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MessaggioInviato: Mar Set 19, 2017 00:39    Oggetto: Rispondi citando


Alessandro, in this letter Vincent tells Gauguin about his tired eyes, his excitement that he's coming to see him, his work, and the weather.


From: Vincent van Gogh
To: Paul Gauguin
Date: Arles, Wednesday, October 17, 1888

My dear Gauguin,
Thanks for your letter, and thanks most of all for your promise to come as early as the twentieth.

(Note: Gauguin was to arrive in Arles on Tuesday, October 23, 1888. This must be a reference to a new letter from Gauguin, and not the one van Gogh said that he had received in a previous letter otherwise he would undoubtedly have told Theo then that Gauguin wanted to come on October 20.)

Agreed, this reason that you give won’t help to make a pleasure trip of the train journey, and it’s only right that you should put off your journey until you can do it without it being a bloody nuisance. But that apart, I almost envy you this trip, which will show you, en passant, miles and miles of countryside of different kinds with autumn splendours.

(Note: Gauguin was still in poor health.)

I still have in my memory the feelings that the journey from Paris to Arles gave me this past winter.How I watched out to see ‘if it was like Japan yet’! Childish, isn’t it?

(Note: van Gogh had made the journey from Paris to Arles on Sunday, 19 and Monday, February 20, 1888)

Look here, I wrote to you the other day that my vision was strangely tired.

(Note: This must have been van Gogh’s reply to the letter from Gauguin referred to in a previous letter. He also wrote about his tired eyes to Theo.)

Well, I rested for two and a half days, and then I got back to work. But not yet daring to go outside, I did, for my decoration once again, a no. 30 canvas of my bedroom with the whitewood furniture that you know.

(Note: The letter sketch The bedroom is after the painting The bedroom.)

Ah, well, it amused me enormously doing this bare interior. With a simplicity à la Seurat. In flat tints, but coarsely brushed in full impasto, the walls pale lilac, the floor in a broken and faded red, the chairs and the bed chrome yellow, the pillows and the sheet very pale lemon green, the blanket blood-red, the dressing-table orange, the washbasin blue, the window green. I had wished to express utter repose with all these very different tones, you see, among which the only white is the little note given by the mirror with a black frame (to cram in the fourth pair of complementaries as well).

Anyway, you’ll see it with the others, and we’ll talk about it. Because I often don’t know what I’m doing, working almost like a sleepwalker. It’s beginning to get cold, especially on the days when the mistral blows. I’ve had gas put in the studio, so that we’ll have good light in winter.

Perhaps you’ll be disillusioned with Arles if you come at a time when the mistral’s blowing, but wait... It’s in the long term that the poetry down here soaks in.
You won’t find the house as comfortable yet as we’ll gradually try to make it. There are so many expenses, and it can’t be done in one go. Anyway, I believe that once here, like me, you’ll be seized with a fury to paint the autumn effects, in between spells of the mistral. And that you’ll understand that I’ve insisted that you come now that there are some very beautiful days. Au revoir, then.

Ever yours,
Vincent


"God has given you one face, and you make yourself another."
―William Shakespeare

"The truth is incontrovertible. Malice may attack it, ignorance may deride it, but in the end, there it is."
―Winston Churchill


Love ya Preziosi! Later! me.

_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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genziana



Registrato: 22/03/04 13:40
Messaggi: 33141

MessaggioInviato: Mar Set 19, 2017 13:19    Oggetto: VINCENT VAN GOGH. L'odore assordante del bianco - TOUR 2018 Rispondi citando




VINCENT VAN GOGH. L'odore assordante del bianco

di STEFANO MASSINI con regia di Alessandro Maggi

| nel ruolo del protagonista ALESSANDRO PREZIOSI




prima nazionale '17 NAPOLI TEATRO FESTIVAL Italia

produz. KHORA.teatro |TSA Teatro Stabile d'Abruzzo

e in collaborazione con il FESTIVAL DI SPOLETO 60






[Foto: ©Francesca Fago]


TOUR TEATRALE 2018 | Stagione ufficiale di KHORA.teatro:




      dal 20 al 21 gennaioFERMO, Teatro DELL’AQUILA
      . AMAT Associazione Marchigiana Attività Teatrali


      dal 24 al 28 gennaio - VENEZIA MESTRE, Teatro TONIOLO
      . Settore Cultura del Comune di Venezia
      in collaborazione con il Circuito Teatrale Regionale ArtVen


      dal 31 gennaio al 4 febbraio - TRIESTE, Politeama ROSSETTI
      . TEATRO STABILE DEL FRIULI VENEZIA GIULIA,
      - Teatro di Rilevante Interesse Culturale
      - Sala Assicurazioni Generali


      dal 6 al 11 febbraio - FIRENZE, Teatro della PERGOLA
      . TEATRO DELLA TOSCANA, Teatro Nazionale


      dal 13 febbraio al 4 marzo - ROMA, Teatro ELISEO


      6 marzoSULMONA (AQ), Teatro Com.le Maria CANIGLIA
      . ACS Abruzzo Circuito Spettacolo


      dal 7 all'8 marzo - TERAMO, Teatro Comunale
      . ACS Abruzzo Circuito Spettacolo


      dal 9 all'11 marzo - BOLOGNA, Teatro DUSE


      dal 15 al 18 marzo - SALERNO, Teatro Municipale VERDI
      . Teatro Pubblico Campano


      dal 20 al 25 marzo - NAPOLI, Teatro MERCADANTE
      . TEATRO STABILE DI NAPOLI, Teatro Nazionale


      28 marzo - RECANATI (MC), Teatro Giuseppe PERSIANI
      . AMAT Associazione Marchigiana Attività Teatrali


      dal 6 all'8 aprile - TREVISO, Teatro Com.le DEL MONACO
      . Teatri e Umanesimo Latino SpA
      - Incontri: sabato 7 aprile, ore 18.00 Dialoghi sul teatro


      dal 10 al 12 aprileTHIENE (VI), Teatro Comunale


      dal 14 al 15 aprileCHIETI, Teatro MARRUCINO



rassegna stampa e commenti Exclamation I NOSTRI INCONTRI di Alessandro





con preghiera di NON usare Riporta onde consentire modifiche/aggiornamenti. Grazie



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PATRICIA 22



Registrato: 27/08/16 08:28
Messaggi: 283
Residenza: USA

MessaggioInviato: Mer Set 20, 2017 00:21    Oggetto: Rispondi citando


Alessandro, in this letter, one of Vincent's shortest, he speaks, "a few most sincere and profound words of friendship" to "Pauly." Laughing

From: Vincent van Gogh
To: Paul Gauguin
Date: Arles, Friday, January 4, 1889

My dear friend Gauguin
I’m taking advantage of my first trip out of the hospital to write you a few most sincere and profound words of friendship. I have thought of you a great deal in the hospital, and even in the midst of fever and relative weakness.

Tell me. Was my brother Theo’s journey really necessary – my friend? Now at least reassure him completely, and yourself, please. Trust that in fact no evil exists in this best of worlds, where everything is always for the best.

(Note: These words are quoted from the ‘philosopher’ Pangloss in Voltaire’s Candide (1759), where they occur repeatedly. The novel tells the story of the journey of the young, open-minded Candide, who is driven out of the palace where he lives. He has learned from the household philosopher Pangloss that he lives in the best possible world: ‘Tout est pour le mieux dans le meilleur des mondes’. During his wanderings Candide encounters a great deal of misery (so that he begins to have doubts), but nonetheless in the end he calls for fortitude with the cry: ‘we must cultivate our own garden’ (il faut cultiver notre jardin)

So I want you to give my warm regards to good Schuffenecker –
to refrain from saying bad things about our poor little yellow house until more mature reflection on either side – to give my regards to the painters I saw in Paris.

I wish you prosperity in Paris. With a good handshake

Ever yours,
Vincent

Roulin has been really kind to me, it was he who had the presence of mind to get me out of there before the others were convinced.
Please reply.

(Note: van Gogh means that Roulin had arranged for him to leave the hospital for a short while on January 4. On that day Roulin wrote to Theo: ‘Monsieur the house doctor felt slightly anxious about letting him go out; I told him that I would be in charge of accompanying him and seeing that he returns to the hospital’)


"Hell is empty and all the devils are here."
―William Shakespeare


Love ya Preziosi! Later! me.

_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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mayte



Registrato: 25/09/15 20:30
Messaggi: 362
Residenza: BARCELONA

MessaggioInviato: Mer Set 20, 2017 07:03    Oggetto: Re: VINCENT VAN GOGH. L'odore assordante del bianco - TOUR 2 Rispondi citando


E Prima di tutto questo ,caro Ale, cosa fai?




genziana ha scritto:


VINCENT VAN GOGH. L'odore assordante del bianco

di STEFANO MASSINI con regia di Alessandro Maggi

| nel ruolo del protagonista ALESSANDRO PREZIOSI




prima nazionale '17 NAPOLI TEATRO FESTIVAL Italia

produz. KHORA.teatro |TSA Teatro Stabile d'Abruzzo

e in collaborazione con il FESTIVAL DI SPOLETO 60






[Foto: ©Francesca Fago]


TOUR TEATRALE 2018 | Stagione ufficiale di KHORA.teatro:




      dal 20 al 21 gennaioFERMO, Teatro DELL’AQUILA
      . AMAT Associazione Marchigiana Attività Teatrali


      dal 24 al 28 gennaio - VENEZIA MESTRE, Teatro TONIOLO
      . Settore Cultura del Comune di Venezia
      in collaborazione con il Circuito Teatrale Regionale ArtVen


      dal 31 gennaio al 4 febbraio - TRIESTE, Politeama ROSSETTI
      . TEATRO STABILE DEL FRIULI VENEZIA GIULIA,
      - Teatro di Rilevante Interesse Culturale
      - Sala Assicurazioni Generali


      dal 6 al 11 febbraio - FIRENZE, Teatro della PERGOLA
      . TEATRO DELLA TOSCANA, Teatro Nazionale


      dal 13 febbraio al 4 marzo - ROMA, Teatro ELISEO


      6 marzoSULMONA (AQ), Teatro Com.le Maria CANIGLIA
      . ACS Abruzzo Circuito Spettacolo


      dal 7 all'8 marzo - TERAMO, Teatro Comunale
      . ACS Abruzzo Circuito Spettacolo


      dal 9 all'11 marzo - BOLOGNA, Teatro DUSE


      dal 15 al 18 marzo - SALERNO, Teatro Municipale VERDI
      . Teatro Pubblico Campano


      dal 20 al 25 marzo - NAPOLI, Teatro MERCADANTE
      . TEATRO STABILE DI NAPOLI, Teatro Nazionale


      28 marzo - RECANATI (MC), Teatro Giuseppe PERSIANI
      . AMAT Associazione Marchigiana Attività Teatrali


      dal 6 all'8 aprile - TREVISO, Teatro Com.le DEL MONACO
      . Teatri e Umanesimo Latino SpA
      - Incontri: sabato 7 aprile, ore 18.00 Dialoghi sul teatro


      dal 10 al 12 aprileTHIENE (VI), Teatro Comunale


      dal 14 al 15 aprileCHIETI, Teatro MARRUCINO



rassegna stampa e commenti Exclamation I NOSTRI INCONTRI di Alessandro





con preghiera di NON usare Riporta onde consentire modifiche/aggiornamenti. Grazie



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Marisol



Registrato: 07/01/11 10:40
Messaggi: 3430
Residenza: Madrid

MessaggioInviato: Mer Set 20, 2017 08:19    Oggetto: Rispondi citando


Che gioia Razz Razz !!!

Continuano ad aumentare i giorni per la prossima stagione teatrale di "VINCENT VAN GOGH, l'odore assordante del bianco", questa volta altre 4 città più Very Happy Very Happy ...

...Ottimo!! ... Bravo!! e ... Olé!!




Tanti baci con grande e sincero affeto da Madrid Wink Wink

TVTB Ale

Marisol

_________________
La vera ricchezza è prendere la vita con amore, donando amore.



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PATRICIA 22



Registrato: 27/08/16 08:28
Messaggi: 283
Residenza: USA

MessaggioInviato: Gio Set 21, 2017 01:21    Oggetto: Rispondi citando


Alessandro, in this letter Gauguin mentions a few of van Gogh's paintings and tells Vincent the secret of relining.


From: Paul Gauguin
To: Vincent van Gogh
Date: Paris, between Tuesday, 8 and Wednesday, January 16, 1889

[This letter has no salutation]
your sunflowers on a yellow background which I regard as a perfect page of an essential ‘Vincent’ style.

(Note: It emerges from a previous letter that Gauguin wanted this canvas; he must have asked for it in the missing part of the present letter. van Gogh’s answer to the present letter has not survived, but that he did indeed reply is apparent from another Gauguin letter.)

At your brother’s home I saw your Sower,( Note: Sower with setting sun. the other canvases with sowers were still in Arles.) which is very good, as well as a yellow still life, apples and lemons. (Note: Quinces, lemons, pears and grapes.)

Your brother gave me a lithographed reproduction of an old painting of yours, Dutch – very interesting as regards color in the drawing. (Note: Gauguin is referring to the lithograph The potato eaters.) In my studio next to your portrait.

(Note: On January 5 Gauguin had rented a studio at 16 rue Saint-Gothard.)

The grape harvests are totally covered in scales as a result of the white which has separated. I’ve stuck all of it back down using a process shown to me by the reliner.

(Note: The identity of this reliner is not known. This could refer to Contet, who in 1886 had taken over the business of Mrs Latouche; in any case, Gauguin had had canvases relined there in 1883.)

If I tell you about it it’s because the thing is easy to do and can be very good for those of your canvases that need retouching – you stick newspapers on your canvas with flour paste. Once dry, you put your canvas on a smooth board and with very hot irons you press down hard on it. All the breaks in your color will remain but will be flattened down and you’ll have a very fine surface. Afterwards you soak your paper covering well and take off all the paper. That’s largely the whole secret of relining. Thank Roulin for thinking of me. I have indeed received my stretcher keys

(Note: It is possible that with ‘clefs’ Gauguin meant the wedges used to tension a stretcher, but he could also have meant the stretchers themselves (‘chassis à clefs’).

- at the next opportunity if you can send me by parcel post my 2 fencing masks and gloves, which I left on the shelf in the little upstairs room.

(Note: Gauguin practised fencing and had given fencing lessons in Pont-Aven. In Avant et après he writes in detail on the art of fencing, not surprisingly, boasting about his talent for it. Laughing )

Friendly wishes from me to everyone.

Cordially yours,
Paul Gauguin
At Mr Schuffenecker’s
29 rue Boulard –


Love ya Preziosi! Later! me.





_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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mayte



Registrato: 25/09/15 20:30
Messaggi: 362
Residenza: BARCELONA

MessaggioInviato: Gio Set 21, 2017 05:51    Oggetto: Re: VINCENT VAN GOGH. L'odore assordante del bianco - TOUR 2 Rispondi citando


Desiderosa da ipazire di nuovo con te Vincent



genziana ha scritto:


VINCENT VAN GOGH. L'odore assordante del bianco

di STEFANO MASSINI con regia di Alessandro Maggi

| nel ruolo del protagonista ALESSANDRO PREZIOSI




prima nazionale '17 NAPOLI TEATRO FESTIVAL Italia

produz. KHORA.teatro |TSA Teatro Stabile d'Abruzzo

e in collaborazione con il FESTIVAL DI SPOLETO 60






[Foto: ©Francesca Fago]


TOUR TEATRALE 2018 | Stagione ufficiale di KHORA.teatro:




      dal 20 al 21 gennaioFERMO, Teatro DELL’AQUILA
      . AMAT Associazione Marchigiana Attività Teatrali


      dal 24 al 28 gennaio - VENEZIA MESTRE, Teatro TONIOLO
      . Settore Cultura del Comune di Venezia
      in collaborazione con il Circuito Teatrale Regionale ArtVen


      dal 31 gennaio al 4 febbraio - TRIESTE, Politeama ROSSETTI
      . TEATRO STABILE DEL FRIULI VENEZIA GIULIA,
      - Teatro di Rilevante Interesse Culturale
      - Sala Assicurazioni Generali


      dal 6 al 11 febbraio - FIRENZE, Teatro della PERGOLA
      . TEATRO DELLA TOSCANA, Teatro Nazionale


      dal 13 febbraio al 4 marzo - ROMA, Teatro ELISEO


      6 marzoSULMONA (AQ), Teatro Com.le Maria CANIGLIA
      . ACS Abruzzo Circuito Spettacolo


      dal 7 all'8 marzo - TERAMO, Teatro Comunale
      . ACS Abruzzo Circuito Spettacolo


      dal 9 all'11 marzo - BOLOGNA, Teatro DUSE


      dal 15 al 18 marzo - SALERNO, Teatro Municipale VERDI
      . Teatro Pubblico Campano


      dal 20 al 25 marzo - NAPOLI, Teatro MERCADANTE
      . TEATRO STABILE DI NAPOLI, Teatro Nazionale


      28 marzo - RECANATI (MC), Teatro Giuseppe PERSIANI
      . AMAT Associazione Marchigiana Attività Teatrali


      dal 6 all'8 aprile - TREVISO, Teatro Com.le DEL MONACO
      . Teatri e Umanesimo Latino SpA
      - Incontri: sabato 7 aprile, ore 18.00 Dialoghi sul teatro


      dal 10 al 12 aprileTHIENE (VI), Teatro Comunale


      dal 14 al 15 aprileCHIETI, Teatro MARRUCINO



rassegna stampa e commenti Exclamation I NOSTRI INCONTRI di Alessandro





con preghiera di NON usare Riporta onde consentire modifiche/aggiornamenti. Grazie



_________________
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Marisol



Registrato: 07/01/11 10:40
Messaggi: 3430
Residenza: Madrid

MessaggioInviato: Gio Set 21, 2017 08:30    Oggetto: Rispondi citando


Cara Mayte, allora siamo pronti a impazzire, un'altra volta, con la "follia" magistrale del nostro caro Ale nel ruolo di Vincent Van Gogh? Wink Razz




Tanti baci con grande e sincero affetto da Madrid Wink Wink !!

TVTB Ale Wink

Marisol

_________________
La vera ricchezza è prendere la vita con amore, donando amore.



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PATRICIA 22



Registrato: 27/08/16 08:28
Messaggi: 283
Residenza: USA

MessaggioInviato: Ven Set 22, 2017 00:54    Oggetto: Rispondi citando


Alessandro, in this letter Gauguin talks about his sketch books, Bernard, and how he amused himself doing croquis at the market. Laughing He also mentions to Vincent that if he goes to the sixth exhibition of the artists’ society Les Vingt in Brussels, he'll remember the advice he gave him and he'll try to do the right thing.


From: Paul Gauguin
To: Vincent van Gogh
Date: Paris, Thursday, January 17, 1889

My dear Vincent
Don’t bother yourself with the studies that I deliberately left in Arles as not being worth the trouble of transporting them. On the other hand the sketchbooks contain notes which are useful to me, and I accept your offer to send them to me.

(Note: These might have included the sketchbook from Brittany and Arles of 1888 published as Le carnet de Paul Gauguin. Gauguin might also have taken that sketchbook with him to Paris; the sketch it contains of a guillotine could be connected with the execution of Prado which he witnessed there on December 27, 1888.)

As well as the 2 masks and gloves —

c/o Mr Schuffenecker
29 rue Boulard

Milliet’s address is

2nd lieutenant 3rd Zouaves
Guelma — Place de Constantine
Algeria

(Note: In the letter I posted yesterday, Gauguin had asked van Gogh to send his fencing masks and gloves. Vincent sent them at the end of April or beginning of May 1889 in a consignment of paintings to Theo.)

I regret that I inadvertently took it with me (all my apologies). I’ve seen Bernard twice since I arrived in Paris. He has a very good chance of not being a soldier because of his narrow chest, and he won’t know his fate until the end of February. It appears that his father is bothering him more and more on account of the painting and the unfortunate letter I wrote to his family.

(Note: This ‘unfortunate letter’ was the one Gauguin sent to Bernard’s sister Madeleine in mid-October 1888, in which he advised her to put off marrying, and first to earn her own livelihood. Her father, who had intercepted the letter, wrote an angry letter to Gauguin, who received it in Arles and forwarded it to Bernard.)

(Note: According to Bernard, Gauguin had fallen in love with Madeleine in Pont-Aven – she had been there from mid-August to mid-October 1888 – and was even intending to elope with her. Her father had, however, forbidden all contact between her and Gauguin. Gauguin must have told van Gogh about this, as emerges from the lack of further explanation in the present letter and the reference to the letter from Bernard’s father in another letter of November 1889.)

No, I haven’t done any portraits yet, having spent my time on errands.

(Note: It is apparent from this passage and the one about exhibiting in Brussels that Gauguin is reacting to van Gogh’s letter, which is no longer extant.)

Now that I have a studio in which I sleep, I’m going to put myself to work.

(Note: Gauguin had been staying with the Schuffenecker family (29 rue Boulard) since his return to Paris.)

I’ve begun a series of lithographs to be published in order to get myself known. Moreover, it’s on your brother’s advice and under his auspices.

(Note: Gauguin is referring to his series of ten ‘zincographies’ (1889), which he made after Theo had urged him to make lithographs. In January-February 1889 he had them printed in Paris by Edouard Ancourt with the title Dessins lithographiques Paul Gauguin. The series is also referred to as the ‘Suite Volpini’, after the 1889 exhibition at which they were displayed. One example is Old maids of Arles, 1889.)

I’m going to buckle down to the portraits of the whole Schuffenecker family, he, his wife and his 2 children in vermilion aprons. It’s darned cold in Paris at the moment — in addition I’ve amused myself doing croquis at the market, and I’m going to get some porters from the market to pose with their big hats, carrying sacks and sides of meat. I’m carried away at top speed by it.

(Note: These sketches by Gauguin of the market are not known.)

I don’t know if I’ll go to Brussels, everything will depend on the money situation, and that’s as clear as mud.

(Note: Gauguin had been invited to display his work at the sixth exhibition of the artists’ society Les Vingt in Brussels, and was toying with the idea of settling in Brussels.)

In any case, if I go there I’ll remember the advice you gave me about it — I don’t know, for example, if my weak voice will be heard. In any case the common good interests me enormously, and I’ll try to do the right thing.

Cordially yours,
Paul Gauguin


Love ya Preziosi! Later! me
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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genziana



Registrato: 22/03/04 13:40
Messaggi: 33141

MessaggioInviato: Ven Set 22, 2017 05:06    Oggetto: VINCENT VAN GOGH. L'odore assordante del bianco |Thiene 2018 Rispondi citando








ALESSANDRO PREZIOSI nel ruolo di protagonista in

VINCENT VAN GOGH. L'odore assordante del bianco

produz. KHORA.teatro |TSA Teatro Stabile d'Abruzzo








Presentata la Stagione Teatrale di Prosa 2017/2018 del Teatro di Thiene. Per il 38° anno il sipario del Comunale si aprirà sulle migliori produzioni nazionali e sugli attori più bravi ed amati. A chiudere sarà Alessandro Preziosi con “Vincent Van Gogh. L’odore assordante del bianco” in scena il 10, l’11 e il 12 aprile 2018 per la regia di Alessandro Maggi. Frutto di una coproduzione Khora.teatro e TSA Teatro Stabile d’Abruzzo in collaborazione con Festival dei Due Mondi – Spoleto, lo spettacolo nasce da un testo di Stefano Massini. In scena con Preziosi ci sono Francesco Biscione, Massimo Nicolini, Roberto Manzi, Alessio Genchi e Vincenzo Zampa. Le austere pareti di una stanza del manicomio di Saint Paul. Come può vivere un grande pittore in un luogo dove non c’è altro colore che il bianco? È il 1889 e l’unico desiderio di Vincent è uscire da quelle mura, la sua prima speranza è riposta nell’inaspettata visita del fratello Theo che ha dovuto prendere quattro treni e persino un carretto per andarlo a trovare. Attraverso l’imprevedibile metafora del temporaneo isolamento di Vincent Van Gogh in manicomio, questo nuovo spettacolo è una sorta di thriller psicologico attorno al tema della creatività artistica che lascia lo spettatore con il fiato sospeso dall’inizio alla fine. Il testo di Stefano Massini, vincitore del Premio Tondelli a Riccione Teatro 2005, con la sua drammaturgia asciutta ma ricca di spunti poetici, offre considerevoli opportunità di riflessione sul rapporto tra le arti e sul ruolo dell’artista nella società contemporanea.

Tutti i tre spettacoli inizieranno alle ore 20.45. Per INFORMAZIONI, prenotazione e vendita abbonamenti e biglietti: Servizio Promozione Eventi Culturali e Turistici, negli orari di apertura al pubblico, piazza A. Ferrarin 1, tel. 0445-804.745-943, e-mail: teatro@comune.thiene.vi.it, cultura@comune.thiene.vi.it. Il programma della XXXVIII Stagione Teatrale Thienese è consultabile nei siti: www.comune.thiene.vi.itwww.arteven.itwww.vivaticket.it e presso tutte le aziende di promozione turistica del vicentino






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