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genziana



Registrato: 22/03/04 13:40
Messaggi: 37243

MessaggioInviato: Ven Giu 23, 2017 00:57    Oggetto: FESTIVAL DI SPOLETO 60 _ 01-02-03/07/2017, VAN GOGH-PREZIOSI Rispondi citando




la KHORA.teatro con il TSA Teatro Stabile d'Abruzzo

presentano



nel ruolo di Vincent V.Gogh ALESSANDRO PREZIOSI

''VAN GOGH. L'ODORE ASSORDANTE DEL BIANCO''

di Stefano Massini - per la regia di Alessandro Maggi


scene|costumi Marta Crisolini Malatesta; disegno luci
Valerio Tiberi, Andrea Burgaretta; musiche Giacomo
Vezzani
; supervisione artistica di Alessandro Preziosi

prima nazionale al NAPOLI TEATRO FESTIVAL ITALIA

e in collaborazione con IL FESTIVAL DI SPOLETO 60



co-produzione: TSA Teatro Stabile d'Abruzzo con KHORA.teatro

producono: Alessandro Preziosi, Tommaso Mattei, Aldo Allegrini



        PERSONAGGI E INTERPRETI


        Vincent Van Gogh - Alessandro Preziosi
        Dottor Peyron - Francesco Biscione
        Theo Van Gogh - Massimo Nicolini
        Dottor Vernon-Lazàre - Roberto Manzi
        Roland - Vincenzo Zampa
        Gustave - Alessio Genchi







NTFI 2017 mart. 27 e merc. 28 giugno, 21:00 (2 ore)

Palazzo Reale, cortile d'onore; Napoli, p.zza Plebiscito









FESTIVAL DI SPOLETO 60 .-. Auditorium della Stella

orari : 1 (22:00) - 2 (18:30) - 3 (20:00) luglio 2017








qui l’autore Stefano Massini ha alzato molto la posta, un testo scritto quando lui aveva 26 anni vinse il Premio Rondelli, ed è un testo che ha come punto di arrivo il recupero dell’ispirazione del grande pittore che si ritrova all’interno di un mondo colorato di bianco, e precisamente nell’ospedale a Saint-Rémy dall’88 all’89, dove effettivamente invece lui aveva a disposizione tutto, aveva cavalletti, tavolozze, tinte diluenti; ma l’idea dell’autore è quella di fornire allo spettatore una specie di graduale, insistita, concettuale, ma anche molto semplice visione del processo creativo: cioè cosa accade ad un pittore che si ritrova improvvisamente mentalmente chiuso in una specie di gabbia monocraticamente bianca per ritrovare la propria ispirazione, e questo attraverso l’incontro con il fratello, il recupero di tutti quelli che erano i suoi meravigliosi colleghi di allora, Signac, Monet, Bernard, Gauguin, attraverso la lettura, attraverso il recupero di tutte le città che ha toccato la vita turbolenta e rocambolesca di Van Gogh”. www.raiplay.it/video/2017/06/Porta-a-Porta-8d18dff9-26cb-4c81-a8fd-a85baa17faba.html 01:02:03




ALESSANDRO PREZIOSI 21.06.17 in studio su RAI 1

a Porta a Porta per 60 anni di FESTIVAL DI SPOLETO

presenta 'VAN GOGH. L'odore assordante del bianco'




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genziana



Registrato: 22/03/04 13:40
Messaggi: 37243

MessaggioInviato: Ven Giu 23, 2017 01:19    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/2017 21:00 - VAN GOGH Rispondi citando




in collaborazione con : FONDAZIONE CAMPANIA DEI

FESTIVAL REGIONE CAMPANIA la decima edizione di

NAPOLI TEATRO FESTIVAL ITALIA prima nazionale di








''VAN GOGH. L'ODORE ASSORDANTE DEL BIANCO''

di Stefano Massini - per la regia di Alessandro Maggi

nel ruolo di Vincent V.Gogh ALESSANDRO PREZIOSI


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









NAPOLI TEATRO FESTIVAL ITALIA 27-28 giugno 2017

Palazzo Reale, cortile d'onore; Napoli, p.zza Plebiscito



'' VAN GOGH. L'ODORE ASSORDANTE DEL BIANCO ''





Questo spettacolo racchiude in qualche modo le domande che mi sono state fatte in precedenza, cioè mettere l’arte al servizio della vita, per sprofondare nella vita come è successo a Van Gogh, e scoprire che attraverso questa operazione la cultura, intesa come conoscenza dell’altro da sé, diventa uno strumento di comunicazione altissimo attraverso un segno: un segno vorticoso, psicologicamente molto complesso, che all’interno di questo spettacolo addirittura diventa un modo per raccontare una trasversalità percettiva incredibile. Voglio che la cultura sia un modo di mettere le persone sullo stesso piano”.

così Alessandro Preziosi parla di "VAN GOGH. L'odore assordante del bianco" nella serie di trasmissioni che SKY ARTE Hd dedica al NAPOLI TEATRO FESTIVAL ITALIA 2017 Prima delle Prime, 08/06/2017



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genziana



Registrato: 22/03/04 13:40
Messaggi: 37243

MessaggioInviato: Ven Giu 23, 2017 01:28    Oggetto: PROMETEO 26-27-28/07/2017 Estate, Teatri Uniti di BASILICATA Rispondi citando





"PROMETEO" reading di e con Alessandro PREZIOSI

produzione di KHORA.teatro; musica di Paki Di Maio

Estate Teatrale 2017 - TUB, Teatri Uniti di Basilicata










Stagione Teatrale Estate 2017 “A teatro fra i magici luoghi della Basilicata”, il consolidato appuntamento con lo spettacolo dal vivo realizzato dal consorzio Teatri Uniti di Basilicata, con il sostegno della Regione Basilicata, del Mibact e dei Comuni che la ospitano in collaborazione con il Polo Museale della Basilicata.

Ecco una Stagione ricca di nomi di prestigio e titoli che spaziano tra diversi generi, per appassionare, divertire e emozionare gli spettatori: dal teatro alla musica, dal balletto alla comicità,
senza dimenticare il teatro per ragazzi.





Sarà ALESSANDRO PREZIOSI in “PROMETEO”, nel percorso drammaturgico del recital, con citazioni di Simon Weil, Goethe e Byron, a fornirci altre chiavi di lettura della tragedia attribuita ad Eschilo. In una contestualizzazione storica diviene il simbolo stesso della condizione esistenziale umana, della sfida alla legge divina, ma è anche metafora del pensiero libero, svincolato dal mito e dalle false e bugiarde mitologie.







PROMETEO” ore 21:00 appuntamenti in programma a LUGLIO:

mercoledì 26/07/2017 - MATERA - Terrazzo Palazzo Lanfranchi;

giovedì 27/07/2017 -
VAGLIO Basilicata (PZ) - MEFITIS - Scavi Archeologici Rossano;

ven. 28/07/17 - GRUMENTO Nova (PZ) - Anfiteatro Grumentum








In caso di pioggia l’organizzazione ha previsto l’eventuale trasferimento di tutti gli spettacoli in spazi teatrali al coperto che saranno preventivamente comunicati.

Anche la Stagione teatrale estate 2017 aderisce all’iniziativa dedicata a promuovere la cultura “18app”, a cura del MiBACT e della Presidenza del Consiglio dei Ministri, destinata ai ragazzi che hanno compiuto 18 anni nel 2016 e al progetto Carta Docente.

Sono a disposizione abbonamenti e prevendite, per maggiori informazioni e biglietti:
Info&Tickets 0971.274704 http://teatriunitidibasilicata.com/spettacoli/prometeo-2-2/




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PATRICIA 22



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

MessaggioInviato: Ven Giu 23, 2017 03:05    Oggetto: Rispondi citando


Alessandro, this is the letter from Joseph Roulin that Vincent van Gogh mentioned receiving to his brother Theo in the letter that I posted yesterday.

From: Joseph Roulin
To: Vincent van Gogh
Date: Marseille, Monday, August 19, 1889

Sir and dear friend Vincent.
I received your letter with great pleasure, especially to learn that you are in good health. Continue to take good care of yourself, follow the advice of your good Doctor and you will see your complete recovery to the satisfaction of your relatives and friends.

I am very pleased that your brother is very happy with married life, he appears to be such a good man that if he has taken a wife like himself, they must be happy. Offer him my friendly greetings as well as those of my family when you write to him. We are very charmed by the welcome he gave to our Portraits, as much for the friendship he shows towards myself and my family as for the praise he gives to your work.

(Note: Vincent must have written to Roulin about Theo’s reaction to the portraits in the third consignment of paintings from Arles. Theo had told him how beautiful he found Augustine Roulin (‘La berceuse’) Joseph Roulin and Marcelle Roulin, Armand Roulin and Camille Roulin must also have been in that consignment. The portrait Young man with a cap which is presumably of Armand Roulin, was probably also with Theo)

Receive our sincere congratulations.
In your letter you think that I am with my family, unfortunately not, I still have another month and a half to go, I have only rented my apartment for Michaelmas, my family cannot come until the first ten days of October.

Augustine and Marcelle came to stay for a fortnight in Marseille, because I could not go and see them. Augustine and Marcelle are well. Marcelle is ever more beautiful, she is walking all on her own, she talks like a little Parrot. I can tell you that I spent a pleasant fortnight with them. A little one who isn’t unsociable, who gets on with everyone. If you had seen her admiring paintings, as soon as she saw a painting in houses, in the street, she talked to it.

I will not have your paintings, our portraits,

(Note: the basis of provenance information, it can be ascertained that the Roulin family owned the following portraits: Augustine Roulin (‘La berceuse’), Marcelle Roulin, Armand Roulin, Camille Roulin and a portrait of Roulin. It cannot be ascertained which portrait or portraits of Roulin were in their possession)


until I have the family. Do not fear that I will have anything done to your paintings for I respect the artist’s talent too much, and once my word is given you know it is sacred to me. Let us hope that one day we can see each other again and once again cement our friendship. When the family is in Marseille I hope that you will honour us with a visit one day. I was very pleased with the approaches friend Gauguin made to your brother to get you to participate in their exhibition, it is very good of him. I congratulate you on your resolutions not to want to exhibit anything without your being in Paris. Between now and then you will be able to have an exhibition all of your own by adding everything to it that you do at St-Rémy.

Do not be discouraged, work in those beautiful fields, take advantage of the models that nature provides you, with work health will return.
Dear Mr Vincent, accept my sincere regards as well as those of my wife and my children. Marcelle sends you a big kiss.
I shake both your hands.

devoted
Roulin

Railway Postman
No. 57 rue Breteuil

When you have the time to honour me with a letter you will always give me great pleasure.


"What the imagination seizes as beauty must be truth."
―John Keats

"Nothing can come of nothing."
―William Shakespeare

"I can't go on. I'll go on."
―Samuel Beckett

Talk to ya later Preziosi, Namaste, 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: 37243

MessaggioInviato: Ven Giu 23, 2017 14:06    Oggetto: FESTIVAL DI SPOLETO 60 _ Rai Uno 21/06/2017 - Porta a Porta Rispondi citando








http://www.raiplay.it/video/2017/06/Porta-a-Porta-8d18dff9-26cb-4c81-a8fd-a85baa17faba.html a partire da 01:02:03

Idea segui fino al termine perché il nostro Capitano parla di Van Gogh e di sé come artista
suo video-ritratto, due interventi nel corso di quindici minuti, e il 2° proprio in chiusura



    Rivedi la registrazione del programma in HD RAIPLAY o via You Tube




ALESSANDRO PREZIOSI 21.06.17 in studio su RAI 1

a Porta a Porta per 60 anni di FESTIVAL DI SPOLETO

presenta 'VAN GOGH. L'odore assordante del bianco'





"un cammino avventuroso e coerente" quello artistico di Preziosi



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marystone



Registrato: 12/11/11 18:10
Messaggi: 3744
Residenza: Palermo

MessaggioInviato: Sab Giu 24, 2017 02:26    Oggetto: Rispondi citando


...un bel servizio e un corrispondente videoritratto!!! Smile Smile

...odi la staticità.....e l'abbiamo notato caro Ale!!! Laughing Laughing Laughing

Sei il nostro numero 1!!!! Olè!!!! Laughing Laughing

See you later amico!!! Laughing Laughing

mariella
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PATRICIA 22



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

MessaggioInviato: Sab Giu 24, 2017 03:31    Oggetto: Rispondi citando


In this letter, Alessandro.. From: Vincent van Gogh to Theo, Vincent speaks of the great Michelangelo and Giotto, his paintings, work, his health and Dr. Peyron.

From: Vincent van Gogh
To: Theo van Gogh
Date: Saint-Rémy-de-Provence, on or about Monday, September 2, 1889

My dear Theo,
Since I wrote to you I’m feeling better, and whilst I don’t know if it’ll last I don’t want to wait any longer to write to you again.
Thanks once again for that beautiful etching after Rembrandt. I’d very much like to get to know the painting and know in which period of his life he painted it.

(Note: Theo had sent the etching by Courtry after The archangel Raphael (then attributed to Rembrandt)

All this goes with the Rotterdam portrait of Fabritius, the traveller in the La Caze gallery, into a special category in which the portrait of a human being is transformed into something luminous and consoling.
And how very different this is from Michelangelo or Giotto, although the latter however comes close to it, and Giotto thus forms a sort of possible hyphen between the school of Rembrandt and the Italians.

Yesterday I started working again a little – a thing I see from my window – a field of yellow stubble which is being ploughed, the opposition of the purplish ploughed earth with the strips of yellow stubble, background of hills.

(Note: The letter sketch Field with a ploughman was made after the painting of the same name)

Work distracts me infinitely better than anything else, and if I could once really throw myself into it with all my energy that might possibly be the best remedy.
The impossibility of having models, a heap of other things, prevent me from managing it however. Anyway, I really must try to take things a little passively and be patient. I often think of our pals in Brittany, who are certainly doing better work than I am. If, with the experience I’m having at present, it was possible for me to begin again, I wouldn’t go and look around the south.

Were I independent and free, I would nevertheless have retained my enthusiasm, for there are some really beautiful things to do. Such as the vineyards, the fields of olive trees. If I had confidence in the management here, nothing would be better and simpler than to put all my furniture here at the hospital and quietly continue.

(Note: van Gogh’s lack of faith in the asylum was undoubtedly connected with his disappointment at the recurrence of his illness. In another letter he wrote very optimistically about Peyron’s offer to store his furniture in the asylum.)

If I were to recover, or in the intervals, I could sooner or later come back to Paris or Brittany for a time. But first they’re very expensive here, and then I’m afraid of the other patients at the moment.

(Note: Theo paid 100 francs a month for board and lodging for Vincent.)

Anyway, a heap of reasons mean that I don’t think I’ve been lucky here either.
I’m perhaps exaggerating in the sadness I feel at being knocked down by illness again – but I feel a kind of fear. You’ll tell me what I tell myself too, that the fault must be inside me and not in the circumstances or other people. Anyway, it isn’t fun.

Mr Peyron has been kind to me and he has long experience, I shan’t scorn what he says or considers good.
But will he have a firm opinion, has he written anything definite to you?? And possible?

You can see that I’m still in a very bad mood, it’s because things aren’t going well. Then I consider myself imbecilic to go and ask doctors for permission to make paintings. Besides, it’s to be hoped that if I recover sooner or later, up to a certain point it’ll be because I’ve cured myself by working, which fortifies the will and consequently allows these mental weaknesses less hold.

My dear brother, I wanted to write to you better than this, but things aren’t going very well. I have a great desire to go into the mountains to paint for whole days, I hope they’ll allow me to in the coming days.
You’ll soon see a canvas of a hut in the mountains (Note: The Alpilles with a hut)

which I did under the influence of that book by Rod. It would be good for me to stay on a farm for a while, at least I might do some good work there.
I must write to Mother and to Wil in the next few days. Wil asked to be sent a painting, and I’d very much like to give one to Lies as well on the same occasion, who doesn’t have any yet as far as I know.

(Note: van Gogh intended seven canvases for his mother and Willemien; Lies van Gogh had long had in her possession, the small Nuenen painting, The old tower in the snow and after Vincent’s death received a number of Paris works as well. As far as we know, she received no works from Saint-Rémy.)

What do you say about Mother going to live in Leiden? I think she’s right in this sense, that I can understand that she’s pining for her grandchildren.

(Note: Mrs van Gogh and Willemien moved on November 2, 1889 from Breda to Herengracht 100 in Leiden. van Gogh’s sister Anna, her husband Joan van Houten and their daughters, Sara and Annie, also lived in Leiden.)

And then there’ll be none of us left in Brabant.
Speaking of that – not very long ago in Arles I was reading a book, I can’t remember which one, by Henri Conscience. It’s excessively sentimental if you like, what with his peasants, but speaking of Impressionism do you know that it contains descriptions of landscape with color notes of accuracy, feeling and primitiveness of the first order. And it’s always like that. Ah my dear brother, those heaths in the Kempen (Note: 'La Campine’ (de Kempen) is a region in the north of Belgium.)

were something though. But anyway, that won’t come back, and onward we go.
He – Conscience – described a brand-new little house with a bright red slate roof in the full sunshine, a garden with dock and onions, potatoes with dark foliage, a beech hedge, a vineyard, and further on the pine trees, the broom all yellow.

(Note: van Gogh’s description of the little house does not come from Le conscrit, which he refers to in another letter but was probably inspired by the little blue house in Borgerhout (Antwerp), as described in the novel La maison bleue by Henri Conscience: ‘From either side of its door climbed a vine whose intertwined branches surrounded the windows with festoons, and covered the blue-painted façade and the red roof tiles so completely that one would think one was looking at a cradle of greenery.
When, in late autumn, the two vines showed their white and blue grapes through the bright green foliage, we would stop, every child, on the road to school, in front of the pretty little house’ The description of the surroundings is something that van Gogh himself might have penned.)

Don’t be afraid, it wasn’t like a Cazin, it was like a Claude Monet. Then there’s originality even in the excess of sentimentality.

(Note: The French landscape painter Jean-Charles Cazin began his career as a realistic painter, but later came under the influence of Impressionism. In the 1880s and ’90s, he was seen as Monet’s rival.)

And as for me, who feels it and can’t damned well do anything, isn’t that sickening.
If you get opportunities for lithographs of Delacroix, Rousseau, Diaz &c., ancient and modern artists, Galeries modernes &c., I can’t advise you too strongly to hold onto them, for you’ll see that they’ll become rare. Yet it was really the way to popularize beautiful things, those 1-franc sheets of those days, those etchings &c. back then. Very interesting the Rodin – Claude Monet brochure. How I’d have liked to see that. Pointless to say that nevertheless I don’t agree when he says that Meissonier is nothing and that T. Rousseau isn’t much.

(Note: Theo had sent Vincent the catalogue of the exhibition of works by Monet and Rodin held at Georges Petit’s. Vincent discusses the following passage in Octave Mirbeau’s article ‘Claude Monet’: ‘M. Meissonier, in his garden at Poissy, scattering flour in order to represent the snow in which the French soliders died during the retreat from Russia, and painting this flour with the conscientiousness we know, plies a trade of some sort, inferior to that of the cabinet-maker who fits a drawer precisely onto its runners ... Théodore Rousseau, to mention but him, does not stand up to even superficial study. The air that he paints is unbreathable, his sweet chestnuts and oaks may well have solid forks, his depictions of the ground a weighty and robust structure, but they are devoid of life; his foliage shines, but the air does not circulate through this crude, coarse masonry; no sap runs beneath this inert and desiccated vegetation, with its concistency of metal')

Meissoniers and Rousseaus are something highly interesting for those who like them and try to discover what the artist was feeling. It isn’t possible for everyone to be of that opinion, because one has to have seen and looked at them, and you don’t find that on every corner. Now a Meissonier, if you look at it for a year there’s still enough in it to look at the next year, never fear. Not to mention that he’s a man who had his days of happiness, of perfect finds. Certainly I know, Daumier, Millet, Delacroix have another way of drawing – but Meissonier’s execution, that something essentially French above all, although the old Dutchmen would find nothing to fault in it, and yet it’s something other than them and it’s modern; one has to be blind to believe that Meissonier isn’t an artist and – one of the first rank.

Have many things been done that give the note of the 19th century better than the portrait of Hetzel?

When Besnard did those two very beautiful panels, primitive man and modern man, which we saw at Petit’s, in making the modern man a reader he had the same idea.

And I’ll always regret that in our times people believe in the incompatibility of the generation of, say, 48 and the present one. I myself believe that the two hold their own all the same, though I can’t prove it.

Let’s take good Bodmer for example. Was he not able to study nature as a hunter, a savage, did he not love it and know it with experience of an entire long manly life – and do you think that the first Parisian to come along who goes to the suburbs knows as much or more about it because he’ll do a landscape with harsher tones? Not that it’s bad to use pure and clashing tones, not that from the point of view of colour I’m always an admirer of Bodmer, but I admire and I like the man who knew all the forest of Fontainebleau, from the insect to the wild boar and from the stag to the lark. From the tall oak and the lump of rock to the fern and the blade of grass.

Now a thing like that, not anyone who wants to can feel it or find it.
And Brion – oh a maker of Alsatian genre paintings people will tell me. That’s fine, he has indeed done the Engagement meal, the Protestant wedding &c.

which are indeed Alsatian. When no one is up to illustrating Les Misérables, he however does it in a manner unsurpassed up to now, and he isn’t mistaken in his types. Is it a small thing to know people so well, the humanity of that period, so well that one scarcely makes a mistake in expression and type?
Ah – the rest of us would have to get old working hard, and that’s why we then get despondent when things don’t go right.

I think that if you see the Bruyas museum in Montpellier one day, I think that then nothing will move you more than Bruyas himself, when one realizes from his purchases what he sought to be for artists. It’s a little disheartening when one sees from certain portraits of him how heartbroken and obviously frustrated his face is. If one doesn’t succeed in the south there still remains he who suffered all his life for that cause.

The only serene portraits are the Delacroix and the Ricard.
For example, by a great chance the one by Cabanel is accurate and most interesting as an observation, at least it gives an idea of the man.
I’m pleased that Jo’s mother has come to Paris. Next year it will perhaps be a little different and you’ll have a child, and that brings a fair few petty vexations of human life but as certain great miseries of spleen etc. will disappear for ever, that’s certainly how it should go.

I’ll write to you again soon, I’m not writing to you as I would have wished, I hope that all is well at your place and will continue to go well. Am very, very pleased that Rivet has rid you of the cough, which really worried me a bit too.
What I had in my throat is starting to disappear,

(Note: van Gogh had written in a previous letter that he had a sore throat. It had probably been caused by the filth he had eaten during his attack, as well as by the paint and turpentine with which he had attempted to poison himself. This behaviour was no doubt connected with the ‘ideas of suicide’ mentioned by Dr Peyron in the following message to Theo)

Théophile Peyron to Theo van Gogh. Saint-Rémy-de-Provence, on or about September 2, 1889.

Dear Sir
I add a line to your brother’s letter, to tell you that he is past his crisis, that he has fully regained his lucidity and that he has gone back to work at painting, as he was doing before. His ideas of suicide have disappeared; there remain only his bad dreams, which are tending to disappear, and are of lesser intensity.
His appetite has come back and he has resumed his normal life.
With my sincerest compliments,
Dr T. Peyron’

I’m still eating with some difficulty, but anyway it has got better.
Good handshake to you and to Jo.

Ever yours,
Vincent.


"There are only two mistakes one can make along the road to truth; not going all the way, and not starting."
―Buddha

"The human heart is as a frail craft on which we wish to reach the stars."
―Giotto di Bondone

"Yabba dabba doo!"
―Frederick "Fred" Flintstone

Later Preziosi, Aloha! me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare
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Registrato: 22/03/04 13:40
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MessaggioInviato: Sab Giu 24, 2017 07:43    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/ Alessandro Preziosi Rispondi citando




ALESSANDRO PREZIOSI nel ruolo di Vincent V. Gogh

NAPOLI TEATRO FESTIVAL ITALIA 27-28 giugno 2017

Palazzo Reale, cortile d'onore; Napoli, p.zza Plebiscito





«Reciterò in una scatola bianca, la cella del manicomio di Saint­ Rémy, che ospitò l’artista olandese. Ma, nonostante il candore, sarà inondata di colori, grazie alle parole del protagonista e alla sua capacità di stimolare la visionarietà del pubblico. E la nostra scommessa sarà nel restituirne il senso, attraverso i passaggi creativi di una mente capace di vedere e sentire ciò che gli altri non potevano né vedere né sentire. Sintomi della sua instabilità ma anche della sua forza d’artista» Alessandro Preziosi.









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PATRICIA 22



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

MessaggioInviato: Dom Giu 25, 2017 03:20    Oggetto: Rispondi citando


Alessandro, This is Theo's response to the last two letters of Vincent's that I posted. He speaks of numerous artists.

From: Theo van Gogh
To: Vincent van Gogh
Date: Paris, Thursday, September 5, 1889

[Letterhead: Boussod Paris]

My dear Vincent,
You gave me really great pleasure by writing to me, when one doesn’t know one thinks that things are even worse than they really are. It’s bad enough that you’ve had a crisis, but fortunately I see from your letter that now you’re better. The view from your window, of which you give a croquis, (Note: sketch Field with a ploughman)

must be really beautiful; in Paris one sometimes yearns to see the real countryside as you draw a fragment of it. One never sees peasants in the surroundings of Paris, and truly I no longer know when the wheat or potatoes are harvested. It’s true that in town one meets people who are certainly interesting too, but one sometimes has enough of it, and then when one can’t go away a painting of the real countryside does one good, and in those moments, certainly, a Bodmer will give as much or more pleasure as some painting that is technically clever but which doesn’t have that something true and healthy like a slice of black bread.

Rousseau also has this knowledgeable side. There are paintings of his at the Exhibition with areas of forest in which one can recognize all the species of tree with real heather and real ferns at their feet.

(Note: At the 1889 World Exhibition held in Paris, Théodore Rousseau exhibited 16 landscapes.)

Certainly, if these people aren’t artists, and one must be darned fussy not to take them as such, (Note: Theo is referring here to Mirbeau’s article ‘Claude Monet’ and his opinion of Meissonier and Rousseau.)

they’re in any case men, and of the sort one would like the world to be full of. There’s old père Pissarro, who has all the same done some really fine things lately, and it’s precisely there that one also finds these qualities of rusticity which show immediately that the man is more at his ease in a pair of clogs than in polished boots.

He recently lost his mother, who was very old but it hit him hard all the same;
(Note: Manzana, died on May 30, 1889 at the age of 94.)

he also had to have an operation on one eye, but I don’t think it has cured him. He still wears a sort of muzzle which really annoys him.

(Note: had been suffering since 1882 from a chronic inflammation of the tear gland – dacryocystitis – in his left eye. Around May 26, 1889, he had an eye operation to remedy this condition. Although this gave him some temporary relief, he was forced to wear an eye patch during variable weather conditions, to prevent the tear gland from becoming inflamed again.)

He has quite a lot of difficulty selling

(Note: Between June and September 1889, Theo sold five paintings by Pissarro. We do not know how much they fetched, but a letter of September 2 from Pissarro to Theo reveals that the asking price had been high: in Pissarro’s opinion, Theo could ask at least 800 francs per painting)

and has a lot of trouble, but always courageous. One of his sons is in London, it appears that there are schools there where one learns decoration and where the pupils are absolutely free to grasp the subject as they understand it.

(Note: Camille’s son, received lessons from Charles Robert Ashbee – a pupil of William Morris – at the Guild and School of Handicrafts.)

The first thing he was given to do was a frieze of brambles. It would be really good if the same thing was done here, leaving people to follow their own inclinations, they’ll find ornaments taken from nature, and many changes for interior decoration etc. might follow from it. It’s a pity that the Impressionists aren’t known in England, there must be people there who would like them.

This week Tersteeg sent me eight watercolours by J.H. Weissenbruch, who isn’t dead, by the way, they’re really really fine.

(Note: Theo writes that Weissenbruch is not dead, because van Gogh had assumed this in another letter. Tersteeg sent the following eight watercolours by Weissenbruch, which had been purchased on August 30, 1889 by Goupil’s Hague branch: Route & canal (Road and canal); Canal, effet de nuage (Canal, cloudy effect); Paysage & mare (Landscape and pond); Mare (Pond); Moulins, effet de soir (Windmills, evening effect); L’heure de traire (Milking time); A travers des champs (Across the fields) and Ferme, praire & eau (Farmhouse, meadow and water). The first two were sold the same month to a collector; the others remained in Paris or were sent to the branches in London and New York.)

Even if he isn’t attached to the detail of the vegetation, he knows the nature of the Dutch countryside as Daumier knew his lawyers, the stunted trees, the muddy roads through the meadows, and his skies, aren’t they really like one sees them in Holland! I’m very pleased that Tersteeg had the courage to buy some from him, he’s always the same, he begins by saying no and after a while he returns to it and often changes his mind. Here, where Jongkind was understood,

(Note: The Dutch painter Johan Barthold Jongkind, who worked for a long time in France, is viewed as one of the pioneers of French Impressionism. Particularly the first generation of Impressionists were influenced by his work.)

people may well understand him too. In any event, it can be tried. Gauguin has sent me a few new canvases.

He says that he hesitated to send them, as what he seeks isn’t in them as he wanted it. He says that he found it in other canvases that aren’t dry yet.

(Note: Gauguin wrote to Theo around September 1, 1889: ‘I have just sent a parcel of canvases to your address in boulevard Montmartre. As you will see, it’s something different, but I very much dread allowing them to be seen, given that they are only a state preparatory to what I am doing now. I have just done one, among others, that I was unable to send you, as it was not dry, which fully encompasses what I feel and am trying to do’
It is not known which works Gauguin sent, apart from La belle Angèle.)

Anyway, it’s a fact that his consignment didn’t appear as fine to me as the one from last year,but there’s one canvas that’s once again a really fine Gauguin. He calls it Beautiful Angèle. It’s a portrait arranged on the canvas like the big heads in Japanese prints, there’s the bust portrait with its frame, and then the background. It’s a Breton woman seated, hands folded, black dress, lilac apron and white collar, the frame is grey and the background a beautiful lilac blue with pink and red flowers. The expression of the head and the posture are very well found. The woman looks a little like a young cow, but there’s something so fresh and once again so countrified, that it’s most agreeable to see.

Now I must also tell you that the Independents’ exhibition is open and that in it there are your two paintings, ‘The irises’ and the Starry night.The latter is badly placed, for one can’t position oneself far enough away, as the room is very narrow, but the other one looks extremely well. They’ve placed it on the narrow side of the room and it strikes you from a long way off. It’s a fine study, full of air and life. There are some Lautrecs which look very well, among them a Ball at the Moulin de la Galette which is very good. One could send only two paintings each because the exhibition is being held in premises much smaller than where it was up to now. Seurat has some seasides, Signac two landscapes.

There’s also a painting by Hayet, that friend of Lucien Pissarro: place de la Concorde in the evening with carriages, the gaslights etc. It’s a little like that painting of the tumblers by Seurat, but more harmonious.

We’re very well, I’m hardly coughing any more and I feel sturdier. Jo is well too, one begins to see that she’s pregnant, but it doesn’t inconvenience her yet. One of her sisters is with us at the moment. Mother has had a letter from Cor, he’s already far away and was well. Write me a few words if you wish, thank you once again for your letter. Be of good heart, and good handshake, from Jo as well.

Ever yours,
Theo

"One of the most beautiful things to do is to paint darkness, which nevertheless has light in it.”
― Vincent van Gogh

"Opinions are made to be changed - or how is truth to be got at?"
―Lord Byron

"My purpose in life does not include a hankering to charm society."
―James Dean

Talk to ya later, Namaste, me.
_________________
Patricia.

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



Registrato: 08/10/06 18:42
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MessaggioInviato: Dom Giu 25, 2017 09:57    Oggetto: Caro.... Rispondi citando


Mio caro Alessandro!!!

Sono molto fiera da te,perché il tuo Vincent V. Gogh sará sicuramente unico.

Tu sei l´attore eccellente..................!

Io sono molto lontano,ma mio il cuore sará con te sempre e per sempre...

IN BOCCA AL LUPO.............

Helena.

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genziana



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MessaggioInviato: Dom Giu 25, 2017 14:06    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/2017 21:00 - VAN GOGH Rispondi citando



ha scritto:






Agenda _ La guida di ROBINSON agli appuntamenti

della settimana a cura di Alessandra Roncato - MAR





NAPOLI-TEATRO: La stanza di Van Gogh, 27/6


piazza del Plebiscito 1. Palazzo Reale - Fino al 28 giugno




Qual è il ruolo dell’arte nel labile confine tra follia e sanità? Vincent van Gogh. L’odore assordante del bianco, scritto da Stefano Massini e diretto da Alessandro Maggi, è un dialogo tra il pittore olandese e suo fratello Theo, ambientato in una stanza bianca del manicomio di Saint Paul de Manson.
Protagonista, Alessandro Preziosi che porta in scena la disperazione dell’artista e il suo tentativo di sfuggire all’immutabilità del tempo. Alle 21. napoliteatrofestival.it




LA REPUBBLICA ed. nazionale – Agenda pag. 30 - dom. 25/06/17






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PATRICIA 22



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MessaggioInviato: Lun Giu 26, 2017 02:53    Oggetto: Rispondi citando


Alessandro, here are 2 copied poems: H.W. Longfellow, ‘Afternoon in February’ and Dante Gabriel Rossetti, ‘Three kings’ daughters fair’, that Vincent van Gogh sent to his brother Theo.

From: Vincent van Gogh
To: Theo van Gogh
Date: London, probably between December 1874 and March 1876

(Note: The following: 'Afternoon in February’ taken from Longfellow’s volume The belfry of Bruges and other poems, van Gogh copied five of the six stanzas of the poem in the margin of the lithograph Going to church for the last time (The funeral in the cornfield) [1912] by J.J. van der Maaten, a print which he gave in 1877 or 1878 to his teacher M.B. Mendes da Costa.)

Afternoon in February

The day is ending
The night descending
The marsh is frozen
The river dead.

Through clouds like ashes
The red sun flashes
On village windows
That glimmer red.

And through the meadows
Like fearful shadows
Slowly passes
a funeral train.

Longfellow


(Note: The following is a rather free version of 'Three kings’ daughters fair', after ‘My father’s close (Old French)’ by Dante Gabriel Rossetti)

Three kings daughters fair
Fly away my heart away
Sweet apple blossoms bloom
So sweet so sweet.

Ah says the eldest one
Fly away my heart away.
The days began so sweet
So sweet.

Ah says the second one
Fly away my heart away
Far off I hear the drum
So sweet.

Ah says the youngest one
Fly away my heart away
’t Is my true love my own
So sweet.


The complete text reads:

Inside my father’s close,
(Fly away O my heart away!)
Sweet apple-blossom blows
So sweet.

Three kings’ daughters fair,
(Fly away O my heart away!)
They lie below it there
So sweet.

‘Ah!’ says the eldest one,
(Fly away O my heart away!)
‘I think the day’s begun
So sweet.’

‘Ah!’ says the second one,
(Fly away O my heart away!)
‘Far off I hear the drum
So sweet.’

‘Ah!’ says the youngest one,
(Fly away O my heart away!)
‘It’s my true love, my own,
So sweet.’

‘Oh! if he fight and win,’
(Fly away O my heart away!)
‘I keep my love for him,
So sweet:
Oh! let him lose or win,
He hath it still complete.’


"I thought I would be understood without words”
― Vincent van Gogh

"Truth is always strange, stranger than fiction."
―Lord Byron

"My job is to inform not to convince."
―Saint Bernadette Soubirous


Talk to ya later, Over and out, me.
_________________
Patricia.

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



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MessaggioInviato: Lun Giu 26, 2017 09:59    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/2017 21:00 - VAN GOGH Rispondi citando



ha scritto:




        Al NAPOLI TEATRO FESTIVAL ITALIA

        VAN GOGH : la vita, la follia, i dipinti



Domani e mercoledì al Cortile d’onore di Palazzo Reale torna in scena “L’odore assordante del bianco
Nei panni del grande pittore, rinchiuso nel manicomio di Saint Paul in Provenza, c’è Alessandro Preziosi





«Mandami, ti prego, trentatré tubetti di colore: bianco, rosso lacca, verde smeraldo, arancione, cobalto, malachite, cromo e blu oltremare », scriveva Van Gogh a suo fratello Theo mentre viveva recluso nelle due piccole stanze del manicomio di Saint Paul, in Provenza. Theo gli scriveva, pagava la retta di quella sua permanenza infelice, gli inviava i colori e le tele. Da quelle lettere tanti storici hanno potuto riscostruire i tempi ed i modi dell’invenzione visionaria di uno dei più grandi ed inquieti pittori dell’Ottocento. Di quei giorni, di quel vagare interiore, Stefano Massini scrisse nel 2004. “L’odore assordante del bianco”, uno dei suoi primi testi, vinse il Premio Pier Vittorio Tondelli e divenne spettacolo in una messa in scena formata dallo stesso autore.

In prima nazionale ritorna ora in scena per il NAPOLI TEATRO FESTIVAL ITALIA L’odore assordante del bianco”. Lo spettacolo andrà in scena domani e mercoledì (con inizio alle ore 21) al Cortile d’onore di Palazzo Reale per la sezione “Italiani”, protagonista Alessandro Preziosi, per la regia di Alessandro Maggi. Le scene ed i costumi dello spettacolo sono firmati da Marta Crisolini Malatesta, il disegno luci da Valerio Tiberi ed Andrea Burgaretta, le musiche da Giacomo Vezzani. Una coproduzione KHORA.teatro e Teatro Stabile D’Abruzzo in collaborazione con Festival di SPOLETO60.

Quasi due ore di spettacolo che «accompagna una non-logica dei sensi, attraverso uno sfiorarsi dei personaggi che fonde il desiderio alla necessità, sviluppando un alternarsi di simmetrie semantiche a dissonanze di cognizione, un conflitto mutabile, ma mai assente», spiega Alessandro Maggi presentando il suo lavoro modellato sul temperamento di Alessandro Preziosi e costruito in un’architettura che ha per struttura portante il dialogo tra il grande pittore internato nel manicomio di Saint Paul de Manson ed il suo amatissimo fratello Theo e va ben oltre il racconto di una vicenda umana ed artistica consumatasi nel manicomio reso poi celebre dagli stessi dipinti di Van Gogh, che vi giunse l’8 maggio 1889, dopo essersi amputato l’orecchio ad Arles, rimanendovi “ospitato” per cinquantatré settimane. In quei giorni Van Gogh dipinse ben 150 tele. Ne firmò solo sette tra cui “Gli Iris”, “La camera di Vincent ad Arles”, “L’autoritratto blu”, “L’Arlésienne”, “La notte stellata”, grandi capolavori. Nel dicembre di quell’anno tentò di avvelenarsi inghiottendo colori a tempera e bevendo il cherosene delle lampade.

«La messinscena di questo spettacolo ha l’obiettivo di riuscire a rappresentare sul palcoscenico il labile confine tra verità e finzione, tra follia e sanità, tra realtà e sogno, ponendo interrogativi sulla genesi e il ruolo dell’arte e sulla dimensione della libertà individuale», dice ancora Alessandro Maggi dando conto del suo lavoro di regista e precisando che il Van Gogh consegnato alla fantasia ed all’intuizione di Alessandro Preziosi è «assoggettato e fortuitamente piegato dalla sua stessa dinamica cerebrale, si lascia vivere già presente al suo disturbo ed è nella stanza di un manicomio che ci appare nella devastante neutralità di un vuoto». Rinchiuso in un universo in cui il bianco cancella ogni possibilità, tormentato dalla impossibilità di dare sfogo alla sua insopprimibile esigenza di colore, la personalità dell’artista si separa e si scontra con se stesso e con la sua disperata realtà. Vincent e Van Gogh, l’uomo e l’artista, umiliato da medici ed infermieri, patisce la prigionia «ed è dunque nel dato di fatto che si rivela e s’indaga la sua disperazione, il suo ragionato tentativo di sfuggire all’immutabilità del tempo, all’assenza di colore alla quale è costretto, a quell’irrimediabile strepito perenne di cui è vittima cosciente, all’interno come all’esterno del granitico “castello bianco” e soprattutto al costante dubbio sull’esatta collocazione e consistenza della realtà e la tangente che segue la messinscena resta dunque sospesa tra il senso del reale e il suo esatto opposto».


Giulio Baffi ©RIPRODUZIONE RISERVATA


LA REPUBBLICA ediz. locali - Napoli Cronaca - pag. 5, lunedì 26/07/17




Fino al 10 luglio si sviluppa il calendario della decima edizione della rassegna, preannunciata come un viaggio alla scoperta delle culture teatrali partenopee, dell’Italia e del mondo. Napoli e le altre città della Campania si sono trasformate in un palco a cielo aperto per ospitare eventi che attraversano anche la musica, il cinema, la letteratura, le mostre e la formazione. In totale, 155 appuntamenti distribuiti in 40 location: 57 gli spettacoli tra prosa e danza, 43 i concerti, 10 i laboratori sulle arti sceniche, tutti suddivisi in 11 sezioni. La kermesse è diretta da Ruggero Cappuccio e organizzata dalla Fondazione Campania dei Festival, organismo “in house” della Regione presieduto da Luigi Grispello. (a. v.)






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L'ultima modifica di genziana il Lun Giu 26, 2017 15:50, modificato 1 volta
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Beate-1969



Registrato: 16/04/12 20:20
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MessaggioInviato: Lun Giu 26, 2017 13:24    Oggetto: Rispondi citando


Il mio caro amico Alessandro!!! Laughing Laughing

In bocca al lupo! Laughing Laughing

Sono sicuro che il tuo Van Gogh é un successo grandissimo!!! Laughing

Sei un attore fantastico e indimenticabile!!! Laughing Laughing

Con il mio cuore e i miei pensieri, sono sempre con te, fortissimo!!! Laughing Laughing

TVTB!!! Sempre!! Laughing

Bacioni enorme, con grande affetto, da Germania! Laughing

Bea Laughing Laughing Laughing
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Mi dispiace per il mio cattivo italiano

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MessaggioInviato: Lun Giu 26, 2017 15:25    Oggetto: NAPOLI TEATRO FESTIVAL ITALIA 27-28/06/2017 21:00 - VAN GOGH Rispondi citando






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