Locke
dalla sceneggiatura di Steven Knight
traduzione e adattamento di Filippo Dini
uno spettacolo diretto e interpretato da Filippo Dini
e le voci al telefono sono di (in ordine di apparizione):
interpreti – personaggi
Sara Bertelà – Bethan
Eva Cambiale – Moglie di Gareth
Alberto Astorri – Donal
Emilia Piz – Lisa
Iacopo Ferro – Sean
Mattia Fabris – Gareth
Mariangela Granelli – Katrina
Valentina Cenni – Sorella Margareth
Carlo Orlando – Davids
Giampiero Rappa – Dottor Gullu
Fabrizio Coniglio – Cassidy
El documento proporciona respuestas a 10 preguntas sobre cómo una persona podría mejorar el calor y la comodidad en su dormitorio. Algunas sugerencias incluyen colocar alfombra en el piso, instalar una rejilla y cortina en la ventana para reducir la corriente de aire, y usar frazadas térmicas y ropa de dormir abrigada para mantener el calor corporal.
Two pen pals who had been writing to each other for 53 years finally met in person at age 65 after living just 260 miles apart their whole lives. They had lived parallel lives of getting married, having children and becoming grandmothers but had never met face to face until recently.
A benefits cheat who stole over £39,000 was spared jail by a judge due to the cost of imprisoning him, which would have been around the same amount as what he stole. He received a suspended sentence instead.
A former school friend of a triple amputee soldier is under investigation for allegedly stealing £85,000 from the soldier. The friend had been staying with the soldier and his family after helping him walk
Este documento es una invitación para un evento navideño titulado "Vive la Navidad en Sociedad" que se llevará a cabo el 17 de diciembre a las 10 am en el salón de clases. La invitación está dirigida a la Directora de la Carrera de Ciencias Sociales y está firmada por la directiva del primer semestre de la carrera de Ciencias Sociales de la UNACH.
Locke
dalla sceneggiatura di Steven Knight
traduzione e adattamento di Filippo Dini
uno spettacolo diretto e interpretato da Filippo Dini
e le voci al telefono sono di (in ordine di apparizione):
interpreti – personaggi
Sara Bertelà – Bethan
Eva Cambiale – Moglie di Gareth
Alberto Astorri – Donal
Emilia Piz – Lisa
Iacopo Ferro – Sean
Mattia Fabris – Gareth
Mariangela Granelli – Katrina
Valentina Cenni – Sorella Margareth
Carlo Orlando – Davids
Giampiero Rappa – Dottor Gullu
Fabrizio Coniglio – Cassidy
El documento proporciona respuestas a 10 preguntas sobre cómo una persona podría mejorar el calor y la comodidad en su dormitorio. Algunas sugerencias incluyen colocar alfombra en el piso, instalar una rejilla y cortina en la ventana para reducir la corriente de aire, y usar frazadas térmicas y ropa de dormir abrigada para mantener el calor corporal.
Two pen pals who had been writing to each other for 53 years finally met in person at age 65 after living just 260 miles apart their whole lives. They had lived parallel lives of getting married, having children and becoming grandmothers but had never met face to face until recently.
A benefits cheat who stole over £39,000 was spared jail by a judge due to the cost of imprisoning him, which would have been around the same amount as what he stole. He received a suspended sentence instead.
A former school friend of a triple amputee soldier is under investigation for allegedly stealing £85,000 from the soldier. The friend had been staying with the soldier and his family after helping him walk
Este documento es una invitación para un evento navideño titulado "Vive la Navidad en Sociedad" que se llevará a cabo el 17 de diciembre a las 10 am en el salón de clases. La invitación está dirigida a la Directora de la Carrera de Ciencias Sociales y está firmada por la directiva del primer semestre de la carrera de Ciencias Sociales de la UNACH.
Cincinnati JLL Office Employment Update February 2015cybrooks
The Cincinnati metro area enjoyed strong job growth over the past year, adding 21,700 total jobs. Unemployment fell to 4.1%. Office employment specifically grew by 8,800 jobs, the highest annual growth since 2013, led by professional and business services adding 7,700 jobs. Cincinnati's professional and business services sector makes up the largest portion of the city's economy at 17% of total employment.
Para entrar en la BIOS de un ordenador, hay que apagarlo y encenderlo de nuevo mientras se pulsa la tecla F2; esto hará que aparezca la pantalla principal de configuración del BIOS.
Tryouts for the Team Memphis Elite Celtic Division for 5th-8th graders will be held on February 14th at St Francis Catholic School in Cordova, TN from 9am-11am. Registration is from 8am-9am. Tryouts for the Elite Division for 9th-11th graders have been moved to March 14th at St Benedict At Auburndale in Cordova, TN, with registration from 8am-9am and tryouts from 9am-11am. Coach Don Williams can be contacted by email or phone with any questions.
El documento presenta datos sobre las visitas a los buscadores Google, Yahoo, MS Live, AOL y Altavista entre julio y diciembre. Se pide crear un gráfico mostrando la variación de las visitas a Google y Yahoo de julio a octubre y agregar un título, etiquetas, rótulos y tabla.
1) Melanie Sykes says she will not find love on I'm A Celebrity as she does not want to embarrass her children by starting a relationship in front of millions of viewers, including her sons.
2) While Sykes is comfortable posing in underwear ads and calendars where only a few people are present, she does not want to walk around the jungle camp in a bikini where millions will see her.
3) Sykes is looking forward to the challenge of being on I'm A Celebrity but says she will miss her sons, especially her son with autism, though the long separation will be difficult for him.
Victor Navarro has been passionate about art since age four. After moving to the US from Mexico in 1998, he found further inspiration. While still in high school, he traveled to France and met a renowned art critic who featured his work in an elite international dictionary of artists, a rare achievement for someone so young. He went on to receive additional honors from prestigious French art organizations, including being one of the youngest artists ever invited to exhibit at the Louvre museum. Navarro has earned recognition from the art world in both the US and France.
1. In apertura: Persepolis di Marjane Satrapi
In questa pagina in alto da sinistra: Kill Bill 1 di Quentin Tarantino e Arancia
Meccanica di Stanley Kubrick
Sotto: Fargo dei fratelli Cohen
Focusoonn
054 055 | FOCUS ON WHITE | 06.2008
Words Marina Nasi
In Kubrick evoca violenza, nei fratelli Cohen suspence, in Hitchcock è sinonimo
di sospetto, in Marjane Satrapi simboleggia la purezza dell’infanzia. Viaggio
nell’universo del bianco al cinema
‘Korova milk bar’ a restare più impresso, l’affascinante antro sotterraneo
dove Alex e i suoi si danno appuntamento per meditare sulle prossime
spedizioni o per rinfrancarsi con un bicchiere di latte. Celeberrimo, a
questo proposito, quello che Cary Grant portava a Joan Fontaine in Il
sospetto è una delle più citate scene di Hitchcock, quella in cui il percorso
lungo le scale, dalla cucina alla camera da letto, di un bicchiere di latte,
portato a una moglie indifesa dal marito che pare mediti di avvelenarla,
diventa il simbolo della lotta interiore fra l’amore fiducioso e il legittimo
timore. È un bianco beffardo che riluce di falsità quello della montagna di
cocaina in cui sembra volersi trincerare Al Pacino nelle scene finali di
Scarface, quando il florido commercio di droga ha già fruttato al gangster
di misere origini, un impero economico e il potere ma, di fatto, l’ha anche
isolato all’interno della sua bianchissima villa-maniero di Miami. Era il
bianco del futuro swinging, sognato dai designer degli anni ’60 e dei primi
’70, quello di scene e costumi di Il dormiglione, in cui un giovane e ancora
poco serioso Woody Allen si destava in un mondo di automi e macchine
tondeggianti, alienato in un candore che, allora, voleva essere high tech. E
che non è così lontano da quello di Guida galattica per autostoppisti, i cui
paesaggi lunari e i cui personaggi da macchietta fantascientifica – il tondo
robot intelligente e alienato, la navicella spaziale guidata da un baldanzoso
tamarro – richiedevano una tinta lattea come da copione. Una buona dose
di bianco, infine, si accompagna anche ai ricordi di vita di Marjanne Satrapi
nel film tratto dalla sua celeberrima graphic novel Persepolis: memorie
d’infanzia e storia contemporanea
della Persia si specchiano in un
disegno in bianco e nero semplice
e generoso, dove al nero delle
zitelle moraliste pro-Komeini e dei
fanatici religiosi si oppone il bianco
della protagonista bambina, dei
capelli della nonna e soprattutto
dei gelsomini che questa usava
mettere dentro i suoi – bianchi
– vestiti per profumare sempre
di buono.
Atouchofwhite
La simbologia del bianco è semplice e richiama idee immediate di
candore, purezza, castità (o anche, talvolta, freddezza e smarrimento). Il
cinema non vi si sottrae: la neve e le spose da un lato, l’asettico di futuri
immaginati e di fantascienza dall’altro, sono le immagini che per prime
vengono alla mente quando ci si chiede cosa sia il bianco nel grande
schermo. L’abito sfoggiato con poca convinzione dalla protagonista di La
sposa turca, quello reiterato dalla protagonista di 27 volte in bianco, ma
anche il combattimento di Uma Thurman (sposa riciclatasi in Black
Mamba) e Lucy Liu nel primo episodio di Kill Bill, con le due guerriere sexy
immerse nella neve giapponese che, inutile dirlo, presto sarà rigata di
sangue. Sangue sulla neve è un’altra ricorrenza inevitabile: c’è quello
inseguito, temuto e immaginato di Il senso di Smilla per la neve, tratto
dall’omonimo romanzo di Peter Hoeg. Quello che assorbe e sembra
attutire il dolore di un’intera comunità di montagna all’indomani di una
tremenda sciagura, la caduta in un burrone dello scuolabus che ospitava
tutti i bambini del villaggio, in Il dolce domani, film in cui di Atom Egoyan
fonde silenzio e partecipazione, anche questo tratto da un romanzo (di
Russel Banks, ed. Einaudi). C’è anche la neve in cui annaspa la cupa
detective, interpretata da Francios McDowell, di Fargo, tra i primi film a
dare vera fama ai fratelli Joel ed Ethan Cohen: qui lo spazio e il tempo si
dissolvono in un bianco interminabile che sembra, però, togliere poesia alle
azioni, piuttosto che ammantarvele. Poi c’è l’uso iconoclasta, violento del
bianco, quello di cui faceva largo uso Kubrick nel suo Arancia meccanica:
se le tenute dei ‘drughi’ – candide tute e perfida bombetta in tinta –
ispirano ancora oggi gli incontri e i travestimenti dei cosplay, è forse il
In Kubrick’s films it evokes violence, with the Coen brothers suspense;
in Hitchcock it is synonymous of suspicion, while for Marjanne Satrapi
it symbolizes the purity of childhood. Here is a journey through the use
of the color white in film
The symbolism of white is simple and recalls immediate ideas of candor,
purity, and chastity (or even at times coldness and loss). Cinema does not
shirk from it with snow and brides on the one hand, the sterility of imagined
futures and science fiction on the other, these are images which first come to
mind when you ask what white represents on the big screen. The dress
paraded unconvincingly by the lead character of “Head-On”, the recurring
dress of the protagonist of “27 Dresses”, and also the battle between Uma
Thurman (a bride recycled in “Black Mamba”) and Lucy Liu in the first
episode of “Kill Bill”, with the two sexy warriors immersed in Japanese snow
which, needless to say, soon gets streaked with blood. Blood on snow is
another unavoidable repetition: there is the chased, feared and imagined
image of “Smilla’s Sense of Snow”, adapted from the novel by Peter Hoeg.
Then there is the one which absorbs and seems to alleviate the pain of an
entire mountain community following a terrible disaster when the school bus
carrying all the village’s children fell into a ravine, in “The Sweet Hereafter”, a
film also taken from a novel (by Russel Banks, published by Bt Bound) where
Atom Egoyan blends silence and participation. There is also the snow where
the grim detective played by Francis McDowell flounders in “Fargo”, one of
the first films which brought real fame to the brothers Joel and Ethan Cohen;
here space and time dissolve into an unending white which, however, seems
to render poetic the actions rather than shroud them. Then there is the
iconoclastic, violent use of white, which Kubrick made ample use of in
his “A Clockwork Orange”. Though the clothes of the “drughi” –
immaculate outfits and mischievous colored bowler hats – still inspire
cosplay reunions and dressing up, it is perhaps the “Korova milk bar”
which has most remained in our minds, the fascinating underground
hovel where Alex and his mates meet to think up their next adventures
and to refresh themselves with a glass of milk. Also world-famous is one
of Hitchcock’s most cited scenes from “Suspicion” with Cary Grant’s
long walk up the stairs from the kitchen to the bedroom bringing a glass
of milk to his defenseless wife Joan Fontaine, seemingly intent on
poisoning her, becoming a symbol of the inner struggle between faithful
love and legitimate fear. It is a mocking white which shines with falsity
from the mountain of cocaine in which Al Pacino seems to want to take
refuge in the final scene of “Scarface”, when the thriving drug trade has
borne the gangster of low origins a financial empire and power but also
isolated him within his super white villa in Miami. Then there was the
white of the swinging future dreamt by the designers of the sixties and
early seventies in the scenes and costumes of “Sleeper”, where a young
and flippant Woody Allen wakes up in a world of robots and rounded
machines, alienated in a whiteness which at that time was high tech.
And it was not very far from “The Hitchhiker’s Guide to the Galaxy”,
whose lunar landscapes and characters of science fiction parodies –
the intelligent and alienated round robot, the spaceship driven by a
brash yokel – demanded milk-white tones as you would expect. Lastly,
a good dose of white also accompanies the memories of Marianne
Satrapi in the film of her famous graphic novel “Persepolis”. Her
childhood memories and the contemporary history of Persia are
reflected in the simple and lavish black and white drawings, where the
black of the moralistic pro-Khomeini spinsters and religious fanatics
contrast the white of the young protagonist, the hair of the grandmother
and, above all, the jasmine which she used to put in her (white) clothes
to always smell good.