IMAGE RIFLE WAS CRYING The Journey (wanted to use this word for some time, I apologize if it is correct), the work IMAGE WAS CRYING RIFLE, currently in the theater lineup Del Pueblo (Sunday, 20 hours), is founded on smaller milestones, rather than (at small), which I shall elaborate.
First, this one-man, played masterfully by Gabriel Fernandez, and made a season last year in La Carbonera with very good impact with audiences and critics. http://www.lanacion.com.ar/nota.asp?nota_id=1210099 Earlier in 2007, the text of Julio Molina was part of Argentina The Butcher (editorial Inteatro), a compilation arising from team organized by Luis Cano to produce drama from facts or figures in Argentina's history. http://www.alternativateatral.com/nota214-la-carniceria-argentina But surely long before, in the head Molina had been planned since the idea of \u200b\u200bcrossing a Roberto Arlt with Severino Di Giovanni. And for that to happen, may have been decisive (or not) Osvaldo Bayer research on the life of the famous anarchist. http://www.scribd.com/doc/25006345/Osvaldo-Bayer-Severino-Di-Giovanni-El-Idealista-de-La-Violencia
And of course none of this would have happened (Arlt-Bayer-Molina), where Di Giovanni remained in the mold after the grueling punishment he received from the Italian fascist Benito Mussolini. But his conviction was stronger than any border (forbidden word for anarchist law, well, not just an anarchist law no), and address the situation of exploitation of workers in Buenos Aires, and especially those coming from beyond as he resumed his struggle against the state, earning the title role in a military trial outrageous, because the defendant was a civilian (carrying weapons, but civil at last after all), followed by summarily executing (arrested on January 29, 1931, was shot three days later, so express and tortuous as has not happened since the time of Jesus, for many the first revolutionary of history, so they say), which emerged in the social event of that year and that its witnesses had the very same Roberto Arlt, who wrote then a review for the newspaper El Mundo that would be (is) the most impressive dessert your etching now turned-prequel, prequel or prequel, whatever, of the work of Julio Molina.
next day to see mourn the gun, and had some free time, I went to the Library of Congress in search of all the newspaper accounts of the act in question. The Arlt and had managed googling. A specific text, compelling, painful (Apply the same adjectives to the version of Molina) who made me want to compare what was written by his colleagues, who dedicated Arlt the following paragraph: "I see four guys pale as dead and disfigured that bite their lips are: Gauna, La Razon, Alvarez, Last Minute, Enrique González Tuñón, Critic and Gomez of The World. " Yes, I know, I could have made the most interesting chapter in Bayer where he discusses the media coverage of the shooting, but there the four journalists named Enrique González Tuñón only appears with a chronic very picky and quite lenient with the defendant if one considers that the journal Critical often treated quite badly Di Giovanni. On the other hand, I felt the need to see everything with my own eyes, moved by a desire almost fetishistic experimenting for a while I usually feel a historian to do the job, mating day and night (yuck!) with yellow paper and black and white photos to be born (and gaona) still preserve some detail the background of the scientific community (for natural childbirth, cesarean section or forceps).
The Library building, strictly compartmentalized, has more signs that a Brechtian set. At the reception, they took my photo and my personal data stored on a PC (Communist Party "?). Then, the manager politely greeted the microfilm room and immediately, I began to read my list of needs. Below of that, also in blue ballpoint pen, had scored at lunch: "Are these three journalists have seen the same thing and González Tuñón Arlt, who, by virtue of his writers were more likely to exaggerate and embellish the facts? Severino Di Giovanni "will be faced death in the eye (ie, it is true that he refused to wear a bandage as claimed by Arlt and González Tuñón both)? "Di Giovanni will be shown at all times serene, as" a man who tends the fire while heating water for drinking mate? Could she have been proud of taking their final days? Will shouted "Long live anarchy!" (In cocoliche?), Seconds before receiving the shooting? Arlt "sympathetic to anarchism (you know that this González Tuñón yes)? "Di Giovanni was a hero (my defaulting party affirms, denies me moderate, especially considering the innocents who died in their attacks, and ultimately, growing old and bourgeois, I'm leaning so assiduously moderate)?
"From the year '31, is just to see the newspaper The Nation," said the employee. I was about to ask the same, but the frustration got the better of the tenacity and decided to go with his hands vaías {(after the way home, I regretted had not reviewed the copy of The Nation and Arlt figured I did not mention in his story to journalist that environment because, really, was not at his side, with Gauna, Alvarez Gómez and González Tuñón - looks like the front a football team of yesteryear - but actively participating in the firing squad, according to Arlt, ran a few steps back by "fear of the bullets bounce" (this detail does not appear in the chronicle of Gonzalez Tuñón) and thanks this vantage point, his chronicle, called away from dying I've seen, I ended up graduating killed ) clarified that the latter parentheses should be read always and in all cases being very present to the past: at the time, the editorial of The Nation was not entirely related to the first de facto Argentine government, but supported the coup to Yrigoyen (before the fateful 6, September, the newspaper reported the misuse of public funds by officials of the "Hairy", giving a final push to the government) understood that it was an extreme measure but necessary to regain the path of democracy - again, go and go But throughout the twentieth century the newspaper again contradictory argument hold more than one occasion, in terms of Di Giovanni, was not a character which will appeal to readers of The Nation, thus the views expressed in its pages were not exactly in favor of the struggle and the methods of the former, but recognize that other newspapers, I insist on Criticism, were much more ruthless with Italian}.
Resigned, I went through Callao, the same avenue where he tried to escape (and failed) Di Giovanni in a hail of police bullets that killed a child. Fittingly, the trial also blamed the anarchist of this tragic event trigger-happy, full and was ju (z) and liver. As I walked towards Corrientes, as I wrote down in my notebook: "not being installed audiovisual memory of the figure of Arlt, economically the actor Gabriel Fernandez made his composition without resorting to imitation and parody, adaptation de Molina is faithful to the style of etching, by passages almost telegraphic, but releasing the poetic force contained between the lines, the costumes and scenery properly recreate the thirties. " All pros, finally, I decide to add to this review without developing too. Because, really, in my opinion, the highlight of The image was crying rifle (and it would be good if all works out, huh? - Oops, the controversy was put together!) Is infinity bridges that tends to history, politics, literature and journalism in our country.
Ultimately, when you work suggested readings, and you sit in front of the computer to find information, and even gives you impetus to go and consult in a library, there is no doubt that it's worth watching.
IMAGE RIFLE WAS CRYING
Sunday 20 hours Teatro Del Pueblo
Roque Sáenz Peña 943
Admission: 40 pesos (Est and jub. 25 pesos)
Reservations: 4326-3606 / 4394-2639
www.teatrodelpueblo.org.ar
Performer: Gabriel Fernandez
Costume Making scenic Mercedes Arturo
: Edward Ramoni
Escenomontaje: Mario Alfano
Photo: Tatiana Sandoval
Graphic Design: Santiago Franzani
Press: Claudia Mac Auliffe
Sound Area: Cecilia López and Manuel Sahores
Area view: Alejandro Le Roux, Ana Laura Urso and Julio Molina
Lighting: Alejandro Le Roux
Assistant Director: Ana Laura Urso
Dramaturgy and staging: Julio Molina
Then you can read the chronicle of Roberto Arlt:
I've seen die ...
The 5 least 3 minutes. Afanasos faces behind bars. Five minus 2. Grinding the bolt and the iron door open. Men who rush as if running to take the tram. Shadows that are large jumps in the corridors lit. Rifle noise. More shadows than gallop.
We're in search of Severino Di Giovanni to watch him die.
The litany. Space
blue sky. Rustic cobblestone. Green meadow. A side chair as in the meadow. Troop. Mausers. Lamps whose light punishes the dark. A rectangle. It looks like a ring. The ring of death. An officer.
".. according to the provisions for violation of camp ... ... law number ..."
Officer under the tiled display. Opposite him, a head. A face that seems smeared in red oil. Terrible eyes fixed, coated with a fever. Black circle of heads. Severino Di Giovanni is
. Prominent jaw. Front fled to temples like the Panthers. Extremely thin, red lips. Red forehead. Red cheeks. Eyes blackened by the effect of light. Naked thick neck. Chest by the lapels edged blue blouse. The sores appear polished lips. Are opened slowly and tongue, red as a pepper, licks her lips, wet. That body burns in temperature. Relishes death.
".. item number ... of martial law superior court ... ... seen ... decant the superior court ... war, soldiers and noncommissioned officers ... "Di Giovanni
look at the officer's face. Casts on that face tremendous force of his vision and the will that keeps him calm.
" .. we're trying ... warning to Lt. ... Pattern Rizzo, vocal ... lieutenant colonels ... side ... give yourself a copy ... Fixed issue ... "Di Giovanni
licks his lips. Listen carefully, it seems to look into the clauses of a contract whose provisions are very important. Move the head nod, compared to ownership of the terms is reads the statement.
".. Take seen the Minister of War ... be shot ... signed, the secretary ... "
Talking Reo.
"I wish to apologize to the lieutenant defender ...
A voice: "You can not talk. Take him.
The convicted walks like a duck. Feet shackled to an iron bar to tie the hands wives. Go through the rustic cobblestone strip. Some viewers laugh. "Zoncera? "Nervous? Who knows!.
The defendant sits quietly on the bench. Supports the back and chest out. See above. Then he bends down and apparently abandoned his hands between his knees open, a man who tends the fire while heating water for drinking mate. Stay
and four seconds. An NCO is crossed by a rope to the chest, so that when the bullets do not kill him roll ground. Di Giovanni turns his head from right to left and left to tie. He has been the target
rifle platoon. The officer wants to sell the condemned. He yells
-Venda no. Look
stiffly to the executors. Will emanate. If you have or not is a secret. But it remains so stiff and proud.
a difficulty arises. Fear makes bullets bounce ordering the troops, perpendicular to the firing rifleman, retiring a few steps. Giovanni Di
remains straight, leaning back against the backrest. Above his head, a strip of gray wall, legs moving soldiers. Take chest. Is it to get the bullets?
-Platoon, firm. Aim. The voice of the accused
explodes metal Vibrating
- Viva Anarchy!
- Fire! Glow
sudden tumult. A stout body has become a folded sheet of paper. Bullets break the rope. The head and body falls on the grass is green with hands touching the knees.
Fireburst the coup de grace.
Dead.
The bullets have written the last word in the body of the inmate. The face remains serene. Pale. Half-closed eyes. A blacksmith at the feet of the corpse. Shackle rivets removed and the iron bar. A doctor observes. Certifies that the prisoner is dead. A man, who came in tails and dancing shoes, he retains the galley at the crown. It seems to leave the cabaret. Another says a bad word. I see four guys
pale as dead and disfigured that bite their lips are: Gauna, La Razon, breaking Álvarez, Enrique González Tuñón, Critic and Gomez, El Mundo. I'm as drunk. I think those who laughed. I think the entrance of the prison should be a sign that read: "It is forbidden
laugh. You may not attend
-dance shoes.
the anarchists STILL THERE?
Sunday 20 hours Teatro Del Pueblo
Roque Sáenz Peña 943
Admission: 40 pesos (Est and jub. 25 pesos)
Reservations: 4326-3606 / 4394-2639
www.teatrodelpueblo.org.ar
Performer: Gabriel Fernandez
Costume Making scenic Mercedes Arturo
: Edward Ramoni
Escenomontaje: Mario Alfano
Photo: Tatiana Sandoval
Graphic Design: Santiago Franzani
Press: Claudia Mac Auliffe
Sound Area: Cecilia López and Manuel Sahores
Area view: Alejandro Le Roux, Ana Laura Urso and Julio Molina
Lighting: Alejandro Le Roux
Assistant Director: Ana Laura Urso
Dramaturgy and staging: Julio Molina
Then you can read the chronicle of Roberto Arlt:
I've seen die ...
The 5 least 3 minutes. Afanasos faces behind bars. Five minus 2. Grinding the bolt and the iron door open. Men who rush as if running to take the tram. Shadows that are large jumps in the corridors lit. Rifle noise. More shadows than gallop.
We're in search of Severino Di Giovanni to watch him die.
The litany. Space
blue sky. Rustic cobblestone. Green meadow. A side chair as in the meadow. Troop. Mausers. Lamps whose light punishes the dark. A rectangle. It looks like a ring. The ring of death. An officer.
".. according to the provisions for violation of camp ... ... law number ..."
Officer under the tiled display. Opposite him, a head. A face that seems smeared in red oil. Terrible eyes fixed, coated with a fever. Black circle of heads. Severino Di Giovanni is
. Prominent jaw. Front fled to temples like the Panthers. Extremely thin, red lips. Red forehead. Red cheeks. Eyes blackened by the effect of light. Naked thick neck. Chest by the lapels edged blue blouse. The sores appear polished lips. Are opened slowly and tongue, red as a pepper, licks her lips, wet. That body burns in temperature. Relishes death.
".. item number ... of martial law superior court ... ... seen ... decant the superior court ... war, soldiers and noncommissioned officers ... "Di Giovanni
look at the officer's face. Casts on that face tremendous force of his vision and the will that keeps him calm.
" .. we're trying ... warning to Lt. ... Pattern Rizzo, vocal ... lieutenant colonels ... side ... give yourself a copy ... Fixed issue ... "Di Giovanni
licks his lips. Listen carefully, it seems to look into the clauses of a contract whose provisions are very important. Move the head nod, compared to ownership of the terms is reads the statement.
".. Take seen the Minister of War ... be shot ... signed, the secretary ... "
Talking Reo.
"I wish to apologize to the lieutenant defender ...
A voice: "You can not talk. Take him.
The convicted walks like a duck. Feet shackled to an iron bar to tie the hands wives. Go through the rustic cobblestone strip. Some viewers laugh. "Zoncera? "Nervous? Who knows!.
The defendant sits quietly on the bench. Supports the back and chest out. See above. Then he bends down and apparently abandoned his hands between his knees open, a man who tends the fire while heating water for drinking mate. Stay
and four seconds. An NCO is crossed by a rope to the chest, so that when the bullets do not kill him roll ground. Di Giovanni turns his head from right to left and left to tie. He has been the target
rifle platoon. The officer wants to sell the condemned. He yells
-Venda no. Look
stiffly to the executors. Will emanate. If you have or not is a secret. But it remains so stiff and proud.
a difficulty arises. Fear makes bullets bounce ordering the troops, perpendicular to the firing rifleman, retiring a few steps. Giovanni Di
remains straight, leaning back against the backrest. Above his head, a strip of gray wall, legs moving soldiers. Take chest. Is it to get the bullets?
-Platoon, firm. Aim. The voice of the accused
explodes metal Vibrating
- Viva Anarchy!
- Fire! Glow
sudden tumult. A stout body has become a folded sheet of paper. Bullets break the rope. The head and body falls on the grass is green with hands touching the knees.
Fireburst the coup de grace.
Dead.
The bullets have written the last word in the body of the inmate. The face remains serene. Pale. Half-closed eyes. A blacksmith at the feet of the corpse. Shackle rivets removed and the iron bar. A doctor observes. Certifies that the prisoner is dead. A man, who came in tails and dancing shoes, he retains the galley at the crown. It seems to leave the cabaret. Another says a bad word. I see four guys
pale as dead and disfigured that bite their lips are: Gauna, La Razon, breaking Álvarez, Enrique González Tuñón, Critic and Gomez, El Mundo. I'm as drunk. I think those who laughed. I think the entrance of the prison should be a sign that read: "It is forbidden
laugh. You may not attend
-dance shoes.
the anarchists STILL THERE?
Yes, there are few and are on the rise. In these pages you can find much information about the anarchist movement:
One of the biggest concerns is to achieve anarchist militants away from violent stereotype that circulates "intentionally" on anarchism, which Severino Di Giovanni would be the prototypical example. In an article published on the web The refractory can be read the following reflection: "Many people seem to think that anarchists are adept to violence, chaos and destruction, who oppose all forms of order and organization , which are nihilistic fanatics who want to end it all. Nothing is further from the truth. Anarchists are people who simply think human beings can behave in a reasonable manner without be compulsory. It is actually a very simple concept. But is the notion that the rich and powerful have always considered more dangerous. " To read the full article, click REQUEST: http://elrefractario.blogspot.com/2008/03/eres-anarquista.html
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