Is Valium Safe While Exercising

The Gold Stock

In the final evening of the Festival of the NATIONAL THEATRE SCHOOL ELIZABETH Turroni at the Bonci Theatre in Cesena, 30 October 2010 was held the round table: SCHOOL OF THEATRE PROJECTS IN COMPARISON, exchange of knowledge between schools participating in the Festival. The Lyceum "Tedone" attended by invitation to the event and presented the format of the proposed teaching theater workshops "We built the theater," GOLD national experience added to the archive of the Ministry among the hundred best teaching practices.

The reference document is available in the public area of \u200b\u200bthe menu SCUOLANET High School. It may be helpful to those who wish to implement the project and perhaps suggestions to improve proposal . Address: https: / / www.securec-argo.com/main/areapubblica.php?req=file&id=Scientifico+ Tedone + build + the + our + teatro_1288802972.doc & check = 66f419d8fa0c5eb98523aa81bbe1b04b813de9b0

Difference Between Wakeboards

Tedone: more prizes and certificates to Rome and Cesena. Plate of the President of the Republic of excellence

Pupils of Tedone onstage at the Teatro Argentina in Rome. National first prize and a plaque by the President of the Republic MAZZELLA AWARD: THE WINNER Tedone BETWEEN CULTURE AND THEATRE "Rome did not see a triumphal march as the time of Caesar" Imagine a column of about a hundred people moving from theater to Argentina on the Altar of the Fatherland, in unison, singing songs that communicate with each passing happiness, its winner.

Seriously, this happened on the evening of Oct. 25 in Rome, after the award of the Prize for drama Michele Mazzella young ", now in its eighth edition which was attended by one hundred sixty-two competitors from all over Italy and who has seen our high school player with the words "Equal is different ..." created by the 4F and 5F. The jury, in addition to our high school has awarded a plaque by the President of the Republic Giorgio Napolitano. If also we had not won any prize, the experience at the Argentina Theatre would still be unique, for the meaning of words spoken or even just for the atmosphere than a manifestation of culture can create. Imagine sitting in a traditional theater, with warm lights, red seats, the boxes that surround the audience and seem to encourage everyone to look towards the stage. Imagine you are sitting in their stalls, in the second row, and that you are sitting in front of professional actors, but not all actors: theater actors. Their every gesture, every word in itself is a play that is fascinating (perhaps there is also the comedian takes the stage when he says: "How actor I laugh. " That alone is enough to create the right atmosphere). Imagine then that the run of the evening is very quiet and friendly and that the first words of introduction, spoken by the master Mazzella serve to defend us, who are the "best school" and to emphasize the importance of speaking out against violence, and this at a time when the former appears to be dimmer and the second strongest. A recurring theme throughout the evening, that of culture, almost a thread that linked the play to another, and, gradually, also linked us who were there and listened. Because when you pay attention to texts on different themes, written by adults or children we could meet every day and renewed by the skill of an actor, you look around and wonder what they have to say the people around us, what thoughts and opinions would be expressed only if asked. Many issues and arguments accumulate on the shelves of memory and are taken together in a whirlwind of ideas is the magic of culture. Sharing ideas: to the theater this Argentina that night, and what is culture if not the attempt to listen and understand what the other has to say? This was the theme of our theatrical text, "The same is different ...", written by the boys of PON "From project to Text" under the guidance of Professor Teresa Valente. In the words of the educator Don Milani, one of the inspirational figures of the text, the individual reaches its empowerment through culture and thus can only be called free and able to understand his peers. There is no doubt that we understand one another's something we who despite coming from different regions of Italy, when we clapped in unison, with different intensities, inspired by a word, an idea or a representation . Nadia Saltarelli 4F Article also available at: http://www.ruvolive.it/news/news.aspx?idnews=5150

The videos are attached to the interpretation Pupil of fragments of work "is the same ... different!" onstage at the Teatro Argentina, and the awards ceremony of the group with comments.

How Do You Get The Pool Blueprint In Mysims

Reporting

On October 12, 2010 the Director General of the Regional School for Puglia sent the headmaster of the "Tedone" and to all schools from Puglia reporting of pupils in the School of Excellence "Tedone" for sports and theater.

Better Program Than Creative Centrale

NOTES TO THE REVOLUTION: AN OVERVIEW OF THE SHOW

NOTES TO THE REVOLUTION

e Beppe Casales

with a co-production of the Company and Via Radio Sherwood

"Notes for the revolution" wants to be the 'meeting of narrative theater and classic American stand-up comedy. The need is to tell the most perverse aspects of our society: the consumer end in itself, replacing the personal relationships, fear of contact, fear as a common denominator of our society. The shape is that no filters in front of the actor public. No scenery, no tricks. Only the power of words that describe this in the most sincere possible.

Gay Cruising Truck Stops

NOTES FOR THE REVOLUTION: NOTES ON THE VIDEO REVOLUTION

Restaurant Where The Servers Are Purposely Rude

have already seen HERE


Sherwood Festival - Padova
Area Arcadia - Schio (Vicenza)
suspended loads - Out of Place
Padova - Mestre (Venezia)
Days Resistant - Montebelluna (Treviso)
House of Culture - Metropolis
Cafe Trieste - Verona
salt warehouses - Venice Coffee
literary - Genoa Social
Shipyard Camilo Cienfuegos - Campi Bisenzio (Firenze)
AutAut 357 - Genoa
Satyricon - Frosinone
Embriaci Cellars - Genoa
CS Pedro - Padova
aqueduct Festival - University of Genoa
imperfect - Marghera (Venezia)
MateriaOff - Parma
Arci Camalli - House Imperia
Cantoniera Self-Governing - Parma
Theatre Garber - Pergine (Trento)
Locos (Rovereto - Trento)
Theatralia (Livorno)
Insurreale (Dolceacqua - Imperia)
Arci Tambourine (Seregno - Milan )
Arci Groove (Rozzano - Milano)
Teatro Nucleo (Ferrara)
Circle Pantagruel (Casale Monferrato)
Cellar Theatre (Savona) Galetèr Circle (Montichiari - Brescia)
Piccolo Teatro Caligula (Aversa - Caserta)
Nonsolocaffè (Torre Annunziata - Napoli)
CS Bruno (Trento)
Aur-hour (Ora - Bolzano)
Ostaria by Kankari (Marano di Mira - Venice)
Theatre nettle (Genova)
Arci Pintupi (Verderio Inferiore - Lecco)

Java Installation Interrupted

"The same is different ...": the awards show of 2010

Tedone High School, continuing the tradition of theatrical productions and participation in exhibitions national school-theater, produced last year's text "The same is different ..." that was represented in 10 performances in the auditorium of high school and also took part in three shows received national awards in each flattering. The following is a highlight of the awards in recent national competitions, in Sicily, Campania and Basilicata.

Ø Tindari Youth Theatre, IX edition of National Review 2010: Special mention for "the actuality of the topic at the Liceo Scientifico" O. Tedone "Ruvo di Puglia (BA) with" The Same ... ... it is different ", text created by the 3F and 4F ª Ø 6 National Review of School & Theatre "I exist, I resist, persists." Prize "Geryon" for the Secondary School 2nd degree at the Liceo Scientifico Orazio Tedone "Ruvo di Puglia (BA) for the play" Same is different ... "Ø 2nd Edition: NATIONAL THEATRE FESTIVAL SCHOOL GIRLS Power AWARD JOHN DE Blasiis "at the Liceo Scientifico" Tedone "Ruvo di Puglia first prize for the best show in the institutions of secondary education degree · Prize jury boys · Prize pupil Andrea Monaghan, best actor in the review section of high school . Ø Special Report to the NATIONAL FESTIVAL of THEATRE SCHOOL "ELIZABETH Turroni 13th edition, 30 October 210 at the Bonci Theatre in Cesena, and presentation of the project" We built the theater in the round table "sharing experiences", or First Prize awarded by the Cultural Theatre in the competition Young Award for a dramatic Michele Mazzella young "and redistribution of plaque from the President of the Republic at the Teatro Argentina in Rome October 25, 2010.

Big Boob Melina Velba

When you turn a corner ...

Christmas Gestures Game

Replica `` Same ... is different ``

manifestations April 22 19.00 High School auditorium

Within the framework of the Culture Week, included in the program of the Ministry, in collaboration with the City of Ruvo di Puglia, Department of Culture, our school organized the evening of the Structural Funds.

During the evening will be staged the play "equal .... AND 'DIFFERENT' the text (on the issue of juvenile delinquency and of the importance of culture as empowerment) was written within the framework of the 2008 theatrical writing PON 40-boarders (formerly similar writing experience within the field of PON and the creation of the show has recorded the award of the `numerous national awards and the 2009 is in progress to a NOP writing the next theater). During
the evening will discuss the aims of the European Social Fund funded projects for the High School with ESF funding in the year 2009/2010 and multimedia equipment and physics in high school is equipped with ERDF and will set up an information point with licensed material on the PON.
It involves the construction of a CD of the play. Attached
the fold of the event.
The show is included in the official website of the week of the culture of the Ministry of Heritage and Culture

http://www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Contenuti/MibacUnif/Eventi/ visualizza_asset.html_613803235.html

Even the Ministry of Education has included the photos of our initiative on the website of the Ministry on the Structural Funds as an example of the dissemination of experience of the NOP, that is available at the following link: http://archivio.pubblica.istruzione.it/fondistrutturali/default2007 . shtml

What Is Open On Christmas In Brampton

Girogirotondo

Arimo,

not play,

witch controls color ...

periwinkle ...

who is under is under

one, two, three, star! Meanwhile

have

ciquant'anni

and still run and play

and hide,

holding hands in a nice circle

among them, who resembles

is derived ...

And me??

that I am different from them

that I grew up, I saw that I

off

games in tears of those who lost.

I, as the ball is mine,

take it and go back home.

Bigg

Poptropica Accounts That Really Work

Roots

There is a tree in front

at my window,

a tree that has seen many

, already twice

told me

not make it, you can not

sperarare

to pass even this ...

but he has strong roots. Some storm

has bent, but still gives

fruit, I've got

played under when I was a child and now other children

hangs its branches

certain of its strong roots .

now do not notice it more when I look

but I know there

and reminds me what they are and where I come, I

strong roots.

Bigg

Soling Sail Boat Fopr Sale

Finally something new

I was really still a lot of time then, as usual, in a couple of days two songs that I propose here, let me know what you think if you want.

Bigg

Wii Adapter For Cerebal Palsy

empty shelves

Before, they were there,

on display,

all shiny and bright,

last barrier against

pain. Now I

only empty shelves, no more

to protect me, even

words.

Maybe if I'm going

tired of my continuous

complain

on my mood.

I just know that I miss

and I do not know what to do, without them

my world has lost all color.

Bigg

Rules For Game Of Frustration

is finally to be said ... The Great

Milena Velba And Nadine Pool

bastard has never gone out ...

Cubefield Ipod Touch App

"Same is different ...": 32 share

new proposals and new success: Liceo Tedone "made his thirty-second play. After the matinee for students of high school and several classes of elementary and middle school, the troupe of "Tedone", led by Professor Teresa Valente, proposed for two consecutive nights, in an auditorium full of audience, the comedy Same ... is different!

Once again - for the sixth time - this is a text created by students: the 50 pupils in the third and fourth F during the past school year, in a PON titled "I write my text play ", worked to design and roll out the comedy to stage. By paying a little 'ear, one hand to the Pygmalion by George Bernard Shaw, and the other to Rostand's Cyrano de Bergerac, was born this text that recounts the ordeal of a young Southern fishmonger and his search for a way to redeem himself from being a "different" exclusion which is condemned by his own ignorance. Issues serious and highly topical, but as always presented in a playful-ironic: on the one hand, youth delinquency, the dangerous influences of friendship, the fragility of adolescence, and secondly the importance of education and culture as tools of emancipation, and the charm of poetry. The protagonist, the underdog culture, at the junction between two choices - you have joined a bunch of thugs and experience of interpreting the role of a young and brilliant read-through an arduous training course, finds its way and decides to "resist" the temptation of a life without limits and boundaries proposed by the pack, gaining a new identity and commitment to become truly educated the young and brilliant which was to "pretend" to be, "exist" in society without being a "different." To develop the central theme, reflecting the importance and value of culture and education, the text offers a better comparison or a clash of different cultures and languages. There is a culture of deviance, one of the flock, aggressive early as expressive code; outrageous, cynical and intolerant of rules, glorifying drugs, rape, violence, because "taking with thrashing band, have fun with the beast!" There is the culture of the young fishmonger, conveyed by his dialect Italianized made up of platitudes and trivial ways, ready to take shortcuts, a culture bully from the provinces, proud and pleased to have "Take the door and left the school and on the other hand, the culture of Catherine that" you and good ignoranda Imbar to go to night school. " There is a culture of Mrs. Stranger, English gentlewoman, made of good manners and gallantry now out of time. There is culture as an ornament to show off, to be shown, that drives the couple to come up with a good middle-class son graduate award, not be less than the other members of a cultural circle. There is culture as an instrument of power, to show off even cheating, given that "some People show to be more than what it is, and know more than he knows "pointing to a box does not equal" to make you feel different. " Finally there is the culture of Genius, which is "a point of view on things," that does not mean to repeat the words of others, but knowing how to think for themselves, which is mastery of the media, because as said Don Milani " It 's just the language that is equal "because" equal and those who can and will speak the words of others. Whether rich or poor care less. " And there is the fascination with the culture of poetry: a Toruccio who listened to the verses of Neruda, comments: "Aho! E'bella! ... Tando not I get it, but ... "Genius replied:" True poetry can communicate before they even happen. "

Pokemon Light Platinum Kecleons

Huston ...

Gay Cruising Spot In Md

Appointment to the theater: February 27 and 28 High School Auditorium

E 'in progress-ing the play of this school year entitled "Ugua-le is different." Work in progress and intensify the tests to stage the work written in the last year classes 2F and 3F. The appointment is for 27 and Feb. 28 at 18 in our auditorium. Morning shows are planned expanded to schools in the area at 9:15 am and 11:15 on 26 and February 27 and March 1.

The text of the play is different ... Same ! was created last school year of pupils within a PON of the current 3F and 4F
The work develops an ironic, playful, a double set of problems: first, the juvenile delinquency, the dangerous influences of friends, the fragility of adolescence, and secondly the importance of education and culture as an instrument of emancipation, and the charm of poetry. A young fishmonger southern cultural underdog, at the junction between two choices - you have joined a bunch of thugs and experience of interpreting the role of a young and brilliant read-through a strenuous training program, and finds its way decides to "resist" the temptation of a life without limits and boundaries proposed by the pack, gaining a new identity and working to become truly educated the young and brilliant which was to "pretend" to be, "exist" in society without feeling a " different "....

Admission is free for evening shows, the morning shows are reserved for schools by prior arrangement.

Jenna Nipple Piercing

Just Few Things Done

something a bit 'different from the usual ...

Bigg

Mediafire Bpm Studio Demo

Under skin

Once a beam

with each passing day,

weeks and months,

the seasons and years, all

counted and stacked neatly on my bedside table,

has now become just a thorn, a bloody,

annoying plug

of those you can not

to see but you feel under the skin

.

This is what remains, at times

something that stings and makes me

jump but, for most of the time, I do not remember having

although part of me now.

Bigg

How To Remove Grenadine From Carpet

allready

Imax Silvercity Ottawa Cost

presentations of theatrical works

The first room of the impact of theater groups is the presentation of the work in the year, the theme, history, reading suggestions are to guide the viewer. Here are the presentations of the work conducted in our auditorium.

THE SUICIDAL

The work, composed in 1928 by Russian Nikolai Erdman, was "the most extraordinary of satire flourished after the Revolution, in the twenties and thirties, and for this reason, in the Soviet Union has been systematically denied permission representation.
The reduction and adaptation that we made ourselves, but are intended to decontextualise opera, set in a different position from that of the Soviet regime, closer to us in time, space and problems.
Pozzeca Simone, who is unemployed, could become the victim to be sacrificed to narrow interests of a bunch of opportunists, a "dead ideology", a flag-vaunted defense in cases of trivial or dubious nobility. The game ends and the nightmare for the drama verging dangerously intertwined with reality, but when everything is ready and set, the man with his fears, his insecurities and weaknesses, find the energy to oppose and rebel. This black comedy satire from
, played on the edge of the grotesque and the paradox, it takes the tone of protest against those who trample human dignity and, despite the title of mourning, resolves into a hymn to life, often tragic, seemingly untenable, but worth living, especially if built with his own hands, with his head and ... head-lived.

ORLANDINI

Orlandina The text produced by students of the theater workshop, "The Cre-actors," as 1991 - '92 could be called a light-hearted modern interpretation of 'Orlando Furioso , subject however to clarify that the work of 'Ariosto was nothing but a pretext, a track followed with great freedom, a scheme to fill situations, issues and current characters.
most emblematic episodes of the poem have been properly updated: the "Castello di Atlante" - a metaphor of life as a continuous research in breathless run after vain illusions to win the longed-for object of desire - is its modern equivalent in the "Atlas of the Moon Park," where dreams are for sale behind you to lose the humanity of 2000: the beauty, youth, strength, love, happiness , speed; myths to show its inconsistency and danger.
within the same framework are in place, through rapid notations, situations in transcribing playful key current issues: the Mafia racketeering, drugs, delinquency, unemployment, racism.
To the moon, where Astolfrna goes - or think to go - to retrieve the wisdom of Orlandina is instead placed all that we, men of 2000, we lost.

ONCE UPON A TIME

Once Upon a Time is an adaptation, a reworking of the film by Francesco Rosi, 1967 edited by Professor Teresa Valente.
The text of the cinematographic work has been rearranged several times: many scenes were deleted to make room for other pictures and characters, however, in keeping with the spirit of the work of Rosi, and were included ballets and songs that make him, through language different situations narrated in the film.
A 'work entitled "Once Upon a Time" is not a fairy tale, even if the story is not placed in a permanent, but in the '600, space does not remain vague and undefined as it usually happens in fairy tales: the environment is that of the Kingdom of Naples submitted to English rule.
Once Upon a Time is a tale of love and friendship, power and oppression, poverty, courage and fear, faith and superstition, fantasy and reality.
The protagonists, often antagonistic, act and interact guided by their philosophy of life: "I always do what I want," said the prince, but the story points to check "whether" and "how" it is possible.
With its proud, brave and tenacious, with his determination to capopopolo, Isabella, a humble commoner, is opposed to arrogance and oppression: protest against those who trample human dignity and urges others to respond to common people - as she used to write "one hundred bites a bean", as she forced to eat " with only a dumpling, but willing, to fear, to worship at the feet of the prince, thus losing its sense of human dignity.
'E' character that makes us the fate of us, "said Isabella, and the tale ends ... to give her reason.

TRAMP

The comedy "Poodle", composed in 1996 by Student Theatre Workshop "The cre-actors," is set in a studio where the director Antoine de la film is about to start filming a musical.
E 'in this context that places the events - tragic substance, but playful and grotesquely comic
in the text and its staging - of characters united by the issue of labor redundancies, unemployment, exploitation, recruitment, on the recommendation, ambiguous satisfaction to the demands of a sexual nature or the alleged bribes.
The theme of the work is the story of four homeless people that go to a movie studio to try to recover a winning card, remained poor in the clothing of one of them, sold the film crew by another bum.
Forced to disguise himself as not to attract attention, should be at the game when they are mistaken for other characters. And
'This is another theme developed in the work: the relationship reality-fiction, given not only to the homeless, but also the grandmother of Maria Antonia who, lost in the world of celluloid, in front of scenes of violence, sex and intrigue - the only things that appeal to the public - as noted by the director - a prisoner of her tragic dilemma, continues to ask: "But these are to do all'apposta? They really ... or is it another movie theater?"

BERTOLDO A COURT

Massimo Durst Bertoldo's work in court is a review of the events of the sixteenth Bertoldo, which repeats the figure of the peasant cunning in a new key: no more rude corruptible, who became director court jester and the tyrant, died of indigestion at his table, but consistent and courageous man, who chose to starve rather than trade with luxury goodies and their own dignity and freedom.
E 'prisoner to court, but servo, and refuses to be blackmailed, because, as claimed by "the profession of man is to live without fear!"
In our adaptation of the text Durst to have been "translated" into a language "generally" the beats of the Southern popular characters, new characters were created to give greater dynamism to the work, while many dialogues and responses have been turned into songs.

SAME ... AND 'DIFFERENT!

The play develops a double set of problems: first, the juvenile delinquency, the dangerous influences of friendship, the fragility of adolescence, and secondly the importance of education and culture as tools of empowerment, and the charm of poetry. A young fishmonger
Southern underdog culture, at the junction between two choices - you have joined a bunch of thugs and experience of interpreting the role of a young educated and brilliant - through an arduous training course, finds its way and decides to "hold" the temptation of a life without limits and boundaries proposed by the pack, gaining a new identity and working to become truly educated the young and brilliant which was to "pretend" to be, "exist" in society without being a "different."

Netgear Dg934g-1skuks

reviews and external reasons for the jury

the Lyceum Theatre "Tedone" has been accepted in various exhibitions and Theatrical performances for schools. There have been many positive reviews (and often flattering) that accompanied the performances. Here are some reasons that accompanied the awards to the performances of the groups in the past.

Pagnottella

text Pagnottella Special Report to the National Competition II "For a young drama," premium "Michele Mazzella (Rome )
" A glimpse of family life and full of joy, to which the color of the dialect adds humor and vitality "

1st Prize at the Second Provincial Competition" Curtain @ school "(Bitonto)
" Entertainment compelling and engaging. Text written entirely by students, and for this reason, the original form and content. Characters embedded in an excellent manner, with spontaneity. Directed to create an accurate fast-paced show. Singles staging for both continuous changes of scene in view, both for electronic equipment used. Valuable educational project because it offered young people the chance to try their hand at creative writing. From the text showed the problems of kids today, but with subtle humor and keen sense of irony. "

BARS IN

4th place of the text The bars inside the National Competition III "For a young drama," premium "Michele Mazzella (Rome)

" Life scenes district and held in the square in a southern country, not imaginary.
scenes full of truth and humor that are timely and courteous use of the dialect of their authenticity "

Reporting" Workshop Italy "at the XXIV National Festival of Theatre School (Serra San Quirico)

" For availability and attention shown to by the group that participated in the XXIV National Review of the School of Theater to the theater education and clear expectations for further investigation and exchange everything about the workshop location that is subject to the issues of making theater "


Reporting 9th edition National Festival of Theatre School Elizabeth Turroni (Cesena)
" Reported production for the quality of drama: the boys have written first-person text that addresses the ironic playful-serious issues of life and discusses them in the village square, metaphor for society and the world . "

EYES WITH WHAT?

Special Award at 'Teacher 6 th National Competition "For a young drama," premium "Michele Mazzella (Rome)
" When teaching drama and spectacle become "

IL PRATO OTHERS

First prize of gold for the Walnut High School at the 4th National Exhibition TEATER, Theatre of the School of Small Towns and beyond (Maiori)
" The show highlights a well-built machine play for comic timing and characterizations of the characters, not to mention a reflection on social issues dealt with in a light but intense, such as: diversity, high-bourgeois myths, expectations and images of the other "

Comedy section First prize at the 15th International Festival of Classical Theatre School (Altamura)
" The show The lawn is made of another person appreciate the originality of the idea of \u200b\u200bthe fund, which deals with the characteristic light such important topics. The representation is also valuable because the fruit of the students. Very nice acting and characterization . "

Report to the XII National Festival of Theatre School" E. Turroni "(Cesena):
" The theater group has focussed on a work of creative writing by students themselves so that they are the authors of the text, showing particular attention to youth issues. The lawn of others in fact reads the social reality that surrounds us and some large issues that occur in it (motherhood, homosexuality, etc..), Through the eyes of young protagonists . "

EQUAL ... E 'DIFFERENT!

Award MICHELE Mazzella, a young drama. " Teatro Argentina in Rome. VIII Edition

Reason: Rostand and Shaw are the inspiration for a comedy that sees the need for culture, the only way to redeem himself. So many characters, all well-designed, in a kaleidoscope of situations, sometimes pochadistiche, but always safe spettacolare.Una impact of maturity 'by an institution that participates in the award since its inception.

Festival National Theatre School Elizabeth Turroni - Teatro Alessandro Bonci Cesena thirteenth edition. Reason: The school insists effectively in order to give the boys by giving them the opportunity to experience a dramatic vein often surprising. In this show, the title already qualifying the boys have chosen to deal with an ironic-grotesque number of issues that experience as key to their growth and development of society, in particular, the exclusion of evidence that those who are condemned, even by their own ignorance to the condition of "different."

Hutch Bmx Sale Canada

The lawn of others: The extract

Tedone The school is committed to promoting the business of writing and production of a play with the direct input of the students. Following the approach developed by the same high school and entered the ministerial archive of best teaching practices ("We built the theater") were written the texts of some works.

THE LAWN OF OTHERS

IF and IIF (as 2007-'08)
The text of this play was created in the year 2007-'08 school year 50 students from the IF and IIF within a PON titled "Creative Writing: Building our theater."

The title of the piece is inspired by the well-known saying "The grass is always greener." And 'in fact a fairly general tendency to consider that the condition is better than others of their own, others do not have the problems and difficulties we encounter us: we would be in the place of those who seem more fortunate, or that they were in our shoes. But every state has its own problems: just change the type of discomfort, the kind of trouble. Inside this issue if they enter other: issues related to employment, as the problem of security or harassment in the workplace, and problems of different nature, such as the choice of motherhood and the issue of homosexuality . Despite the scope of questions, the text is nice and fun, because it develops the key themes in playful, ironic, moving between real and surreal.

CHARACTERS

Mariarosa Ferrara entrepreneur as a pottery maker and garden gnomes
Ugo Ferrara entrepreneur husband
Piergiorgio Ferrara: Ferrara Doralice
entrepreneur son: daughter entrepreneur
The Nanny Piergiorgio Ferrara Alfonso
: play boy friend of Piergiorgio Ferrara
Martina Brescia: Loretta
employee of the factory: the factory employee, a friend of Martina
Gemma: employee factory
Giuliana: employee factory
Susanna: employee factory
Pasquina: employee factory
Vittorio : head
Rita secretary
Gregory Bottom: owner of an enterprise of fake clothing
Carmelina Chiappa, wife of Gregory Chiappa
Giuliva Bottom: daughter of Gregory Chiappa, girlfriend of Mr Piergiorgio
Bottom: Bottom of Gregory
sister Valeria, Agent 15: bodyguard Carmelina Chiappa
Teodoro, Agent 16: bodyguard Gregory Chiappa
Nanni, Agent 17: bodyguard Giuliva Chiappa
Octavia: bodyguard Mr Chiappa
Matilda: maid of Giuliva Chiappa
Don Basilio. Lello priest
: altar boy
Nunziata: housekeeper of Don Basilio
journalist
Photographer
Actress
The commander of the carabinieri
Agent Carabinieri
Singer
Dancers

The action takes place inside a factory of garden gnomes. The engine department consists of a skirt: what happens to you inside, is seen in transparency, with the technique of shadow puppetry.

SCENE 1 (Gemma, Giuliana, Susanna, Pasquina)

(ENTER THE FOUR WORKERS)
Susanna. Finally a break: I could not take anymore!
Gemma. That witch will make us work even at night!
Pasquina. Today it's gone crazy than usual!
Giuliana. Is shaken for a wedding!
Pasquina. ... Why get married?
Giuliana. Yeah!
Pasquina. Poultice of her husband ... And that says nothing?
Giuliana. But not marry her!
Pasquina. Saints dwarves! It marries the poultice !?... And the witch does not say anything?
Giuliana. But you or are you doing there? ... E 'Piergiorgio that goes!
Susanna, Gemma, Pasquina. Piergiorgio married!?
Gemma. This then!
Susanna. And who did it ... "the bang"?
Gemma. Drittona some who found the chicken plucking!
Giuliana. The shot did the witch, because the bride is Giuliva ... Bottom!
Susanna. The daughter of Gregory & Brand of the Brand?
Giuliana. The apparel fake! ... That has so much money that out of his ears!
Gemma. But if you know how to make them "all that money "?... Exploited children and non-EU, so if you make them ... the pig!
Susanna. And who has told you these things?
Gemma. Matilde the maid ... "personal" by Giulio Bottom!
Giuliana. That fixed!
Pasquina. The maid?
Susanna. No, Julia! It 's a fool who believes in "Miss World"!
Giuliana. You know that couple! Miss World and Mr Universe!

[...]
SCENE 6 (Mariarosa, Pierre, Vittorio)

Vittorio. (Entering) Oh, Mrs. Mariarosa, I tried her own!
Mariarosa. He sees that I'm talking to my son?
Vittorio. And 'one important thing: the oven for baking clay is creating big problems!
Mariarosa. What problems?
Vittorio. Crashes, turns off and turns itself on and now begins to move beyond the smoke!
Mariarosa. Here: we only missed it! ... Who is the officer working in the oven?
Vittorio. It would be the Brescia, Brescia Martina, but ...
Mariarosa. We could have sworn! The charge of the repair costs!
Victor: Actually, this oven are using it all: after the failure of the other oven ...
Mariarosa. Always Brescia, right?
Vittorio. No, if I may, there was ... his son!
Mariarosa. Piergiorgio?!
Piergiorgio. Mommy!
Vittorio. Lady, this oven must be changed: it is very dangerous for the employees!
Mariarosa. Employees are very dangerous for my equipment! And yet there is no money, she is the head of department: the face fix!
Vittorio. The point is that the technician did not understand us at all: it says that the oven is crazy!
Mariarosa. If this technique is incompetent, then they call another.
Vittorio. And 'the third says the same thing! And then, madam, safety standards ...
Mariarosa. One thing is certain: there is no money! The employees will pay more attention, so my machine will be safe! Closed!
Vittorio. How do you think! Ah! Another problem: the men's bathroom faucet loses ...
Mariarosa. Fix it! (VITTORIO enters the bathroom MALE)

[...]
SCENE 8 (Mariarosa, Martina, Piergiorgio)

Mariarosa. (Seeing MARTINA WOMEN OUT OF THE BATHROOM) Brescia, come here now!
Martina. Tell me, lady.
Mariarosa. You are incompetent, incapable, good for nothing!
Martina. Why?
Mariarosa. Have you ever heard the tale of Snow White and the seven dwarf!
Martina. Madam, I do not understand!
Mariarosa. Ah, do not you understand? They ordered a Snow White and the Seven Dwarfs from the garden, but a fool I know a dwarf and fired seven Snow White!
Piergiorgio. Bella, this!
Mariarosa. For you normal?
Martina. It was not my fault! I fired the right pieces, but the machine continued to churn out Snow White! That oven spare change, give the numbers!
Mariarosa. What are you talking about bestiality!
Piergiorgio. If you put ... Sleepy, Sleepy out!
Mariarosa. And if you leave a Sleepy defective, the blame lies with those who have not been able to adjust the machine, but will always be a Sleepy!
Martina. Lady is not my mistake, I ask the foreman!
Mariarosa. Victor told me only I've broken the oven! But for what we will do the math. Get busy now that this is not a charity! By Monday, the seven dwarfs and Snow White to be one! Is that clear?!
Martina. All clear, lady! (Entrepreneur exits)

SCENE 9 (Pierre, Martina)

Martina. I need to talk!
Piergiorgio. Back in the ward I do not want to see us alone together.
Martina. Would you rather make a public statement? Gentlemen, expecting a child with Pierre!
Piergiorgio. But that cry, you're crazy?
Martina. I'm desperate!
Piergiorgio. Martina, put yourself in my shoes: I'm getting married in three days: I can not afford a scandal!
Martina. Yeah, but I can afford to become pregnant without the help of anyone and with the risk of losing their jobs!
Piergiorgio. Like I said, free baby!
Martina. No!
Piergiorgio. I find the doctor, I'll pay the fees, but get rid of this baby!
Martina. You are an animal!
Piergiorgio. But what do you expect, a "shotgun wedding"!
Martina. Even if you ask me on my knees!
Piergiorgio. So what?
Martina. I want you to recognize it!
Piergiorgio. But not even mentioned!
Martina. Pierre, a child is a two, but you can have your say did everything himself, and if you were a man ....
Piergiorgio. And who assures me that is my son?
Martina. What a coward!
Piergiorgio. If you were in my shoes, you would understand that ...
Martina. But put yourself for once in my shoes for once! Help me at least not to lose his job!
Piergiorgio. So stay here and continue to torment me with your paranoia?
Martina. I've never tried and do not you try ... ever! But talk to your mother, help me, at least in this one!
Piergiorgio. I can try, but put yourself in my place ...
Martina. (GOING BEHIND THE CLEAR) There'd be comfortable in your place!
Piergiorgio. (Reach) If you were the son of a woman like my mother ...
Martina. ... I should not be behind this damned machine (AFFECTS THE OVEN)

SCENE 10 (Piergiorgio, Martina)

(in the engine department shall exchange PIERGIORGIO MARTINA AND BODIES)

SCENE 11 (Piergiorgio False, False Martina)

Fake Martina. (Entering) Mommy is a nerve! False
Piergiorgio (entering) But if I ask you, do not fire me. (LOOK)
Together. Ahhhhh!
Fake Martina. You! ... Who are you? Piergiorgio
False. How about me? I am ... Martina! ... You rather!
Fake Martina. No you're not Martha! ... ... You are me! Piergiorgio
False. How do I ...?!
Fake Martina. I ... Pierre! Piergiorgio
False. What are you saying?
Fake Martina. Piergiorgio And if you ... I. .. Who am I? Piergiorgio
False. Martina!
Together. Ahhhhh! Piergiorgio
False. We exchanged the bodies ...!
Fake Martina. But it is surreal! How could this happen? Piergiorgio
False. Damn oven!
Fake Martina. Oh my God ... My head is spinning! Piergiorgio
False. It 's the baby!
Fake Martina. Incintooo are? Piergiorgio
False. Yes!
Fake Martina. I am a single mother !?... If you notice mom, killing me! Piergiorgio
False. And I fired me!
Fake Martina. It can not fire you: you are me! We Piergiorgio! Piergiorgio
False. Then dismiss you!
Fake Martina. But I am his son! Piergiorgio
False. Oh no! Now his son is me ... I think!
Fake Martina. Then you must marry Giulia! Piergiorgio
False. What?
Fake Martina. Sure! Giuliva marry you! Ah, how wonderful! So I can continue ...
False Piergiorgio. To be pregnant!
Together. What a mess! (FALSE Martin touching breast)
False Piergiorgio. Hands off my body!
Fake Martina. Well, now it's mine! Piergiorgio
False. It '... ours! ... And be careful how you treat him!
Fake Martina. In your opinion, is irreversible? Piergiorgio
False. How should I know! (YES IT IS THE BODY) This morning there were still only seven and Snow White (He started) ... a Sleepy!
Fake Martina. And careful how you treat him! Piergiorgio
False. And you are 'close to the child if something happens to him, if you dare to have an abortion ...
Fake Martina. Abortion? I? But you're crazy!? Rather, the marriage! Piergiorgio
False. We must find a way to postpone it: it may be that with time ... False
Martina. But in the meantime? Piergiorgio
False. Meanwhile ... we exchange the parts: you go to work on the ward ...
Martina false. With nausea and back pain that I have? Piergiorgio
False. You have to get busy, Snow White: This is not a charity! ... I will take your place!
Fake Martina. What sore kidneys! ... We will need outside help. Piergiorgio
False. The one I can trust ... and Loretta!
Fake Martina. And 'better my sister! Piergiorgio
False. Then both Loretta and Doral! ... Mock
Marina. I feel the heat ... go! Piergiorgio
False. Rinsed his face, I'm going to try Loretta.

[...]
SCENE 20 (False Piergiorgio, Julia, Nanni)

(Giulio ARM OFFERS WITH FALSE PIERGIORGIO)
False Piergiorgio. Giulia! Please: a safe distance!
Giulia. Do not worry: Nanni and I have a deal! You know how many times he closes his eyes?! Piergiorgio
False. But they could see us ...!
Giulia. Who? There is none! ... Piergiorgio! ... Piergiorgio
False. Tell me, Julia!
Giulia. I give it a reservoir? From me, eh? Here, here! Piergiorgio
False. Coccolina ... but ... you do not do these things ... not good!
Giulia. Little baby! Piergiorgio
False. When we got married ... then ...
Giulia. If I did not come on, I start to cry! Piergiorgio
False. Julia, think ...
Giulia. Ahhhhh!
Nanni. Still there! Do not move! Hands in plain sight! Piergiorgio
False. I did not nienteeee!
Giulia. Exactly! ... Basin! Piergiorgio
False. Nanni E?
Nanni. Basin! Piergiorgio
False. Oh Jesus! ... Okay ... but close your eyes! (END kiss her) And
Giuliva well? Piergiorgio
False. Nanni was looking at me!
Giulia. Nanni! (Nanna TIME TO BACK, TO BE FALSE PIERGIORGIO 'A BASIN AND THEN MAKES MOVES disgust) ... Why do you look like that? Piergiorgio
False. ... I came a hair in my mouth ... I will run into the bathroom. But ... you begin to visit the factory!
Giulia. And then give me two basins? Piergiorgio
False. Yes, as soon as we get married, you do them! (RUNS TO THE BATHROOM FEMALE)
Nanni. What is the female bathroom! Piergiorgio
False. That careless! Me ... .. That basin shocked! (ENTER THE BATHROOM MALE)

SCENE 21 (Giulia, Nanni)

Giulia. I thought the more enterprising, more fiery!
Nanni. Yeah, it seems a bit '... fly! But it's not for me to judge.
Giulia. No, tell me, tell me!
Nanni. Miss, for me a man is a man: tough, virile male!
Giulia. Maybe ... it is so!
Nanni. Or maybe ... no! However in his place I would think ... good!
Giulia. You're right: Now I go to dad and tell him that Pierre is gay because I do not want to give the river! Papààà ...!
Nanni. No, young lady! Miss, not so: he wants to get me fired? Put yourself in my shoes!
Giulia. But that fire! ... Papàààà!
Nanni. Miss: the basins !!!!... In front of me ... Put yourself in my shoes!
Giulia. But you were shot! Pa ... ....
Nanni. It 'so! Pierre is very shy ...!
Giulia. You say?
Nanni. Sooo shy! ... Even with the knight only "yes sir, no sir!" Eh ... This is shy!
Giulia. So do not I go ...?
Nanni. No, ... And then we still have to visit the factory!
Giulia. But I'm bored!
Nanni. That must be the engine department: a controlled do now! (Goes behind the lens) Go ahead!
Giulia. Ugh!
Nanni. But be sure that everything here is full ... (Giulio BEHIND THE DOOR CLEAR and bumps into the oven) ... machines!

SCENE 22 (Giulia, Nanni: BEHIND THE CLEAR)

(Giulio E NANNI shall exchange the bodies)

SCENE 23 (Giuliva False, False Nanni, Theodore)

Teodoro . (Entering) Nanni Nanni ..! Mock
Giulia. (Entering) Tell me, Theodore?
Teodoro. Nanni was looking for! False
Nanni. (Entering) I almost choked on the smoke machine ...! False and False Giuliva
Nanni. Ahhhhh!
Teodoro. (POINT THE WEAPON) Without you there! Do not move! Hands in plain sight! ... Where is it? False and False Giuliva
Nanni. (THE EACH) Làààà!
Teodoro. Who is it? False
Nanni. Papààààà!
Teodoro. As a dad! Mock
Giulia. (FALSE NANNI) Luiii ...
Teodoro. He who? Mock
Giulia. ... Are ioooo!
Teodoro. She's the daddy? (Shakes FALSE Giulia) She 's the daddy? Mock
Giulia. Still there! Do not move! Hands in plain sight! False
Nanni. ... That's me! (Faints)
Teodoro. What's going on?! Mock
Giulia. I do not know, I do not understand: there must be an exchange!
Teodoro. That exchange, Miss? Mock
Giulia. But Miss, I am Nanni!
Teodoro. Nanni? ... And who is that? Mock
Giulia. Must be Giuliva!
Teodoro. What a mess! (Trying to revive NANNI FALSE) Miss ... Miss! False
Nanni. Send her away!
Teodoro. I can not! False
Nanni. Why not?
Teodoro. Because she seems ... she is ... but Nanni!
False Nanni. And who am I? Mock
Giulia. She's Miss Julie! False
Nanni. Whew!
Teodoro. But it seems ... Nanni! False
Nanni. Papàààà!
Teodoro. Not impressions: it's just a question of psychology, I'm mean! Mock
Giulia. You will see that come back all right!
Teodoro. Yes, most ... in a week! False and False
Giuliva Nanni. A week!? False
Nanni. But I'm getting married in three days! ... Papàààà!
Teodoro. And 'better not tell anyone! Mock
Giulia. And the marriage?
Teodoro. We'll find a way to send it back! False
Nanni. And I doing to a week, I hide?
Teodoro. You take the role of Nanni and Nanni take her! (A FALSE Giulia) If you pretend sick ...
Giuliva False. Sick!
Teodoro. By now you've changed your sex! Mock
Giulia. Do not you dare, Theodore: I am a man ... deep!
Teodoro. Ok, ok! Mock
Giulia. Anyway, if her husband got sick ... it would be better!
Teodoro. I fall asleep! With a good sleeping pill! False
Nanni. And who gives it to her? Mock
Giulia. Matilda! False
Nanni. My maid? Mock
Giulia. Yes, which is also my girlfriend! False
Nanni. And if does not drink it?
Teodoro. If you do not drink it! ... If you do not drink it ... rapiamo! Mock
Giulia. We? But you're stupid!?
Teodoro. No, ... Us, right at that moment ... we'll be elsewhere! False
Nanni. Who steals?
Teodoro.Gli players in the parish! Mock
Giulia. And they would do?
Teodoro. There's one more than he owes me a favor! Mock
Giulia. Contact them! But now we should get the knight and the lady!
Teodoro. Miss, I would recommend: the mouth water! (COME)

SCENE 24 (Secretary, Don Basilio, Nunziata, Lello)

(ENTER SECRETARY, AND DON BASILIO NUNZIATA)
Don Basilio. Praised be Jesus Christ!
Secretary and Nunziata. Always Praise be!
Nunziata. Lello!
Lello. (ENTERING TRAVEL) To all eternity (stumbling) ... always!
Nunziata. But why do not you watch where you step?!
Lello. I was talking to Carletto!
Don Basilio. But it's an obsession!
Nunziata. Have you heard Don Basilio? You have to stop with this Carletto!
Lello. Carletto is my boyfriend, we are always together ...
Don Basilio, Nunziata. ... And I love it!
Secretary. It 's another altar boy? And why did not you come in?
Lello. E 'already entered, do not you see?
Secretary. E 'come?
Don Basilio. Lello, it is time to stop Carletto!
Lello. But it's my boyfriend!
secretary. To me this seems like a true Christian love of a child!
Don Basilio. But Christian! It 's a fantasy of kids!
Nunziata. He invented this imaginary boyfriend, and there is no way out of my head!
Lello. Because he loves me, and I love him to Carletto!
Nunziata. Now that you get a slap ...
Secretary. No, poor thing!
Don Basilio. Poor? If only I were in his place!
Secretary. But you can put on her clothes: it's just a baby!
Nunziata. But take the head ... tough!
Secretary. I think children need them, not beat them!
Nunziata. This does not feel reasons: you try it, if you are able!
Secretary. Sure! Then, Lello, when children feel alone ...
Lello. I do not even have a brother!
Secretary. You see? You feel alone, why did you invent Carletto, but Carletto does not exist! If you begin to associate with other kids - the real ones, eh! - You do not feel alone ...
Lello. Nooo!?
Secretary. Nooo! Stay together and do a lot of games!
Lello. Even in football?
Secretary. Sure! You will make a complete team, would not you like?
Lello. And why not!
Secretary. Have you seen? Children need to convince them! You are convinced, is not it, Lello?
Lello. Convintissimissimo!
Secretary. Just make them think!
Lello. I'll tell Carletto!
Nunziata. Amen!
Don Basilio. And 'no point wasting any more time, we will proceed with the blessing of the factory!
Mariarosa item. Ritaaaa!
Secretary. The lady calls me, start with the engine department, which is there ...
Don Basilio. Go, go, so I'll see you in three days for the ceremony!
Secretary. The officiate you?
Don Basilio. Who else if not! (SECRETARY QUITS)
Don Basilio and Nunziata. Lello!
Don Basilio. (NUNZIATA BEHIND THE GOING WITH CLEAR) Bring me the sprinkler!
Lello. (GOING BEHIND THE CLEAR) ... so I play on offense and you play in goal!

SCENE 25 (Don Basilio, Nunziata, Lello: BEHIND THE CLEAR)

(LELLO INVESTS THE OVEN AND PRODUCE EXCHANGE BETWEEN YOU AND DON BASILIO)

[...]
SCENE 30 (False Piergiorgio, Loretta, Martina Mock) Mock

Martina. Do you have a manderino? Piergiorgio
False. Manderini I do not like!
Fake Martina. Now, yes!
Loretta. It 'a wish: we find this manderino! Piergiorgio
False. I'm exhausted! .. How's the baby?
Fake Martina. He's fine, it's me that I boot to the grave: only the races that I had to do before that crazy Victor! Piergiorgio
False. You're not done Do not you get your hands on!
Fake Martina. Zampacce them to him as the hub, the "tiger siberiaaanaaa! Indeed, it fire you so!
Loretta. The workers do not lay off the heads of department! Piergiorgio
False. No? ... And what do they do?
Loretta. Races! ... Reach out to others! (OUT)
False Piergiorgio. About race: but there is at least one woman, one! ... with which you were not?
Fake Martina. These are not your business! Piergiorgio
False. Well, now I do: I have three days chasing Nadia, Vanessa ... Bridget and the other below, I do not know who the hell are needless, and hold out there, here an excuse, not today, I have a headache, I go to the dentist!
Fake Martina. Woe to me if you ruin your reputation! Piergiorgio
False. You know that reputation! ... And when I jump on, then I do, the lie down?
Fake Martina. Pretend to be there and then ... there you are!

SCENE 31 (Piergiorgio False, False Martina, nanny)

(COMES TO OLD TATA PIERGIORGIO)
Tata. (Covers his eyes PIERGIORGIO OF FALSE) Who are they? Piergiorgio
False. Eh ... And who are you?
Tata. It's me! Do not expect to see me, true heart? Piergiorgio
False. Noooo! You ... QUIT! You who are ...
Fake Martina. (Whispers) The tata! Piergiorgio
False. Eh?
Fake Martina. My nanny! Piergiorgio
False. That you're sick! Tata
., Piergiorgio No, I'm fine! And I always remember when we were together! Piergiorgio
False. You and I?
Tata. Yes, we here at home! Piergiorgio
False. And mommy?
Tata. When mom was not there, rogue !.... Do you remember? Piergiorgio
False. And how could I forget it!?
Tata. I call you "Georgie" and you called me ... do you remember my name? Piergiorgio
False. What's your name?
Tata. And as you called me?
Fake Martina. (TIP) Tata mine! Piergiorgio
False. My potato!
Tata. I ran and I hold you on my chest! Piergiorgio
False. Yes!
Tata. And where did they lead? Where did they lead? (READ THE FALSE MARTINA MIMA)
False Piergiorgio. On the bed!
Tata. You see, you remember, heart?! And what were you doing, you used to do that? Piergiorgio
False. Eh ... Things I !...( Turkish FALSE MARTINA the act of a caper MIMA) ... ... I was the tangle?!
Tata. False ... I
Piergiorgio. "You ... you did the skein! .. I was ... the ball!? ... Noooo! It was all a tangle of ...
Tata. You did the the ca ... ca ...? Piergiorgio
False. But I was just a pig!
Tata. Piergiorgio, do not you remember? Were you the ca ...
False Piergiorgio. -Lzetta?!
Tata. But that sock! ... The caper you did! Piergiorgio
False. Yeah, I was so athletic ... first!
Tata. In four years you were a kid ...
False Piergiorgio. I had four years?
Tata. Yes, and you were so ...
False Piergiorgio. Early!
Tata. And now you're getting married! When I know I said no, I can not miss his wedding! Now I go to find your mother, my little heart! Piergiorgio
False. Go, beloved, and never forget!
Tata. Never, never! (OUT THE TATA)
False Piergiorgio. But who is this pedophile!
Fake Martina. My nanny! And you had to liquidate it immediately! Piergiorgio
False. At the risk of ruin "reputation"?

[...]
SCENE 36 (Giuliva Mock, Theodore)

Teodoro. Matilda knows everything, because 'you sent away? Mock
Giulia. Because there is a problem!
Teodoro. Another!? Mock
Giulia. I can only say to you, nobody has to know! ... I like!
Teodoro. And 'natural that you like: it's your girlfriend! Mock
Giulia. But Matilda is not!
Teodoro. Giuliva you like? Mock
Giulia. No, not her!
Teodoro. So who is it that you like?! Mock
Giulia. If I tell you ... do not believe it!
Teodoro. And why should not I believe you ... Next! Mock
Giulia. Like ... Pierre!
Teodoro. Chii? Pier .. Mock
Giulia. ... George!
Teodoro. Tuuuu ?!... Mock
Giulia. Yes!
Teodoro. Noooo, do not believe it! Mock
Giulia. You see?
Teodoro. But quell'effeminato !?... ... Someone like you, so ... male! Mock
Giulia. I am ... "male" ... right?
Teodoro. So do not look very male, but ... ...
Together "deep" ...! Mock
Giulia. ... Are "male "!... So why I like Pierre?
Teodoro. But how do you like? Mock
Giulia. In deep!
Teodoro. Maybe your unconscious ... has recovered the attraction of his father ... censored by the super ego! Mock
Giulia. I did not understand anything!
Teodoro. Nanni, this is your man-black face ...
Giuliva False. The black man?
Teodoro. ... In conflict with your hidden self! Mock
Giulia. So, what do you mean? ... I became gay ...?
Teodoro. I do not know! Mock
Giulia. What a shame ... And who tells him to Matilda?
Teodoro. One problem at a time! For now, worry about the wedding! Mock
Giulia. Yes, you're right .. I wonder if we have kids!
Teodoro. Who? Mock
Giulia. Me and Pierre!
Teodoro. What do you mean? Mock
Giulia. When we're married!
Teodoro. But you must not marry Piergiorgio! Mock
Giulia. Nooo ...?
Teodoro. No, ... I spoke to the actress! Mock
Giulia. That's kidnapping?
Teodoro. Yes! At 10 will clear the factory masked! You do not resist because we have counted the minutes! Mock
Giulia. And Agent 15?
Teodoro. The turn away with an excuse! Mock
Giulia. Let's hope so!
Teodoro. And look not resist! Now go 'to change that Matilde is waiting for you! Mock
Giulia. Matilda! And who tells him to Matilda!

Fibromyalgia And Fibroids

lawn others 2009

Low Blood Pressure Foods To Eat

Which eye?: Extract

EYES WITH WHAT?
1F 2006-'07 as the one-act
Which eye? was conceived and written in 'as '07 2006-1F by students of the Liceo Scientifico "O. Tedone.
The work presents the daily lives of two families, different in lifestyle and behavior, offering events and situations that, in an ironic, playful, describe the relationship between parents - children.
old-fashioned parents, parents 'meddling' permissive parents or "distracted", separated parents who are contending for the affection of children with strokes of gifts and permits, and on the other restless young, transgressive teenagers, eager to live dodging poles and prohibitions, with their need for freedom and identity, with their difficulties, their silences, their loneliness.

With what eyes look small and big things that make life, read the impulses or the closure of those near to us?
With sharp eyes, who can capture the essence that is behind the appearance, they get to catch the mistakes, to be able to admit: this is the answer that our proposed text. And in a story in
no one is immune from mistakes, the closer look is ironically one of the teenagers who conclude: "You wrong to impose your choices and we are wrong to believe it wrong just because we require it."

CHARACTERS

Augusto Bompelli: Professor of Latin
Pina: hairdresser, wife of Professor Clelia
Bompelli: the professor's daughter Cornelia
Bompelli: daughter of Scipio professor
Bompelli: son of professor
Hannibal: Father of a hairdresser
Client: client of the hairdresser
Customer 2: Customer reviews of hairdresser
3: reviews of hairdresser
Respighi: girl who takes lessons from Latin professor
Constance neighbor
Ivana friend Clelia Bompelli
Romina: Clelia Bompelli
friend of Martha's assistant hairdresser
Timothy Montague entrepreneur funeral
Drusilla : wife of entrepreneur
Gennaro Montague son
entrepreneur Marcia Montague, daughter of the entrepreneur
Paoletta Montague, daughter of the entrepreneur
Gigliola: lover of Timothy Richard
: lover Drusilla
Andrew: boy Paoletta Montague
Cesira : maid
Catherine waitress
Virgil Butler
Luigi: Secretary Entrepreneur
Daughter: customer
Stepson entrepreneur: the entrepreneur client
Singers and dancers


The action takes place inside the house to the scene of Professor Bompelli 21. A transparent
can see shadows in the form of Cornelia and Gennaro chat.
During the song of the 21st stage through the rollover of some panels, the setting becomes the home of the entrepreneur.

[...]
SCENE 25 (Paoletti and Andrea)

Paoletta. Come in, come on! (Closes the door)
Andrea. The hand ... hand!
Paoletta. And do not make noise, that feels close it and go and tell my mother!
Andrea. Wow! What a house! Oh my God, there is also a fireplace, no, I say, you've seen: there is the fireplace?!
Paoletta. And stop! It appears that you have never seen a fireplace in your life!
Andrea. No, is that maybe I'm too excited: I had never skipped school, and is very strong!
Paoletta. Ah, I always do, so much, I figured if the old notice it!
Andrea. But there is a risk that we find out?
Paoletta. Is' quiet: my father and my mother agency in the beautician: do not return for hours!
Andrea. If you say so!
Paoletta. E cosa aspetti a spogliarti?
Andrea. Mi tolgo proprio… tutto tutto?
Paoletta. Non vorrai tenerti i calzini, spero!
Andrea. E vai!
Paoletta. Ascolta, il vecchio, lunedì pomeriggio va fuori città, ho pensato di fregargli le chiavi dell’ auto così ci facciamo un giro… che ne dici?”
Andrea. Paoletta, sei mitica!
Paoletta. Zitto un attimo!
Andrea. Che cosa c’è?
Paoletta. La vuoi chiudere quella boccaccia?!.... Porca palettina!... Dobbiamo andarcene immediatamente!
Andrea. Perché?
Paoletta. Sta arrivando qualcuno!
Andrea. Oh, porca palettina!
Paoletta. Saltiamo dalla finestra!
Andrea. Are you crazy? And if I die?
Paoletta. Andrea, we are on the ground floor! At the very least you fracture your wrist!
Andrea. No, do not jump: I suffer from vertigo!
Paoletta. Salta, there is no time!
Andrea. I'm hiding! Where I hide? Where I hide?
Paoletta. In the closet! And do not leave until I come!

SCENE 26 (Cesira, Catherine Butler)

Butler. (WITH ENTERING THE ROOM) start here and proceed in an orderly fashion until the last room!
Catherine. Oh God! And what is this, a field of battle?!
Butler. The gentlemen in their home can make all the duels and the battles they see fit!
Cesira. So, not clean them!
Butler. You paid for this, or am I wrong?
Cesira. Come on, Cateri '... otherwise we do here at night!
Butler. Put all right!
Catherine. But if your feet are together, because the separate walking shoes? You've seen the other like this?
Cesira. A candle, a capricious ... pizza. No, no shoes! And this thing soggy ... that stuff is?
Butler. A silicone prosthesis lady!
Catherine. Was lost a breast?
Cesira. Crazy stuff!
Butler. If the lady likes to have her tits on the floor that is in its own right and not up to you to judge!
Cesira. Socks?
Butler. I'm Miss Paulita!
Cesira. Which must have one foot, because this fellow is not there!
Butler. If Ms. Paoletta has only one foot ...
Catherine. This is within his rights, we know!
Cesira. With all the money they do not understand why have to go around like a beggar, with all the torn pants!
Catherine. And with 3 meters of underpants off!
Cesira. Here is an earring!
Catherine. Yesterday, the other has made her ears pierced
Cesira. E hope that makes them only if there!
Catherine. And who controls it? The gentlemen do not think your children!
Cesira. If you buy them with money: you want, the scooter? Keep your scooter! The car? Keep your car!
Catherine. But then they are not even hear!
Cesira. And they do their comfy!
Gov. If the young gentlemen do their comfortable, they have full power! The corners! Clean up in the corners!
Catherine. The big mo mo old and is still living with mom and dad!
Cesira. And who makes you do to leave? What's missing here? Gennaro
Caterina.Il gentleman, but it's really a nice guy!
Cesira. It 's true, does not seem to miss the woman's son!
Catherine. With all the gentlemen who attended the lady ... some "accident" can happen!
Butler. If the lady is pleased to have accidents with the other gentlemen ...
Catherine Cesira. E 'in its own right and not up to us to judge!
Catherine. Cesi ', we move to another room, which we ended up here!

SCENE 27 (Timothy, Gigliola)

Timothy. (Entering) Come, my love! Gigliola
(entering) ... Sure there is a soul?
Timothy. We are deadly alone, with an eternity of time for us all!
Gigliola. Then I will die, my cadaveruccio!
Timothy. I want to see lifeless!
Gigliola. The light!
Timothy. You want off peacefully, my dear?
Gigliola. No, I want to lighten your love remains!
Timothy. We go on the carpet!
Gigliola. The carpet ?!... But my beloved corpse, it's so simple ...!
Timothy. Then in the studio: I have a double extra-large coffin!
Gigliola. No! In the sarcophagus no!
Timothy. Yes, yes in the sarcophagus!
Gigliola. I want a place that gives rest in peace ... and in the flesh!
Timothy. Ohhhh !.... Let's do it in the shower!
Timothy. Shut up!
Gigliola. Forever?
Timothy. No, just a time! ... Are knocking!
Gigliola. And I do that?
Timothy. Wait here!

SCENE 28 (Timothy, secretary, daughter, stepdaughter)

(TIMOTHY OPEN)
Louis. Good morning, Knight!
Timothy. Louis Ah! What?
Louis. Sorry for the inconvenience, but there are customers who ...
Timothy. We'll talk tonight at the agency!
Louis. It 's a question a bit' messy!
Timothy. Yes, but ... now I'm busy!
Daughter. I'm not leaving here until you have solved my problem!
Timothy. Later, ma'am, be polite!
Stepson. Now! We solve it now otherwise you will lose out!
Timothy. I? And why?
Daughter. Why I do not pay the funeral service, because my father was not buried in the chapel of our family!
Timothy. And where was buried?
Louis. In the chapel of Mrs. Timothy
. Then pay the lady! But now if you'll excuse me ...
Stepson. Oh no! I do not pay the funeral service, as the funeral with the band head and the horses with plumes I have not requested me!
Timothy. And who needed them?
Louis. Mrs.!
Timothy. Then pay the lady, but comfortable, for now ...
Stepson. My father was a simple and generous!
Timothy. It will not difficulties in paying, so ...
Louis. E '
the late Timothy. Ah!
Stepson. ... And you will be turning in his grave with the emphatic and pompous ceremony!
Louis. There shaken, now the knight is the solution!
Timothy. Yes we find it in the agency, because now ...
Daughter. My father was a great man!
Timothy. So pay no problems!
Louis. It 's always .. the dead!
Daughter. But I do not pay the funeral service for him to rest with his mother quell'arpia!
Timothy. Here! The mother! E 'right to pay the mother, so ...
Seg. The mother is already dead!
Timothy. Because these stories do not work out there in the family?
Louis. That 's what I said!
Daughter. Why the lady is not part of my family!
Stepson. Not even my father was more part of your family!
Daughter. Children are always children, even if they are away.
Timothy. We think the children to pay, and now ...
Stepson. But I'm next to him and I was cured, and the family is that!
Louis. You can pay a bit 'by one: Mrs. pays the burial ...
Timothy. Yes, and you pay ...
Stepson. The plumes!?
Timothy. The plumes with the horses ... with cavacchi!
Louis. The cavacchi?
Timothy. The Cavelli ... the fart ... the hunt for the horses, but now there must andareeee! (LI HUNTING)

SCENE 29 (Timothy, Gigliola, Drusilla's voice)

Gigliola. Gone?
Timothy. Yes, I paid!
Gigliola. So are you ready for paradise?!
Timothy. Yes! Let's get back together with her father's house!
item Drusilla. Is anybody there?
Timothy. Heaven! My wife!
Gigliola. Your wife?
Timothy. Hide, quick!
Gigliola. In the shower!
Timothy. No!
Gigliola. Where?
Timothy. In the closet! And do not move until you open it!

SCENE 30 (Timothy, Drusilla)

Drusilla. Timothy!
Timothy. Drusilla!
Drusilla. But you did not have to be in the agency?
Timothy. And you did not have to be the beautician?
Drusilla. I had to, but because they are the ... Bompelli, I decided to postpone the date!
Timothy. And you find yourself in a mess? No, my love, go to the beautician, I'll ...
to Drusilla. No, I'll nail you tomorrow! Rather, Luigi just told me that there are two customers who do not want to pay the funeral service!
Timothy. All settle down later, while you ... go!
Drusilla. How late? With the debts we have!
Timothy. And then ... we go together!
Drusilla. But you know I do not know the business deal!
Timothy. Let's do this, I go to the agency and the beautician you go!
Drusilla. Okay!
Timothy. And do not you go?
Drusilla. I make a phone call and go!
Timothy. Go there now, my soul! (ALSO COMES WITH THE HEAD peeps) So?
Drusilla. I go there now! (Talking on the phone) Go ahead!

SCENE 31 (Drusilla, Riccardo)

Riccardo. (Entering) your husband?
Drusilla. I have sent to agency!
Riccardo. And then: soars and glides in my arms, winged nymph!
Drusilla. SIII Oh!
Riccardo. Like a bird of prey I'll take you in my nest!
Drusilla. Siiiii! Rapaciami! ... But not here ... there!
Riccardo. And I shall eat your flesh, voraciously!
Drusilla. Oh Siiiii: voraciami all! Not here ... there!
Riccardo. Receive your golden eagle, my God! Timothy
item. Drusilla?!
Drusilla. Heaven! My husband!
Riccardo. What do I do?
Drusilla. Hide! I picture myself away!
Riccardo. And where I hide?
Drusilla. In the closet! Just leaves you free!

SCENE 32 (Richard, Gigliola Andrea)

(INSIDE THE CLOSET)
Riccardo. Oh God! A corpse!
Gigliola. But that body, I am alive and kicking!
Riccardo. And that makes us in the closet?
Gigliola. I could give her the same question!
Riccardo. But I asked first!
Gigliola. He closed the landlord here, when the wife is back!
Riccardo. And 'The husband's lover?
Gigliola. Yeah!
Riccardo. Then we can give of yourself: we are co-lovers!
Gigliola. With-what?
Riccardo. Con-lovers, lovers of both spouses.
Gigliola. Why? You are the lover of his wife?
Riccardo. Sparingly! (A RINGING CELL)
Gigliola. (Reply) Hello?
Riccardo. (Reply) Hello?
Andrea. (Reply) Hello?
Riccardo. How many are we here?
Andrea. (Talking on the phone) Yeah I'll see you at 7, hello, hello!
Gigliola. Who are you?
Andrea. The loving daughter!
Gigliola. Then we can give of yourself!
Gigliola. Do not breathe in this closet!
Riccardo. We hope that her daughter has not brothers and that her husband go away as soon as possible!
Gigliola. Bravo, and I as I go? And I must also go to get Andrea!
Riccardo. Your son?
Gigliola. Yes, I must warn him, so he takes the bus!
Riccardo. How many things in common we have! Also I have a son who Andrea is called, indeed, let me call now! (CALL, A RINGING PHONE.)
Andrea. (Reply) Hello? No, this is it! (A GIGLIOLA) I keep it please! ... Yes?
Riccardo. (Talking on the phone), Andrea, where are you?
Andrea. ... I'm around!
Riccardo. Do not you feel good, there is a strange reverb! (ANOTHER CELL PHONE RINGING)
Andrea. Excuse me a moment, Dad, I will ring the other phone! ... (A GIGLIOLA, passing the first cell phone) I keep it please? ... Hello?
Gigliola. (Talking on the phone) Honey, I'm the mom!
Andrea. (Reply) Tell me, Mom, what's up?
Gigliola. As you feel bad! There is an echo!
Andrea. I feel it too, a double entry!
Riccardo. (Talking on the phone), Andrea, can you hear me?
Gigliola. (Answering the phone that gave ANDREA) There is interference! I'm talking to my son, but here I hear your voice !...( RECOGNIZING THE SON) Andrea!
Riccardo. (RECOGNIZING THE WIFE) Gigliola!
Andrea. (RECOGNIZING THE MOTHER) Mother!
Gigliola. (RECOGNIZING THE HUSBAND) Richard!
Andrea. (RECOGNIZING THE FATHER) Dad!
Riccardo. (RECOGNIZING THE SON) Andrea!
Gigliola. Because you're not at school?
Riccardo. At home we do the accounts, young man: what you did is very serious!
Andrea. Which house? The roof to live in silence you and Mom?
Riccardo. My mother and I have nothing to say to us, because we are separated in the house!
Andrea. Yeah, only in closets back together!
Riccardo. And then, how many phones you devils? You look like a switchboard!
Gigliola. "Sir, my son has all the phones that I hate to give away!
Riccardo. Andrea, now thrown away all the phones of the "lady"!
Gigliola. Andrew, the "ladies" that my phones are worth much more than a father who can not be a father!
Riccardo. Andrew, the "lady" that at least I do not need to buy the affection of my son!
Gigliola. Andrew, the "ladies" that the phone is much more important than the stupid ball that you gave him!
Riccardo. Andrew, the "lady" who are most happy to have received a ball!
Gigliola. A cell phone!
Riccardo. A ball!
Gigliola. A cell phone!
Riccardo. A ball!