Famous Black Adult Film Stars

Rise and Fall of the City of Mahagonny Mahagonny



Rise and Fall of the City of Mahagonny by Bertolt Brecht


project director
Lisa Ferlazzo Natoli

assistant director Monica
Angrisani

with
Fortunato Leccese: Paul Ackermann, Jordan Palmer. Heinrich Merg; Cristhian Piscitelli: Jakob Smith, Fabio Monaco: Joseph Lettner; Selene D'Alessandro: Widow Leocadia Begbick, Elisa Porciatti: blind Jebkin Cleo Ada, Simon Brown: Storyteller Trinity Moses, Matthew Latino: Trinity Moses Clarke, Simone Barraco: Willy Attorney; Ramona Nardò: Jenny; Kadia Baston: Kattrin Singer, Emanuela Lumare: Polly Waarg; Imma Lombardi: Anna Balicki, Chiara Lombardo. Amalia Balicki

stills
Maddalena Parise

choruses and songs
Marta Zanazzi

costumes
Gianluca Falaschi

scenes
Fabiana Di Marco

assistente alle scene
Marianne Ferrand

aiuto regia
Ilenia Caleo

luci
Augusro Canu

fotografie
Sveva Bellucci

note
Cosa accadrebbe se, facendo un tentativo, costruissimo una città dal nulla nel mezzo di un paese qualsiasi e se la costruissimo per prosperare malgrado tutto, secondo una sola regola: “Tenete a mente: prima mangiare, numero due d’amor l’incanto, terzo, la boxe non tralasciare, quarto sborniarsi e questo è quanto. Ma sia ben chiaro that here nothing is forbidden? And why not? It looks like a small paradise of anarchy.
The City of Mahagonny says "Everything is permitted" and intentionally omits to show the other direction of the coin, the question: "Who?". We'll find out when the burning city has already closed its doors behind our backs, because Mahagonny has a small defect, it needs money, and the lack of this is "the most crimes that may give the earth." Brecht - thanks to a reverse experiment, using popular themes, jazz ballads, a chorus of disgust and wonderful characters and setting 'American' that echoes amplified to West Germany and all - tells us that "we are already in hell." And, building a small epic, writes about our protest signs: "For private property. The fair share of worldly goods. The unjust distribution of worldly goods ... "as if it were a caustic black mass of capitalism. Mahagonny seems to have no 'place', however, leaves a trail map, and his playing behind us just believe in him turned their backs. Paul discovered him at his own expense Ackermann, giving a chance, a dark instinct, not really 'revolutionary' but almost. Almost. At his death, here's what remains: on stage, on a pillow, the earthly goods of Ackermann - a clock, pistol, checkbook and shirt - and the chorus of Mahagonny presses in procession carrying those signs, while you can still hear singing "Oh, Moon of Alabama."
job born from what is little more than an individual if you 'pull' from the opera music, leaving only the iron core, perfect for reflection on the polis, and the rules and rituals that mark the choices steps. To put a brutal scene in "'culinary work," as called Brecht, and amused. That leaves it open to the public only after the task of come to terms with the nature of the table loaded with all sorts for him. Of that subject we have, together, re-wrote the track, hazardous products and new characters, deep lines, and thus a map of Mahagonny was designed around a new city or images of unknown men and women, a photo of the moon, songs Weill, words of Brechtian other texts - in short, a sort of homage to a theater that has fallen in love and there is still referred to as 'the theater to make the world more manageable'.