Patent Foramen Ovale More Condition_symptoms

Farewell, My Concubine (book and film)

Few people know that this wonderful film is based on a novel of 1985, written by Lilian Lee, published in Italy until 1993, probably to coincide with the film, the original title, Cell, Farewell to my concubine, in Italian translated as Farewell, My Concubine.

The first time I happened to see the film was in May 2004 and I was so fascinated that, learning from the titles that was taken from a book, I hasten to buy it immediately.
In the library, as prevedevasi, did not find him, even as stock fund: he was too old, having been p ublications 11 years ago. So sifting through the Internet, through a beautiful and well stocked library of Rome of new and used, the library Tara, I found what I was looking for and in less than no time I received the book (published by Frassinelli) edition original, used but in excellent condition. One sees here the hand, despite the blinding flash.
course, how to live!, Before giving an overall I've been waiting to read the book and, once done (and covered the film), I finally decided to write a review on both representations of Farewell, My concubi na.
But from the movie.

Farewell, My Concubine attended the 1993 Cannes Film Festival winning, ex aequo, the Palme d'Or with another English film director Jane Campion's The Piano. If
Piano had a brilliant distribution, thanks to the international launch of the Croisette, the fate distribution di Addio, mia concubina è stato invece lento e difficoltoso, quasi non meritass e il premio ricevuto, ed è uscito in sordina, sul mercato italiano, diffondendosi solo grazie alla "forza della propria preziosità stilistica e dall'ambiguità di una tematica sofferta, nella complessità delle dinamiche private e politiche della Cina del XX secolo". (Ezio Leoni)

Il FIL M abbraccia mezzo secolo di storia cinese, esattamente dal 1925 al 1977. E', teoricamente, la rievocazione della grandezza e della miseria dell'Opera di Pechino. Ma questa grande forma di teatro, a noi occidentali quasi del tutto sconosciuta, fa solo da sfondo alla vicenda dei due protagonisti and their story of love and friendship. But
proceed in order.

The beginning of the film is that of a 'gay representation in the square of the Peking Opera school kids, aspiring actors "adopted" by Master Guan.

We are in 1925.
A woman and a child wander through the crowd, but obviously without a real intention to follow the show.
Later the same woman will submit to the child master Guan, Douzi her son, 9 years old. Do you want to assign to him because he makes an actor and has a secure future and a post or where to live. She is a prostitute and, while being able to maintain it, can not keep him because he is a male. Had he been a girl's future was assured. When
master Guan team baby, he likes what he sees. Douzi is, in fact, a slender boy with features very fine and delicate incarnation. Great for parties by dan (female). But come
observation of the hands, the baby refuses to take out his right hand and when the master forces him, shivering: the child has six fingers. So he refuses and sends him away and his mother.
The woman, desperate, is it not just to win, and grabbed a large knife craftsman this around, do not hesitate to cut the obstacle which opposes the child to be accepted into that school, the sixth finger. Shooting
entandolo to master Guan with the bandaged hand, she signed, or rather, make a cross on the contract and gave his son to school Peking Opera.

Traditionally, up to the years 50-60 (precisely but with the advent of OISM) these institutions were all male, the female parts were always interpreted by actors dressed as women.
experience in the school of Peking Opera is made of hard discipline and corporal punishment humiliating. While not learning to read and write, would- attori devono subire l'indottrinamento culturale sui rigorosi riti teatrali e sull a simbiosi dei ruoli che interpreteranno e in cui, man mano, identificheranno la propria personal ità.
A Douzi, così delicato e dai lineamenti gentili, era più che scontato c he venissero affidati ruoli femminili. A Shitou, l'altro protagonista, di tre anni maggiore di Douzi (ne aveva 12), già più robusto e sviluppato, sembrano congeniali i ruoli dei grandi personaggi maschili. E quale opera migliore di Addio, mia concubina poteva essere loro più congeniale?
E' necessario qui aprire una parentesi sull'opera in questione. Addio, mia concubina è una reale opera of classical Chinese drama, one of the most charming and popular texts. In the past, most were handed down orally and written by a real author, as long as a great actor Mei Lanfang (1894-1961), the most famous interpreter of roles dan (female characters in Beijing opera), has rewritten the drama his own way, drawing directly from long personal experience, as well as moving along a weak boundary that should, theoretically, separate theater and life, perc bear human and artistic.
There, as in Mei Lanfang, the approach co biographers, perhaps the one that best fits the context and all 'approach of rewriting the text of the drama, enhanced, because it is a version of this, enriched by the personal interpreter dan.
E ', perhaps, thought that Mei Lanfang Lilian Lee, when he wrote his novel, but transferring it to the character of Douz, more lyrical and pathetic. But to return to
FILM.
We had been childhood, or rather, in the early years of school and theater Douzi Shitou.
As in any large environment, populated by many people, as in this case, the school teacher Guan, many children, is the latest addition to the costs for all and a little taken away or being targeted for small dispettucci etc.. Just happens to small esto qu Douzi, when will di fronte a tutti quei ragazzini scatenati. Solo uno, un pò più grandicello, Shitou, lo stesso che aveva visto esibirsi in piazza quando era ancora in compagnia della mamma, prenderà le sue parti e lo difenderà dagli altri, prendendolo sotto la sua ala protettiva e guidandolo nelle cose a lui ancora sconosciute. E' con Shitou che stringerà un rapporto dal confine mai molto chiaro. Se sarà più fraterno o più amoroso non si capirà, né lo capirà mai lo stesso Douzi.
Il tempo passa e i due protagonisti, ormai ancorati ai loro personaggi dell'imperatore Xiao Yu e della sua fedele concubina Yu Ji, cambieranno anche nomi. Shitou diventerà Duang Xiaolou (Zhang Fengyi) e Douzi, Cheng Dieyi (Leslie Cheung).
Their triumphant career goes well with the worsening of the Japanese invasion, until aq hen Xiaolou Juxian not marry a prostitute.

Dieyi take the bad news of the intrusion of women in its relationship with Hill ga. Juxian, however, after the first impact and soon realize the hostility of his brother which has become of her husband, also raise the defenses.

The movie continues with several twists , which are partly addressed in the delineation of the figures of the characters described below. Not to ruin
surprise and pleasure of seeing and enjoying this wonderful film, suffice it to say only that the two male protagonists, and got back together after being separated and over again, and forever will be forcibly removed during the Cultural Rivouzione.
Many years later rehabilitated, will be invited by the government to do a private performance of their battle cry, Farewell, conc Ubin.
Dieyi seize this occasion to realize his dream and sublime greatest wish: to die as his concubine Yu Ji, under the eyes of his beloved master.

Dieyi OF THE FIGURE-OF Douz and Shitou XIAOLOU-IN THE BOOK AND FILM.
In the movie the BOOK, Douzi-Dieyi not born with homosexual tendencies. Quite the contrary. E 'imposition from outside and wanted him almost convinced of it, in addition to circumstances. As a child, both as a man who always keeps an almost feminine delicacy, the master Guan, with expert connoisseur's eye, turning him, since childhood, a female roles. It will be tough for the small Douzi, the struggle to convince himself to be a girl instead of a child: to play a part to perfection needed, according to the teachings of the most classic, get into character and / or identify with it. And if the lot had happened Douzi to play female roles, therefore, was to enter part of the girl. E 'from there for ever confuse the clear line of demarcation between masculine and feminine and will Shitou-Xiaolou, that since the first time has risen to its strong of Fensore against the cruel jokes of the other fellow , c ome pimp his idol, his father and mother, their kings and imp Erator, his brother and his fellow partners.
Dieyi will always live in the idea that the same rules are in force in the life of the theatrical reality, and so in immedesimerà Yu Ji, the star of Farewell My Concubine, which confuse the boundaries between reality and fiction and end up really for credersi donna intrecciando anche rapporti omosessuali con uomini privi di scrupoli. Ma mai con Xiaolou. Dal canto suo Shitou-Xiaolou, se si comporterà come un paladino di giustizia col piccolo Douzi, è solo per solidarietà nei confronti del nuovo arrivato, e per carattere, essendo di indole più spavalda e coraggiosa, meno incline di Douzi-Dieyi, alla malinconia.
Il risultato è, infatti, il destino dei ruoli che ricoprirà a teatro: quelli di re, generale, imperatore. S arà sempre comunque un grande condottiero e non vedrà mai in Douzi-Dieyi un possibile partner, anche durante il pieno fulgore della loro gioventù baciata dalla fortunata carriera.

Al contrario di Dieyi, Shitou-Xiaolou sarà un uomo in tutto e per tutto. Per lui non ci saranno confusioni di ruoli teatrali con la vita vera, né sessuali; ed essendo un giovane libero ed energico, riverserà parte delle sue energie sulle donne, in particolare su una che fa la prostituta alla Casa dei Fiori, famosa casa di tolleranza di Pechino. La fortunata Juxian è una tra le prostitute più ricercate, ed è un pò grazie alla sua avvenenza, un pò grazie alle sue arie seduttive, che riuscirà a far capitolare l'attore e a farsi sposare, sollevando le ire del fraterno compagno Dieyi, che vivrà questa novità come una fatale intrusione, che incrinerà, se non spezzerà il fragile equilibrio che si era st ability between him and Xiaolou.

FIGURE OF Juxian
In the movie the BOOK Dieyi, we said, take the bad news of the marriage of Xiaolou. In
FILM Juxian, facing the hostility of Dieyi will, in principle, puzzled but then, after the first impact, raise defenses and will behave conseg uence.
In the book, however, seems Juxian not immediately realize this ill-concealed emotion. In fact, many times with attempts Dieyi approaches positive and friendly, he always refused contemptuously, and Juxian, in the novel is less calc olatrice in the film, will be frightened in front of these responses and will not explain, first, why. Only later discover the jealousy of Dieyi against him to protect his friend. FILM

In the figure of Juxian, played masterfully by the talented Gong Li, Chinese actress best known in the West, is a figure that most poisonous in the book, the more bitter and resentful, rose from the venom of the attention turns to his friend Xiaolou and not only to her, as he would like. It thus appears as a kind of angelic-looking harpy. Calculator as required to be imposed, so subtle and unassuming, to Xiaolou to get married to take revenge on his destiny to be finished, otherwise, within the walls of the brothel. And later, again in the film, when will reveal its true nature, commander almost giving her husband Rod, requiring him to give up acting for the seller to get a watermelon, is a figure too shabby. The J
uxian the book, however, will not impose her husband never to leave to leave the theater. Xiaolou When it does, it will be only after the nth jealous of Dieyi against women.
Now in the book as in the movie, you have to master Guan bring together the two actors in the two mythical past. But we think the Japanese invasion to divide again and that will Dieyi, enjoying the protection of a rich and powerful character belonging to the Opera in Beijing, Yuan Siye teacher (with whom they have sex with men, in spite of himself), out of the hands of the invaders Xiaolou, arrested - for having rebelled during a performance, taking only a small concert for the court of the Japanese military led by their general, connoisseur and lover of Peking Opera.
Xiaolou The initiative to free the Japanese was not occurred to Dieyi, now deemed to have finished his career with his companion or but to Juxian, knowing that her relationship with Master Yuan, promises to leave Xiaolou free, provided that he intervene on behalf of her husband. Something that will never do.

This agrees with the book. The following is the vice of opium Diey i; \u200b\u200bthe advent of the Kuomintang before and after Mao, as well as the betrayal that the Red Guards of the Cultural Revolution lay the three during the autodenunce and absurd accusations to find out where s 'traitor attached to undermine the old regime and therefore subversive of the current one.
this summary trial occurred in China since 1966, at the behest of Mao's third wife Jiang Qing, were accompanied by beatings by punishing these kids for the Red Guards, who, for the most part, ended up killing the accused, not had a chance to defend themselves.
E 'during one of these processes to the artists of the theater, which is the dramatic culmination of the whole affair.
Xiaolou, forced to confess to the sound of beatings, reveals that her partner has engaged in sodomy with master Yuan Siye already gone to death. At that Dieyi, in response, affected by the revelation and all the years she had had to endure the presence of Juxian, spits out the truth about the rival was a prostitute in the House of Flowers.
Juxian, was there, now of age, was immediately seized and subjected to the same treatment other Red Guards.
When all will come back and Xiaolou home will make a grisly discovery: the body of his wife dangling from the ceiling and lifeless.

Many years later, the two actors in FILMS, rehabilitated and convened by the Royal me current Reciter year together for the last time and Dieyi, ever faithful to the transposition of the theater in the life real, as does the protagonist of A Farewell, my concubine, Yu Ji, cut his throat with the sword of his sir.

The novel moves away from this film, but we can also understand why. The final death has something lyrical and certainly seemed at the same writer, Lilian Lee - who drew up the screenplay in collaboration with Lu Wei, ideal to finish a superb films such as Chen Kaige.

BOOK
Ini Titian here for discrepancies with the film.
The author, after the dramatic statement of the Cultural Revolution, he continued to tell the story of the two protagonists.
Xiaolou, after the re-education campaign in the south, was restored and moved to Hong Kong where he lives in a sublet apartment in a meager pension conferred upon him by that government, still a British colony, as a refugee.
Dieyi after he was also in physiotherapy, rehabilitation, has taken the path of Mao's mortedi theater and was appointed director of the glorious Beijing Opera. It 's time master Cheng and directs a company of young and talented actors.
Their last encounter in the novel take place due to a tour of the company for all of China, which will also reach Hong Kong in 1982. It will be because many of the posters reported the name of Cheng Dieyi the theater, which will Xiaolou aware of its presence in Hong Kong. But when it was
courage and put aside old grudges, Xiaolou meet the friend, who will pretty sad and unfulfilled.
Neither says much more and, while remembering once again the old days, one evening, after the representation of Farewell, My Concubine by the current company in Beijing, the two actors to recite the last time their workhorse, makeup and clothes like once.
When the concubine cuts his throat, Dieyi take the opportunity and really bring the blade of the sword to the throat hurting, but not fatally, as it does in the film. At the urging of Xiaolou, frightened at the sight of blood, Dieyi, back to reality, you will realize that the show is really over and that everything was just a dream and that would not die for love. What he had lived was just a trick of the mind, niente di più, ma non gli aveva impedito di rivelare, sorridendo all'amico, quella verità che aveva sempre tenuto celata in sé stesso: - Ho sempre voluto essere Yu Ji! -

A quella eroina aveva dato tutto sé stesso e adesso sapeva con certezza che quella con Xiaolou era stata la sua ultima rappresentazione.
Il LIBRO finisce poco dopo con il ritorno di Dieyi a Pechino e la dichiara zione del 26 settembre 1984 che Hong Kong nel 1997 sarebbe tornata alla Cina. Ma a Xiaolou non importa, perchè di sicuro, fino ad allora lui, ne era sicuro, non sarebbe arrivato.

LA CRITICA AL LIBRO
Pur essendo scritto bene ed essendo un ottimo soggetto che attraversa mezzo secolo di storia cinese, questo romanzo soffre di una pecca evidente tra la prima e la seconda parte.
Nella prima metà Lilian Lee affronta in modo piuttosto frettoloso l'infanzia e la gioventù dei due protagonisti. Spiega, abbastanza dettagliatamente, l'Opera di Pechino nei suoi retroscena e nei suoi fasti, ma non si sofferma chiaramente sul periodo storico, sulle influenze che si ripercuotono sul teatro e la cultura degli anni 20.
La narrazione va avanti solo come una mera e superficiale cronistoria, senza né approfondimenti psicologici, né del pensiero dei personaggi. Uno di questi ultimi che patisce di più è quello di Juxian, unica figura femminile; mai predominante, si, ma mai veramente delineata con precisione.
Nella seconda parte poi, il romanzo prende un'altra piega.

Siamo negli anni della dittatura maoista. Tutt'a un tratto Lilian Lee si profonde in dovizie di particolari sulla Rivoluzione Culturale e sulle assurdità e le atrocità che commise, andando avanti con la morte di Mao, nel 1976, il processo alla vedova, fomentatrice della Rivoluzione e dei principi del Libro Rosso, fino ad arrivare alla dich iarazione, nel 1984, della resa di Hong Kong da parte degli inglesi.
E' come se la scrittrice, in questo romanzo, abbia voluto dar prova della sua conoscenza del teatro dell'Opera di Pechino, facendo, al contempo, una denuncia the atrocities of the Maoist period, certainly lived by himself, since his first writings have appeared since 1976. And being born in Hong Kong, wanted to highlight the contrast of the disputed British colony of those years with the rest of China.

The PROCEEDINGS about this book is not all rosy. Although written in a pleasant and smooth, not very deep as the film suggests to those who, like me, you've seen that before.

It 'still a subject of interest from the explanations and fascinating and unusual.

THE FILM
played masterfully by all three actors, this film is really a great social fresco. The greatest merit, it's time to say, goes to the great director Chen Kaige, director of the antagonist of the other major Chinese cinema today, Zhang Yimou.
This beautiful film, the fifth of the director, in addition to having won the Golden Palm at the 1993 Cannes Film Festival, as we said earlier, he also won the Golden Globe for best foreign film and had two Oscar nomination for best Best Foreign Language Film photography.
Critics have hailed this artistic representation as "a metaphor for life lived uta and merit of the film was also to give us memorable and evocative sequences by real auteur, from the aesthetic splendor and bombastic" (Ezio Leoni) .
meravglioso This film, compared to The Last Emperor Bertolucci for "decorative taste wild," he changed the history of Eastern cinema, dedicated to international fame and one of the finest writers of popular Asian cinema.
Who does not like this film style or genre, will find this film long-winded and heavy, if not endless, for questo, pur consigliandolo a tutti, è un film adatto a un certo pubblico e ad un certo gusto, che ama, prima di tutto, la cultura e la storia cinese. Non aggiungo altro.

La biografia di Chen Kaige e la sua cinematografia è ormai straconosciuta e a disposizione in internet, per questo non mi è sembrato opprtuno scrivere su di essa.

CEN NI SULL' OPERA DI PECHINO
L'Ope ra di Pechino ha le sue origini all'inizio del 1800. E' una sintesi di diversi stili etnici che affondano le loro radici in una tradizione millenaria.
Negli spettacoli of this form of theatrical art is the visible force ancient history, visible on heavy makeup based on white, red and black, played together to create the face of the actresses (and dan a time) a 'mysterious expression, including the infinitely sweet and menacing. In the film, Chen Kaige
wisely conducted an entire sequence shown in the dressing rooms for artists, when applying heavy makeup or dress in their colorful costumes, or show their acting techniques.
"The strength of Peking Opera - Henry writes Pan La Nuova Sardegna (22/12/1995) - is all in the tradition. A tradition that is based on the extraordinary versatility of these artists who are actors, but at the same time, acrobats, dancers, mimes and, on occasion, even singers ... the result of a physical and mental preparation to be manic "(as we have shown Lilian Lee and Chen Kaige). It is in this, In my opinion, the greatest merit of the writer and director: bringing the light of the large international audience, a theatrical art forms of the highest and most strenuous of China.
Perhaps this explains why a great playwright like Bertolt Brecht, he remained fascinated by the Opera in Beijing, he had seen in Moscow in 1935.

My review ends here, by entering only a last detail about the actor who played Dieyi, Leslie Cheung,
The versatile actor / singer who committed suicide in 2003, jumping from the balcony of a hotel room in Hong Kong, almost foreboding, ten years earlier, at the time of Farewell, My Concubine in 1993 of what reserved fate.
In the film, not coincidentally, had been entrusted with a part built almost tailor-made, that of concubine, thanks to her angelic appearance and his extraordinary voice, which you can appreciate the beauty during the end credits. Too bad, to lose such a good artist!

Well, my "papyrus" ends here. It's up to you now choose whether to read the book or see the movie first. Meanwhile, happy reading and happy viewing.
the next.

Patent Foramen Ovale More Condition_symptoms

Farewell, My Concubine (book and film)

Few people know that this wonderful film is based on a novel of 1985, written by Lilian Lee, published in Italy until 1993, probably to coincide with the film, the original title, Cell, Farewell to my concubine, in Italian translated as Farewell, My Concubine.

The first time I happened to see the film was in May 2004 and I was so fascinated that, learning from the titles that was taken from a book, I hasten to buy it immediately.
In the library, as prevedevasi, did not find him, even as stock fund: he was too old, having been p ublications 11 years ago. So sifting through the Internet, through a beautiful and well stocked library of Rome of new and used, the library Tara, I found what I was looking for and in less than no time I received the book (published by Frassinelli) edition original, used but in excellent condition. One sees here the hand, despite the blinding flash.
course, how to live!, Before giving an overall I've been waiting to read the book and, once done (and covered the film), I finally decided to write a review on both representations of Farewell, My concubi na.
But from the movie.

Farewell, My Concubine attended the 1993 Cannes Film Festival winning, ex aequo, the Palme d'Or with another English film director Jane Campion's The Piano. If
Piano had a brilliant distribution, thanks to the international launch of the Croisette, the fate distribution di Addio, mia concubina è stato invece lento e difficoltoso, quasi non meritass e il premio ricevuto, ed è uscito in sordina, sul mercato italiano, diffondendosi solo grazie alla "forza della propria preziosità stilistica e dall'ambiguità di una tematica sofferta, nella complessità delle dinamiche private e politiche della Cina del XX secolo". (Ezio Leoni)

Il FIL M abbraccia mezzo secolo di storia cinese, esattamente dal 1925 al 1977. E', teoricamente, la rievocazione della grandezza e della miseria dell'Opera di Pechino. Ma questa grande forma di teatro, a noi occidentali quasi del tutto sconosciuta, fa solo da sfondo alla vicenda dei due protagonisti and their story of love and friendship. But
proceed in order.

The beginning of the film is that of a 'gay representation in the square of the Peking Opera school kids, aspiring actors "adopted" by Master Guan.

We are in 1925.
A woman and a child wander through the crowd, but obviously without a real intention to follow the show.
Later the same woman will submit to the child master Guan, Douzi her son, 9 years old. Do you want to assign to him because he makes an actor and has a secure future and a post or where to live. She is a prostitute and, while being able to maintain it, can not keep him because he is a male. Had he been a girl's future was assured. When
master Guan team baby, he likes what he sees. Douzi is, in fact, a slender boy with features very fine and delicate incarnation. Great for parties by dan (female). But come
observation of the hands, the baby refuses to take out his right hand and when the master forces him, shivering: the child has six fingers. So he refuses and sends him away and his mother.
The woman, desperate, is it not just to win, and grabbed a large knife craftsman this around, do not hesitate to cut the obstacle which opposes the child to be accepted into that school, the sixth finger. Shooting
entandolo to master Guan with the bandaged hand, she signed, or rather, make a cross on the contract and gave his son to school Peking Opera.

Traditionally, up to the years 50-60 (precisely but with the advent of OISM) these institutions were all male, the female parts were always interpreted by actors dressed as women.
experience in the school of Peking Opera is made of hard discipline and corporal punishment humiliating. While not learning to read and write, would- attori devono subire l'indottrinamento culturale sui rigorosi riti teatrali e sull a simbiosi dei ruoli che interpreteranno e in cui, man mano, identificheranno la propria personal ità.
A Douzi, così delicato e dai lineamenti gentili, era più che scontato c he venissero affidati ruoli femminili. A Shitou, l'altro protagonista, di tre anni maggiore di Douzi (ne aveva 12), già più robusto e sviluppato, sembrano congeniali i ruoli dei grandi personaggi maschili. E quale opera migliore di Addio, mia concubina poteva essere loro più congeniale?
E' necessario qui aprire una parentesi sull'opera in questione. Addio, mia concubina è una reale opera of classical Chinese drama, one of the most charming and popular texts. In the past, most were handed down orally and written by a real author, as long as a great actor Mei Lanfang (1894-1961), the most famous interpreter of roles dan (female characters in Beijing opera), has rewritten the drama his own way, drawing directly from long personal experience, as well as moving along a weak boundary that should, theoretically, separate theater and life, perc bear human and artistic.
There, as in Mei Lanfang, the approach co biographers, perhaps the one that best fits the context and all 'approach of rewriting the text of the drama, enhanced, because it is a version of this, enriched by the personal interpreter dan.
E ', perhaps, thought that Mei Lanfang Lilian Lee, when he wrote his novel, but transferring it to the character of Douz, more lyrical and pathetic. But to return to
FILM.
We had been childhood, or rather, in the early years of school and theater Douzi Shitou.
As in any large environment, populated by many people, as in this case, the school teacher Guan, many children, is the latest addition to the costs for all and a little taken away or being targeted for small dispettucci etc.. Just happens to small esto qu Douzi, when will di fronte a tutti quei ragazzini scatenati. Solo uno, un pò più grandicello, Shitou, lo stesso che aveva visto esibirsi in piazza quando era ancora in compagnia della mamma, prenderà le sue parti e lo difenderà dagli altri, prendendolo sotto la sua ala protettiva e guidandolo nelle cose a lui ancora sconosciute. E' con Shitou che stringerà un rapporto dal confine mai molto chiaro. Se sarà più fraterno o più amoroso non si capirà, né lo capirà mai lo stesso Douzi.
Il tempo passa e i due protagonisti, ormai ancorati ai loro personaggi dell'imperatore Xiao Yu e della sua fedele concubina Yu Ji, cambieranno anche nomi. Shitou diventerà Duang Xiaolou (Zhang Fengyi) e Douzi, Cheng Dieyi (Leslie Cheung).
Their triumphant career goes well with the worsening of the Japanese invasion, until aq hen Xiaolou Juxian not marry a prostitute.

Dieyi take the bad news of the intrusion of women in its relationship with Hill ga. Juxian, however, after the first impact and soon realize the hostility of his brother which has become of her husband, also raise the defenses.

The movie continues with several twists , which are partly addressed in the delineation of the figures of the characters described below. Not to ruin
surprise and pleasure of seeing and enjoying this wonderful film, suffice it to say only that the two male protagonists, and got back together after being separated and over again, and forever will be forcibly removed during the Cultural Rivouzione.
Many years later rehabilitated, will be invited by the government to do a private performance of their battle cry, Farewell, conc Ubin.
Dieyi seize this occasion to realize his dream and sublime greatest wish: to die as his concubine Yu Ji, under the eyes of his beloved master.

Dieyi OF THE FIGURE-OF Douz and Shitou XIAOLOU-IN THE BOOK AND FILM.
In the movie the BOOK, Douzi-Dieyi not born with homosexual tendencies. Quite the contrary. E 'imposition from outside and wanted him almost convinced of it, in addition to circumstances. As a child, both as a man who always keeps an almost feminine delicacy, the master Guan, with expert connoisseur's eye, turning him, since childhood, a female roles. It will be tough for the small Douzi, the struggle to convince himself to be a girl instead of a child: to play a part to perfection needed, according to the teachings of the most classic, get into character and / or identify with it. And if the lot had happened Douzi to play female roles, therefore, was to enter part of the girl. E 'from there for ever confuse the clear line of demarcation between masculine and feminine and will Shitou-Xiaolou, that since the first time has risen to its strong of Fensore against the cruel jokes of the other fellow , c ome pimp his idol, his father and mother, their kings and imp Erator, his brother and his fellow partners.
Dieyi will always live in the idea that the same rules are in force in the life of the theatrical reality, and so in immedesimerà Yu Ji, the star of Farewell My Concubine, which confuse the boundaries between reality and fiction and end up really for credersi donna intrecciando anche rapporti omosessuali con uomini privi di scrupoli. Ma mai con Xiaolou. Dal canto suo Shitou-Xiaolou, se si comporterà come un paladino di giustizia col piccolo Douzi, è solo per solidarietà nei confronti del nuovo arrivato, e per carattere, essendo di indole più spavalda e coraggiosa, meno incline di Douzi-Dieyi, alla malinconia.
Il risultato è, infatti, il destino dei ruoli che ricoprirà a teatro: quelli di re, generale, imperatore. S arà sempre comunque un grande condottiero e non vedrà mai in Douzi-Dieyi un possibile partner, anche durante il pieno fulgore della loro gioventù baciata dalla fortunata carriera.

Al contrario di Dieyi, Shitou-Xiaolou sarà un uomo in tutto e per tutto. Per lui non ci saranno confusioni di ruoli teatrali con la vita vera, né sessuali; ed essendo un giovane libero ed energico, riverserà parte delle sue energie sulle donne, in particolare su una che fa la prostituta alla Casa dei Fiori, famosa casa di tolleranza di Pechino. La fortunata Juxian è una tra le prostitute più ricercate, ed è un pò grazie alla sua avvenenza, un pò grazie alle sue arie seduttive, che riuscirà a far capitolare l'attore e a farsi sposare, sollevando le ire del fraterno compagno Dieyi, che vivrà questa novità come una fatale intrusione, che incrinerà, se non spezzerà il fragile equilibrio che si era st ability between him and Xiaolou.

FIGURE OF Juxian
In the movie the BOOK Dieyi, we said, take the bad news of the marriage of Xiaolou. In
FILM Juxian, facing the hostility of Dieyi will, in principle, puzzled but then, after the first impact, raise defenses and will behave conseg uence.
In the book, however, seems Juxian not immediately realize this ill-concealed emotion. In fact, many times with attempts Dieyi approaches positive and friendly, he always refused contemptuously, and Juxian, in the novel is less calc olatrice in the film, will be frightened in front of these responses and will not explain, first, why. Only later discover the jealousy of Dieyi against him to protect his friend. FILM

In the figure of Juxian, played masterfully by the talented Gong Li, Chinese actress best known in the West, is a figure that most poisonous in the book, the more bitter and resentful, rose from the venom of the attention turns to his friend Xiaolou and not only to her, as he would like. It thus appears as a kind of angelic-looking harpy. Calculator as required to be imposed, so subtle and unassuming, to Xiaolou to get married to take revenge on his destiny to be finished, otherwise, within the walls of the brothel. And later, again in the film, when will reveal its true nature, commander almost giving her husband Rod, requiring him to give up acting for the seller to get a watermelon, is a figure too shabby. The J
uxian the book, however, will not impose her husband never to leave to leave the theater. Xiaolou When it does, it will be only after the nth jealous of Dieyi against women.
Now in the book as in the movie, you have to master Guan bring together the two actors in the two mythical past. But we think the Japanese invasion to divide again and that will Dieyi, enjoying the protection of a rich and powerful character belonging to the Opera in Beijing, Yuan Siye teacher (with whom they have sex with men, in spite of himself), out of the hands of the invaders Xiaolou, arrested - for having rebelled during a performance, taking only a small concert for the court of the Japanese military led by their general, connoisseur and lover of Peking Opera.
Xiaolou The initiative to free the Japanese was not occurred to Dieyi, now deemed to have finished his career with his companion or but to Juxian, knowing that her relationship with Master Yuan, promises to leave Xiaolou free, provided that he intervene on behalf of her husband. Something that will never do.

This agrees with the book. The following is the vice of opium Diey i; \u200b\u200bthe advent of the Kuomintang before and after Mao, as well as the betrayal that the Red Guards of the Cultural Revolution lay the three during the autodenunce and absurd accusations to find out where s 'traitor attached to undermine the old regime and therefore subversive of the current one.
this summary trial occurred in China since 1966, at the behest of Mao's third wife Jiang Qing, were accompanied by beatings by punishing these kids for the Red Guards, who, for the most part, ended up killing the accused, not had a chance to defend themselves.
E 'during one of these processes to the artists of the theater, which is the dramatic culmination of the whole affair.
Xiaolou, forced to confess to the sound of beatings, reveals that her partner has engaged in sodomy with master Yuan Siye already gone to death. At that Dieyi, in response, affected by the revelation and all the years she had had to endure the presence of Juxian, spits out the truth about the rival was a prostitute in the House of Flowers.
Juxian, was there, now of age, was immediately seized and subjected to the same treatment other Red Guards.
When all will come back and Xiaolou home will make a grisly discovery: the body of his wife dangling from the ceiling and lifeless.

Many years later, the two actors in FILMS, rehabilitated and convened by the Royal me current Reciter year together for the last time and Dieyi, ever faithful to the transposition of the theater in the life real, as does the protagonist of A Farewell, my concubine, Yu Ji, cut his throat with the sword of his sir.

The novel moves away from this film, but we can also understand why. The final death has something lyrical and certainly seemed at the same writer, Lilian Lee - who drew up the screenplay in collaboration with Lu Wei, ideal to finish a superb films such as Chen Kaige.

BOOK
Ini Titian here for discrepancies with the film.
The author, after the dramatic statement of the Cultural Revolution, he continued to tell the story of the two protagonists.
Xiaolou, after the re-education campaign in the south, was restored and moved to Hong Kong where he lives in a sublet apartment in a meager pension conferred upon him by that government, still a British colony, as a refugee.
Dieyi after he was also in physiotherapy, rehabilitation, has taken the path of Mao's mortedi theater and was appointed director of the glorious Beijing Opera. It 's time master Cheng and directs a company of young and talented actors.
Their last encounter in the novel take place due to a tour of the company for all of China, which will also reach Hong Kong in 1982. It will be because many of the posters reported the name of Cheng Dieyi the theater, which will Xiaolou aware of its presence in Hong Kong. But when it was
courage and put aside old grudges, Xiaolou meet the friend, who will pretty sad and unfulfilled.
Neither says much more and, while remembering once again the old days, one evening, after the representation of Farewell, My Concubine by the current company in Beijing, the two actors to recite the last time their workhorse, makeup and clothes like once.
When the concubine cuts his throat, Dieyi take the opportunity and really bring the blade of the sword to the throat hurting, but not fatally, as it does in the film. At the urging of Xiaolou, frightened at the sight of blood, Dieyi, back to reality, you will realize that the show is really over and that everything was just a dream and that would not die for love. What he had lived was just a trick of the mind, niente di più, ma non gli aveva impedito di rivelare, sorridendo all'amico, quella verità che aveva sempre tenuto celata in sé stesso: - Ho sempre voluto essere Yu Ji! -

A quella eroina aveva dato tutto sé stesso e adesso sapeva con certezza che quella con Xiaolou era stata la sua ultima rappresentazione.
Il LIBRO finisce poco dopo con il ritorno di Dieyi a Pechino e la dichiara zione del 26 settembre 1984 che Hong Kong nel 1997 sarebbe tornata alla Cina. Ma a Xiaolou non importa, perchè di sicuro, fino ad allora lui, ne era sicuro, non sarebbe arrivato.

LA CRITICA AL LIBRO
Pur essendo scritto bene ed essendo un ottimo soggetto che attraversa mezzo secolo di storia cinese, questo romanzo soffre di una pecca evidente tra la prima e la seconda parte.
Nella prima metà Lilian Lee affronta in modo piuttosto frettoloso l'infanzia e la gioventù dei due protagonisti. Spiega, abbastanza dettagliatamente, l'Opera di Pechino nei suoi retroscena e nei suoi fasti, ma non si sofferma chiaramente sul periodo storico, sulle influenze che si ripercuotono sul teatro e la cultura degli anni 20.
La narrazione va avanti solo come una mera e superficiale cronistoria, senza né approfondimenti psicologici, né del pensiero dei personaggi. Uno di questi ultimi che patisce di più è quello di Juxian, unica figura femminile; mai predominante, si, ma mai veramente delineata con precisione.
Nella seconda parte poi, il romanzo prende un'altra piega.

Siamo negli anni della dittatura maoista. Tutt'a un tratto Lilian Lee si profonde in dovizie di particolari sulla Rivoluzione Culturale e sulle assurdità e le atrocità che commise, andando avanti con la morte di Mao, nel 1976, il processo alla vedova, fomentatrice della Rivoluzione e dei principi del Libro Rosso, fino ad arrivare alla dich iarazione, nel 1984, della resa di Hong Kong da parte degli inglesi.
E' come se la scrittrice, in questo romanzo, abbia voluto dar prova della sua conoscenza del teatro dell'Opera di Pechino, facendo, al contempo, una denuncia the atrocities of the Maoist period, certainly lived by himself, since his first writings have appeared since 1976. And being born in Hong Kong, wanted to highlight the contrast of the disputed British colony of those years with the rest of China.

The PROCEEDINGS about this book is not all rosy. Although written in a pleasant and smooth, not very deep as the film suggests to those who, like me, you've seen that before.

It 'still a subject of interest from the explanations and fascinating and unusual.

THE FILM
played masterfully by all three actors, this film is really a great social fresco. The greatest merit, it's time to say, goes to the great director Chen Kaige, director of the antagonist of the other major Chinese cinema today, Zhang Yimou.
This beautiful film, the fifth of the director, in addition to having won the Golden Palm at the 1993 Cannes Film Festival, as we said earlier, he also won the Golden Globe for best foreign film and had two Oscar nomination for best Best Foreign Language Film photography.
Critics have hailed this artistic representation as "a metaphor for life lived uta and merit of the film was also to give us memorable and evocative sequences by real auteur, from the aesthetic splendor and bombastic" (Ezio Leoni) .
meravglioso This film, compared to The Last Emperor Bertolucci for "decorative taste wild," he changed the history of Eastern cinema, dedicated to international fame and one of the finest writers of popular Asian cinema.
Who does not like this film style or genre, will find this film long-winded and heavy, if not endless, for questo, pur consigliandolo a tutti, è un film adatto a un certo pubblico e ad un certo gusto, che ama, prima di tutto, la cultura e la storia cinese. Non aggiungo altro.

La biografia di Chen Kaige e la sua cinematografia è ormai straconosciuta e a disposizione in internet, per questo non mi è sembrato opprtuno scrivere su di essa.

CEN NI SULL' OPERA DI PECHINO
L'Ope ra di Pechino ha le sue origini all'inizio del 1800. E' una sintesi di diversi stili etnici che affondano le loro radici in una tradizione millenaria.
Negli spettacoli of this form of theatrical art is the visible force ancient history, visible on heavy makeup based on white, red and black, played together to create the face of the actresses (and dan a time) a 'mysterious expression, including the infinitely sweet and menacing. In the film, Chen Kaige
wisely conducted an entire sequence shown in the dressing rooms for artists, when applying heavy makeup or dress in their colorful costumes, or show their acting techniques.
"The strength of Peking Opera - Henry writes Pan La Nuova Sardegna (22/12/1995) - is all in the tradition. A tradition that is based on the extraordinary versatility of these artists who are actors, but at the same time, acrobats, dancers, mimes and, on occasion, even singers ... the result of a physical and mental preparation to be manic "(as we have shown Lilian Lee and Chen Kaige). It is in this, In my opinion, the greatest merit of the writer and director: bringing the light of the large international audience, a theatrical art forms of the highest and most strenuous of China.
Perhaps this explains why a great playwright like Bertolt Brecht, he remained fascinated by the Opera in Beijing, he had seen in Moscow in 1935.

My review ends here, by entering only a last detail about the actor who played Dieyi, Leslie Cheung,
The versatile actor / singer who committed suicide in 2003, jumping from the balcony of a hotel room in Hong Kong, almost foreboding, ten years earlier, at the time of Farewell, My Concubine in 1993 of what reserved fate.
In the film, not coincidentally, had been entrusted with a part built almost tailor-made, that of concubine, thanks to her angelic appearance and his extraordinary voice, which you can appreciate the beauty during the end credits. Too bad, to lose such a good artist!

Well, my "papyrus" ends here. It's up to you now choose whether to read the book or see the movie first. Meanwhile, happy reading and happy viewing.
the next.

Colorado Technical Institute For Advanced Studies

Master Street


above THE PHOTOS AND 'THIS BLOG IN THE AUTHOR OF THIS BOOK, MR. Marco Rossi Doria : http://marcorossidoria.blogspot.com.

MY POST
This now-famous book published in 2000 and reissued in 2002 by L'Ancora del Mediterraneo, summarizes the experiences of Marco Rossi Doria, the author, took place over twenty years of practice professional, as a primary school teacher, was carried out in different places, touching even Africa. This sort of anthology recounts his experiences as a major primary school teacher before, and teacher of the road, while the , experiences duran you where R bones Doria became the "bones" starting volontariame nte and starting virtually from scratch, from his native Naples, where the city has had, from the beginning, very busy, and that the has seen the return, after years of hiding, to undertake a new set rtante project, which is still actively in progress, "CHANCE - Masters of St sparse.

DO THE MASTER OF BUSINESS , then, is a rethinking of to report teaching adult-child, but through the stories of experiences z and occurred along that twenty years from Rossi Doria, who is the son of the inexhaustible Manlio Rossi Doria, agronomist, university professor and socialist senator ch and fought against the excessive power of Federeconsorzi through the National Assoc iazione p er's Interests the South, where he was president. The same sp
iritis with heart of Manlius was inherited by his son Tues co, which, however, if the first sent to the peasants and workers of the earth, so that a proper land reform surrendered their right to dignity The second directs the to teaching, experienced as a real mission. The teaching of
Rossi Doria father to son is geared toward children elementary school and English quarters of Naples, home of the the CHANCE project, in fact.

The book opens with a preface by Tullio De Mauro, currently Professor. Professor of Linguistics at lla Sapienza of Rome and former Minister of Education.
include a new and unconventional aspect of himself first as a student of high school and other important memories, De Mauro mica track an overview of what Rossi Doria proposed in the book, which has become a classic in the field of teaching, and that any teacher should have at least read.
E 'faced, in fact, the concept of to empowerment, defined as "transfer of power to be able to do something" (p. 6), and that all or the book, as well as all the work of' author, is based on this concept that "should such night the goal of those who want to teach, because" the 'empowerment, "says De Mauro," is the touchstone of a good teaching "(ibid.) . It notes further: "in these pages Marco Rossi Doria never tires of repeating that in ... real life skills them even the most wretched and dull and unruly young scoundrel of the English quarters or arcade, and to leverage on those real powers "to lead them on the road to recovery and achievement of other, more complex powers" (p. 8). I found it very
used the Spaziante read this interesting introduction on the overall content of the book, and much more, it was the reread the conclusion, because it allowed me to integrate good steps on focal points such as empowerment and life skills, ie ic omportamenti positive, by which you can meet the challenges of life. The experience
M Rossi Doria arch presents in the book does not start from the beginning of his career as a teacher when a young twenty-one, he began to teach, leaving unfinished his university studies, but from a "bracket" experienced in 1988 when, for reasons of health , had moved to Sudan where, while continuing to teach, had been living at the time as a pause for reflection on his life, his work and the reasons that prompted him to undertake a "job" so delicate deciding immediately that " the age of indeterminacy, but all my friends that prolonged, it was already over "(p. 30). To this question
and because he "just wanted decide no doubt ... that to do well in an unjust world is not nearly as politics ... and that instead we need a sort of ethics testimony, but persevering actions consist of the practice of a profession, daily, minute, repeated " (p. 30 ), the author who is a son, as I said before, a famous character intellectual, anti-fascist, southern and a 'Hungarian Jewish, upper-class city (taken refuge in America during adolescence to escape the Holocaust and "returned to live forever in a ruined city in southern Europe ... d IVIS by an iron curtain, with la sua città dell'infanzia inesorabilmente dall'altra parte di quella cortina” (ibidem) ), lo spiega chiaramente poco dopo, anticipando che certe domande, ad es., su quali motivazioni spingono a intraprendere questa prof essione o quanto e quali “storie di famiglia, dei fatti capiti o non capiti” (p. 31), degli anni d'infanzia, lo hanno indirizzato verso il mestiere di maestro “valgono per tutti…è certo: ognuno ha la sua storia e, nel nostro mondo, in cui è possibile scegliere, ogni storia di mestiere ha una qualche corrispondenza più profonda con le persone che l'hanno scelta”, (p. 31).

A REVIEW AND I COSC Ienzo
Why, then, there is good to be a teacher? Rossi Doria the opportunity to remain on a plateau in Sudan, for a time, in an Italian school to teach king "in Italian children and non-educated with good manners who are guests here and n ulla have to do with the world and with the life of Ephraim "(p. 28), is cause for reflection Commission on twelve years have passed from master. Reflection scaturit from a different reality found clear mind other than inside the school walls, protected by its reassuring, and what it is, instead, out of them co his country n, d the Muslim religion, the its inhabitants, its markets, its b hildren, like Ephraim Naana, the protagonist of the observation of Rossi D oria, a thirteen year old boy, black as ebony, which has the good fortune as few as a country, to work as an apprentice to the market to attend school, you learn sufficient notion ni for r pote manage his work and his life. From small
Ep hraìm had attended the evangelical school where he first learned the sufficient knowledge. Sufficient but not exhaustive, because according to the boy himself, how to teach, according to his point of view, was satisfactory in all subjects, except in mathematics at the school of Evangelicals, was "stupid like frogs who are still in the ditch to get caught: tables and calculations without geometry with all the things explained before, without question and without a doubt, true, no direct or inverse formulas to memorize in order to place areas and volumes, no parallel kilograms ... no square roots or cube , no algebra with the letters ... nessu n theorem, without having to find out ... no ... no os preserve or write the arguments to arrive at the answer, as it wilt the Islamic school where I go. My teacher to see those things mathematical evangelicals will laugh for six days, "(pp. 26-27).
fact, that affe rmation wake of Ephraim is consistent with another asserted pendent action included a couple of pages earlier in the book: "At my school the teacher of the Koran is also to include the mathematical geometry, arithmetic and algebra. These two subjects are the study of the Koran and the study of mathematics, he mixes together ... We learn the Quran and mathematics, so here I'll just example (Ephraim is for Marco Rossi Doria). Always a surah by heart, yet written to memory, and the measure has its numbers, we take the digits of this number, which is indicated in the book, the m escolar, then immediately we have to perform multiplication, division, and all other calculations "(pp. 22-23). For questions king, this insightful teacher, the boy continued, "there who loves a or a ... The teacher says: Sura-eighteen, you speak, Ephraim - Why do we have to write after the surah but first what we have to recite. But even before complaining ... I say this: - Eighteen is the number of the sura, eighteen can I divide it into equal par you for one, two, three, six, nine ... Then the teacher asks me to run just the multiplication in mind among all the numbers to which the eighteen of the sura is divided ... "(pp. 23-24).
Even back in Sudan, Rossi Doria has found the defects of a method that does not work, contrary to the merits of another Muslim implemented by the teacher, who clearly loves his work and applies his heart and mind to conduct targets, while boys or even have the lucky fortune, like Ephraim, to work and have the consent of the father to attend school, with all the sacrifices involved.

The INSEGNAMENT OR AS A VOCATION
The sacred fire of the teaching vocation, the knowledge that c make sure you do not have the wrong job is clearly and fully explained by 'author: "When it happens ... it presents an opportunity, an opportunity to get a better look at ourselves. If we do, is an inside job that begins: trying to really know ... because you've got a way and not another in this world ... Why education is an m Estie dannatamente serio e che ha a che fare molto seriamente con chi siamo: si tratta prioritariamente di incontro, di relazione umana e la qualità dell'incontro tra chi insegna e chi impara, tra chi educa e chi è educato è certamente biunivoca, ma soprattutto ha a che fare moltissimo con quel che, da dentro, ci ha spinto a insegnare. Davanti ai più piccoli e ai più giovani, presto o tardi, per quanto si voglia o si possa rim andare la domanda, ci si trova disarmati come davanti a sé stessi e ci s i chiede di nuovo…chi sono io?”, (pp. 32-33).
Le soprastanti parole di Rossi Doria, secondo me, sono una lucida analisi di riflessioni che ogni insegnante and, in general, every educator, you should ask, because the question "why I chose to do this job?" is a request for clarification with themselves that they are all places, sooner or later, whatever job you have chosen traits. And he is right to point out that Rossi Doria education is a damn hard job!

For my part, as a teacher myself, I believe that p er play a kind of profession you're forced to feel the same way vocation that attracts many to the religious vows ead EDIC to missionary activities and a bit 'as it is, in almost to the case, the episode of Rossi Doria working in Sudan. And it shows much better when, after a few pages, the author describes one of his first experiences as a teacher in Naples in 1981, when, priv or experience, just 22 years, with only teaching diploma, she found herself faced with enormous responsibilities in a school of 1700 pupils and 80 teachers, with an old school director, dutiful, like the old days, despite suffering from Parkinson's disease . Teacher in a city like Naples, where "all things seem to still shining but in most cases appear as they are: poorly made and poorly placed. Poorly developed and poorly placed, but everything, absolutely everything: the air INEE aqueduct road signs buildings raised for twenty years without any damage criterion, everywhere you turn bad and bad and see the place again ... "(p. 7 0).
Mal mass and misplaced is the great school converted from a convent, two apartments and an old pasta factory. All places of a city, Naples, like many other "equip themselves to survive" (p. 72), where mothers, grandmothers, young, aunts of pupils Rossi Doria are "all dressed in black, many of which left alone in their beds "for the murder victims" entered "in their lives suddenly without appeal "(ibid.).
A school in Naples like a crib aluminum, but that does not carry rust, and is ruled by heroin that will put God knows how many small children Rossi Doria, together with an early cigarette. A school in which the
director is careful to look at the timely arrival of the teachers who sign on time and with the black pen.
A school whose secret rio compliments a lot, puts the cards can t or be okay, but underneath it "does its commerce as well as the nature of things for so many offices still public "(p. 78), where a lot" and the director does a great deal does the Secretary "(p. 79).
A school which requires a young teacher, his first experience of losing their innocence once and immediately know the sorrow and surprise, dictating his thoughts to the author that, in order to this chaos of thoughts does not see any other way that buying a notebook and write them helplessly witnessing every morning, the loss of innocence in a place where the secretary, the college friend of the secretary, the deputy, the Secretariat apply cates, the caretakers and her colleagues are all adults from which he must distance, which must try to unravel "the real signs of how these adults who are filled with words of acts of gestures that should be a place conceived and nurtured will toward the children or at least "(p. 79), as he understood, before set foot, Rossi Doria. A reality
staggered and corrupt, then, that the author has found ato overlooked, but which, despite everything, when in class with her young students as before, a large class, much like those current of 31 students, with their white aprons and their blue ribbon, you work and you forget everything.
A class in which there is Patrick, a girl so beautiful that, according to his mother, "said the moves" (p. 102), ie epilepsy, which is in addition ad una classe di 30 piccoli scugnizzi che “sembrano pronti davvero ad un assalto…che già si spingono si dicono le parole, parolacce terrificanti, due terribili salgono sui banchi uno accenna a un calcio” (ibidem). Ed è sol o il primo giorno!
Sarà in mezzo a questa bolgia di piccoli selvaggi che Marco Rossi Doria dovrà insegnare, come riferisce il bidello Eduardo, detto il vampiro, u omo corrotto e sfaccendato, prima di tutto l'italiano perché “non è la loro lingua materna e devono imparar la lingua santa d'I talia a leggere e a scrivere e a far di conto e poi viene tutto il resto” (p. 106).
E, ancora, l'autore si renderà conto che, nonostante le ansie sul come si deve fare scuola o come si dovrebbe fare, racconta delle sue inadeguatezze, perché forse non è all'altezza della situazione, per le invidie e i sospetti che gli occhi degli altri colleghi gli trasmettono quando sono puntati addosso, l'autore scopre/scoprirà che, a furia di chinarsi, di accovacciarsi all'alte zza dei bambini, tanto più piccoli, il m aestro si mette sempre più “con gli occhi di fronte agli occhi a turno di ognuno ed è lo sguardo alla stessa altezza che costruisce pazienza, aiuta a portare le cose a compimento è il fare le cose da vicino; sì che so not great and that are higher but I put myself here now: this is the closeness that allows p aca King the motion of their bodies and the voice that cries "(p. 109). E 'be a little among the children, a step back in time, its memory, to revive the memories and emotions of the past, q hen it was the same age when his mother accompanied us to school, When you first cried for ch is n on we were still accustomed to the discipline and star in the pews, still, without playing, silent to listen to the teacher to learn, study, etc..

THE HEART OF THE SITUATION
E 'where Rossi Doria intervenes, in the midst of the situation, and reminds the reader that there are many teachers who no longer believe, "there are no default routes, safe precepts and reassuring "(p. 57). Serving new categories of reference such as empowerment, just or, which is nothing but "a complex construct that refers to a set of knowledge, relational methods, skills that allows individuals and groups to establish objectives and to develop strategies to achieve using existing resources. This definition transculturle "continues Rossi Doria "suggests the ingredients needed to set in motion an active process, which aims to tackle a difficult situation ... and tells us that we always see the children and young people as potential actors, and creative resources, active participants and not the object of measures and devices. What's more, every time we ourselves create, build and manufacture together with the children eai kids a common field of action, a power, a power operated with "(pp. 57-58). In practice, the concept of empowerment does not erase the "was nzione adult education" (ibid.), but always encourages educators to decline, however, a measure of the children with whom ever, and in any case, they to do with what they are and that express, regardless of plans and ideas down before the educational work alive.
Empowerment brought or Rossi Doria, intends to act on the resources of the report, the continuous movement of skills and knowledge in a continuous progress in the search for a solution to the problems that arise as they proceed in a real "work in progress continuously" (p. 58).
A proposal likely to continue, according to the logic of empowerment, then, the author shows us p. 61, when he suggests that "first of all we must be able to emotionally engage the children: the relationship in some way above the understanding or at least la condiziona potentemente… se la relazione educativa prende a funzionare, anche il curriculare funziona meglio e se nel gruppo-classe si instaura una buona relazione tra i pari l'effetto domino nei processi di apprendimento si duplicheranno e diventeranno sempre più rapidi… E' la relazione la chiave di volta, il centro. La logica dell'empowerment dà gli ingredienti, aiuta ad attivare le risorse, permette di dare un ordine di priorità ma a partire dalla relazione” (pp. 61-62).
Ed è proprio questo che Rossi Doria fa con la sua Associazione, posta nel cuore dei quartieri spagnoli, i quartieri di malaffare di Napoli dove, dopo anni, l'autore è tornato, nel 1998, più than ever convinced to play his work, his "vocation", chiaritasi now, like that of "master of the road" of these neighborhoods does not reign but only the underworld but also has a strong tradition of production as well as a network of services that live side by side to everything else "(p. 163). This
Association of Masters of the Road "which promoted through Rossi Doria, the project CHANCE , housed in a single open room on the road, on the walls there are posters under glass at the entrance There is a kitchen. And 'the headquarters of the volunteer to which the author has addressed since is known around the neighborhood as it does for small factories, develops it and then look for the streets. "He has the necessary preconditions," noted Rossi Doria. "The people who founded it have been for years, by choice, workers in a factory stock of the neighborhood. They know what they're talking ... They (those in the neighborhood) Wisdom manufacturing also resilient and therefore viable, able to grow. The Association wants to assist in ques "(p. 164).

Resilience. Another term proposed in the book, to be put to re sa lto. "The greatest virtue of children and young people ... A Latin verb that means to bounce, jump back ... The physics tells us that resilience is the relationship between the work required to break a finger of a certain material and the section of the same finger, is the ownership of the materials to withstand impact without breaks rsi. For some time, resilience has become a category that describes the ability of humans to cope with a daily life situation precarious ria, alarming or threatening or a state of things that keeps him away from the possibilities and opportunities in life instead he gives to others. Something
want to hit the courage to break it. And resilience is resisting intense but only for a moment and bounced back, and the virtue of the "back" feature that prevents the soul will break at that time and in the many moments that will "(p. 160) . And that is exactly what makes dealing with the Association of LOST N And, with its -stop social ", in the only room open to the street, where in and out of continuous, people of all types, "from workers, employed and unemployed people of all kinds, teachers, youth workers and street educators, volunteers, social scientists, officials, smugglers, writers, photographers, including foreigners and crazy neighborhood. And children and teenagers. Continuously. many children and many children "(p. 166). A Marco Rossi Doria seems to have found here, the heart of the entire Naples. A place where the author is, with good reason, convinced that he can re-learn his trade from scratch, starting from the beginning, because it is a place where children come to attract attention or play sports, paint, mold, or execute tasks that otherwise would not do.
In this Association there are those who follow and try to solve 'practices with judges, shall enter into places of detention and held taut wire between the families ... who runs for school, some for the places of production and trade, in the neighborhood and composite, flanked by the erratic and illegal activities ... or stop the desperate lack of jobs and resources "(pp. 168-169). It 's a constant and daily work of "translation and cultural mediation", as defined by the author, who asks: "What does the school to build a real encounter in order to offer really? E 'willing to change the language, to expand boundaries and laws? "(P.169).
appearance here in Teressa Rossi Doria is on children and young people are so equipped, the Association, gyms and creative workshops, courses computer, carpentry and DIY, photography, volleyball, gymnastics, dance and soccer, as well as places of study after school, and play every night, without preconceived barriers for entry to each: the doors are open to all and for the 'all day long. And 'one with the road, the place par excellence from which most of them.
There being, then, the terms and rules regarding the shared space, Rossi Doria is question p. 170 if "the school could not be even a little like the Association." And he himself has promoted the initiative, it seems, so here comes the project CHANCE-Masters Road, seeking to recover the teenagers who left school in order to induce them the recovery of a process of education, guiding them to reach for the title, as is the case of the fourteen which is discussed at the end of the book, chapter-postfazi one, entitled out of time, which, to time when Marco Rossi Doria wrote, was pregnant, but thanks to the care that the author and the Association have taken her, as other boys, was able to achieve a primary school, with great effort, but also with great satisfaction of its "educators-protective." "Account of being out of time: the baby arrives," writes the author, "she took fourteen years to the fifth grade because we have drawn strength, perhaps no longer with us, what could be done has been done, how many times have we pursued "(p. 232).
attitude Rossi Doria, in this passage, the epilogue of the book, always with an eye to the school and what they should be, or at least, looks like: with the English expression to learn from good practices, ie learning good practices, which are very much the international agencies and use of children, including the Association, Rossi Doria invites the public school to look around and compare, p roprio how do these agencies, to compete and accept "things good to be out of their baggage "(p. 171), to develop creatively and adapt them to their work environment, through trial and new evidence, which are inherent and inevitable, but propitious errors. With his project
CHANCE, Rossi Doria has shown that, despite all of this is just rare to school, some fourteen years as the result of the above has been obtained, some at the cost of continuous tracking and inexhaustible patience.
The proposal set out in the book from which the author intended to leave, concerned the compulsory kindergarten at least two years, to continue on a path that should last up to 16 years. Children are expected in this proposal, alongside a tutor on a personal basis, as indicated by local social services, for provide a stable reference point for adult, even in a functional reality of local initiatives, with cash prizes to those who perform their task more difficult in neighborhoods.
more important, also, must be assigned to the teacher prevalent class (in elementary) to co nsolidare an educational relationship more stable and defined, because at least the minimal acting skills, this being the age of latency.
classes, adds Rossi Doria p. 192, should not exceed 16 units, so as to enable work to consolidate the teacher, as mentioned above, because, more often than not, the reality these children are often uncontrollable, that do not go to school for days, maybe just for a whim of inspiration ("That teacher is ugly and disgusting to me and just," p. 202), until, in many cases, the abandonment rate (the case of drop-out, autoesclusisi from school, the most devastating and misfits).
Urge, then, a Copernican revolution with educational courses that offer a second chance, with teachers selected and who voluntarily choose this type of position, behind which there is a "strong training, psychological supervision, freedom and financial support, but gari in accordance with the common "(p. 207).
The proposals set out, as già preannunciato in questo libro, sono state sottoposte all'attenzione del Ministro della Pubblica Istruzione e inserite nel gruppo di lavoro del MIUR, convocato dal M inistero per “contribuire a indicare i criteri della professionalità docente e di un codice deontologico” (fonte: la rete), vista la vasta esperienza, acquisita in venticinque anni, dall'autore, nella scuola elementare, prima, e nell'attuazione del progetto CHANCE, poi, promoss o a Napoli da lui e dagli altri maestri di strada. Iniziativa encomiabile e unica nel suo genere.

Mi sento in dovere, per questo, prima di concludere, di augurare buon lavoro al Dottor Rossi Doria and all the Masters of the Road that are currently working on the project.

Mistress Lena.

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This post is a work for the University of Sacro Cuore di Brescia.

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's biography and the work of Dr. Marco Rossi Doria, he too is a blogger like many of us, is found at the following address: http:// marcorossidoria.blogspot.com