Anyone's interested in the world of dubbing and voice actors?!

Yesterday I went to Teatro Olimpico (Olympic Theater) to watch a show lead by a very famous italian actor and voice actor, Angelo Maggi. Who has dubbed actors like Tom Hanks, Robert Downey Jr, Jackie Chan, Gary Oldman and many many more. It was in between a Stand-up comedy show, a voyage in the history of dubbing and also a little bit of a lesson for aspiring voice actors. It was very funny and super interesting! There were also two guest stars, Alessandro e Federico Campaiola-Ward! Unfortunately for the people like me and my family who were truly enjoying the show, a lot of the other spectators were incredibly ill-mannered and made the experience less pleasant than expected!

Even though it wasn't easy at all, I managed to ignore them as much as possible! At the end of the show there have been even a live performance by the Eugenio In Via Di Gioia! They are the ones from yesterday's #SongOfTheDay. I didn't even know they were going to be there, it was a really pleasant surprise! Between the spectators there were also a few famous people and one of them was Michela Giraud an Italian actress and stand-up comedian that I really appreaciate.

It was overall a very pleasant experience!

Teatro Olimpico. Basilica palladiana.

Fassaden

Daniel Damler hat sein Buch über den Staat der Moderne mit Ausführungen zu Fassaden begonnen. Für seine Forschung interessiere ich mich deswegen so, weil er selbstverständlich davon ausgeht, dass die Unterscheidungen, die das Recht macht, die 'im' Recht gemacht werden, nur dann effektiv sind, wenn sie ersten etwas wiederholen und zweitens wiederholt werden, zum Beispiel 'außerhalb' des Rechts.

Normativität ist effektiv, wenn sie sekundär ist. Recht ist Recht, wenn es (sich) folgen lässt. Streng genommen ist das eine tautologische Feststellung, nur führt sie gerade nicht in die Halbseite Selbstreferenz, sondern in Mimesis, Verstellung, Simulationen und Dissimulationen, in Kontrafakturen und Fiktionen, in Übersetzungen und in "Kunst als Verfahren" (Victor Shklovsky). Jeder Referenz ist abgeschnitten, darum ist es ein Bluff, von Trennungen auf Selbstreferenz zu schließen. Es ist kein Bluff, wenn man zur Selbstreferenz die Fremdreferenz nicht kaschiert.

Wie das pomerium so ist auch eine Fassade ein Beispiel operationalisierter Differenz, ein Beispiel artifizieller Einrichtung. Durch Fassaden lässt sich so unterscheiden, dass die Leute den Eindruck haben, es sei fundamental oder elementar. Kants Vorstellung von Raum und Zeit ist eine ästhetische Vorstellung, von der man glaubt, sie sei nicht weiter abziehbar, irgendwann und irgendwo blieben der Sinn und die Sinne immer in Raum und Zeit hängen. Ist man in Kategorien des Raums und der Zeit bei Unterscheidungen zwischen innen/ außen, zwischen vorher/nachher, präsent/ entfernt angelangt, festigt sich der Eindruck des Fundamentalen und Elementaren.

Und sie schieben sich doch vor, und sie bewegen sich doch, und die falten sich doch: Gründliche Linien, Gründliche Unterscheidungen, Gründlich gebaute Fassaden sind und bleiben artifiziell, künstlich und fingiert. Sie sitzen auch in grundlichsten Versionen, gerade dann und dort, etwas auf und sind darum immer relativ gründlich, ihre Differenzierung geht nie aus, sie ist nie aus, sie versiegt nie und erfüllt nichts. Juridisch Verfahren operationalisieren Differenz, lassen sie nicht verschwinden. Sie lassen sie bestreiten, händeln, umgehen, sie lassen Umgang damit zu. Wenn sie helfen, sind sie hilfreich, sonst nicht.

2.

Der Begriff der Ausdifferenzierung gehört neben dem Begriff der Anschlussfähigkeit zu den Luhmannschen Begriffen, die sich in der Rechtswissenschaft mies entwickelt haben. Letzte Woche gab es eine Tagung im MPI über Eugen Ehrlich und es wurde auch diskutiert, ob Eugen Ehrlich anschlussfähig war oder ob er es heute sei. Ehrlich? Ist das die Frage?

Das kann die Antwort doch nur lauten, im Gegensatz zu Österreich sei Ehrlich nicht anschlussfähig gewesen. Für den Begriff der Ausdifferenzierung habe ich auch gerne Spott übrig, seitdem sich das zu einem Watschenbegriff entwickelt hat. Aus, aus, aus, die Differenzierung ist aus, Deutschland ist Weltmeister: So einen triumphalen Klang hat das Wort angenommen, vor allem im Kontext des Dogmas großer Trennung.

Wenn überhaupt triumphale Differenzierung, dann bitte schön wie im Teatro Olimpico, dann bitte mit der Mühe und Sorgfalt, die Palladio und die Leute von Vicenza aufgewendet haben, aber nur, um Theater einzurichten und Theater zu spielen, also auf reversible Weise Welt zu testen.

What a gorgeous place for fencing. The Teatro Olimpico is a theatre in Vicenza, northern Italy, constructed in 1580–1585. The theatre was the final design by the Italian Renaissance architect Andrea Palladio and was not completed until after his death. 

Ho appena visto il balletto che la compagnia Momix porta qui al teatro Olimpico ed è stupendo 🤩

Loud Kids Tour Gets Louder ‘22 - ‘23

~ North America 2022 ~

October 26th, 2022: Mexico City, Mexico - Pepsi Center WTC 🇲🇽

October 31st, 2022: Seattle, Washington - Paramount Theatre 🇺🇸

November 3rd, 2022: San Francisco, California - The Masonic 🇺🇸

November 4th, 2022: San Francisco, California - The Masonic 🇺🇸

November 7th, 2022: Los Angeles, California - The Hollywood Palladium 🇺🇸

November 8th, 2022: San Diego, California - San Diego Sports Arena (SOMA) 🇺🇸

November 10th, 2022: Phoenix, Arizona - Arizona Financial Theatre 🇺🇸

November 12th, 2022: Salt Lake City, Utah - The Complex 🇺🇸   

November 14th, 2022: Denver, Colorado - Fillmore Auditorium 🇺🇸

November 17th, 2022: Chicago, Illinois - Byline Bank Aragon Ballroom 🇺🇸 

November 18th, 2022: Detroit, Michigan - The Fillmore Detroit 🇺🇸

November 21st, 2022: Toronto, Ontario - History 🇨🇦

November 22nd, 2022: Toronto, Ontario - History 🇨🇦

November 24th, 2022: Montreal, Quebec - MTELUS 🇨🇦

November 26th, 2022: Boston, Massachusetts - MGM Music Hall at Fenway 🇺🇸

November 28th, 2022: Philadelphia, Pennsylvania - The Fillmore Philadelphia 🇺🇸

November 29th, 2022: Philadelphia, Pennsylvania - The Fillmore Philadelphia 🇺🇸

December 2nd, 2022: New York City, New York - The Hammerstein Ballroom 🇺🇸

December 3rd, 2022: New York City, New York - The Hammerstein Ballroom 🇺🇸

December 5th, 2022: Washington, D.C. - The Anthem 🇺🇸   

December 7th, 2022: Atlanta, Georgia - Tabernacle 🇺🇸

December 9th, 2022: Miami, Florida - Hard Rock Live 🇺🇸

December 12th, 2022: Houston, Texas - 713 Music Hall 🇺🇸  

December 13th, 2022: Dallas, Texas - South Side Ballroom 🇺🇸

December 16th, 2022: Las Vegas, Nevada - The Theater at Virgin Hotels Las Vegas 🇺🇸

~ Europe 2023 ~

February 23rd, 2023: Pesaro, Italy - Vitrifrigo Arena 🇮🇹

February 25th, 2023: Turin, Italy - Pala Alpitour 🇮🇹

February 27th, 2023: Amsterdam, Netherlands - Ziggo Dome 🇳🇱

March 2nd, 2023: Brussels, Belgium - Forest National (Vorst Nationaal) 🇧🇪

March 3rd, 2023: Brussels, Belgium - Forest National (Vorst Nationaal) 🇧🇪

March 6th, 2023: Berlin, Germany - Mercedes-Benz Arena 🇩🇪

March 10th, 2023: Cologne, Germany - Lanxess Arena 🇩🇪   

March 13th, 2023: Paris, France - Accor Arena 🇫🇷

March 16th, 2023: Bologna (Casalecchio di Reno), Italy - Unipol Arena 🇮🇹

March 17th, 2023: Bologna (Casalecchio di Reno), Italy - Unipol Arena 🇮🇹

March 20th, 2023: Florence, Italy - Nelson Mandela Forum 🇮🇹

March 21st, 2023: Florence, Italy - Nelson Mandela Forum 🇮🇹

March 24th, 2023: Rome, Italy - Palazzo dello Sport 🇮🇹

March 25th, 2023: Rome, Italy - Palazzo dello Sport 🇮🇹

March 28th, 2023: Naples, Italy - Teatro Palapartenope 🇮🇹

March 29th, 2023: Naples, Italy - Teatro Palapartenope 🇮🇹

March 31th, 2023: Bari, Italy - Palaflorio 🇮🇹

April 3rd, 2023: Milan (Assago), Italy - Mediolanum Forum 🇮🇹

April 4th, 2023: Milan (Assago), Italy - Mediolanum Forum 🇮🇹

April 6th, 2023: Milan (Assago), Italy - Mediolanum Forum 🇮🇹

April 11th, 2023: Barcelona, Spain - Palau Sant Jordi 🇪🇸

April 26th, 2023: Zürich, Switzerland - Hallenstadion 🇨🇭

April 28th, 2023: Vienna, Austria - Wiener Stadthalle 🇦🇹

April 30th, 2023: Esch-sur-Alzette, Luxembourg - Rockhal 🇱🇺

May 2nd, 2023: Copenhagen, Denmark - Royal Arena 🇩🇰

May 5th, 2023: Milan (Assago), Italy - Mediolanum Forum 🇮🇹

May 8th, 2023: London, United Kingdom - The O2 🇬🇧

May 12th, 2023: Warsaw, Poland - Arena COS Torwar 🇵🇱

May 14th, 2023: Prague, Czech Republic - O2 Arena 🇨🇿

May 16th, 2023: Budapest, Hungary - László Papp Budapest Sports Arena 🇭🇺

May 18th, 2023: Riga, Latvia - Mežaparks Great Bandstand (Mežaparka Lielā estrāde) 🇱🇻

May 19th, 2023: Tallinn, Estonia - Unibet Arena 🇪🇪

July 16, 2023: Trieste, Italy - Stadio Nereo Rocco 🇮🇹

July 20th, 2023: Rome, Italy - Stadio Olimpico 🇮🇹

July 21st, 2023: Rome, Italy - Stadio Olimpico 🇮🇹

July 24th, 2023: Milan, Italy - Stadio San Siro 🇮🇹

July 25th, 2023: Milan, Italy - Stadio San Siro 🇮🇹

Mio intervento sl cinema teatro di Molinella parlando della mia prossima camminata. Partirò dallo stadio Renato Dall'Ara di Bologna il 21/5 per arrivare allo stadio Olimpico di Roma il 7/6 in occasione del 60° anniversario dello scudetto del Bologna, dopo una camminata di km. 480

Ieri sono andata a Vicenza con una amica. Non l’avevo mai vista e non mi ha sorpreso più di tanto, anche se è molto carina come città. Abbiamo visitato il teatro olimpico con la sceneggiatura fatta dal palladio e raga se vi capita andate perché è qualcosa di sorprendente

Mi fa troppo ridere la seconda foto in cui ho fotografato per sbaglio i due signori.

Comunque vi giuro che dalle foto non rende nulla! Vale la pena vederla dal vivo

Vicenza Making Future, il 14 e il 15 ottobre tornano i laboratori per bambini sulle materie Stem.

Vicenza Making Future, il 14 e il 15 ottobre tornano i laboratori per bambini sulle materie Stem. Promossi da Confindustria Vicenza e Pleiadi in collaborazione con il Comune. Sabato 14 e domenica 15 ottobre torna Vicenza Making Future on tour, l'evento dedicato alle materie Stem ideato da Confindustria Vicenza e sviluppato da Pleiadi con il patrocinio del Comune di Vicenza. I laboratori Stem 2023 (acronimo di science, technology, engineering e mathematics) daranno ancora una volta ai giovanissimi l'occasione per conoscere e sperimentare le materie Stem. L'appuntamento è a Palazzo Barbaran, sede del Palladio Museum, dalle 15 alle 19 e domenica 15 ottobre, dalle 10 alle 19.30. Sabato 14 ottobre alle 15 all'apertura dell'evento saranno presenti l'assessore all'istruzione Giovanni Selmo, la vicepresidente di Confindutria Vicenza con delega al capitale umano Lara Bisin e il Ceo di Pleiadi Lucio Biondaro. «I laboratori, aperti ai bambini dagli 8 ai 12 anni, sono un'occasione per avvicinarsi in modo giocoso alle materie scientifiche e tecniche. Un approccio adottato con successo anche in alcuni centri estivi comunali, che riteniamo molto educativo e stimolante - sottolinea l'assessore all'istruzione Giovanni Selmo -. Vicenza making future è un'iniziativa ormai consolidata in città, che quest'anno a maggio con uno spettacolo al Teatro Olimpico. È promossa anche dall'assessorato all'istruzione e dall'ufficio scolastico territoriale in tutte le scuole della provincia, sempre sensibili a questo tipo di eventi». «Perseveriamo nel nostro ambizioso obiettivo di fare di Vicenza la prima provincia "Più Stem" d'Italia, mostrando ai ragazzi ed alle loro famiglie la vera luce della scienza – afferma la vicepresidente di Confindustria Vicenza con delega al capitale umano Lara Bisin -. Vogliamo offrire, ancora una volta, ai giovanissimi e alle giovanissime l'opportunità di appassionarsi alle materie Stem, conoscendole e sperimentandole in maniera giocosa attraverso dei laboratori rinnovati rispetto alle edizioni precedenti, in prestigiose location parte del patrimonio storico-artistico della nostra provincia. Quest'anno saranno il Palladio Museum a Vicenza, Villa Fabris a Thiene e la chiesa di San Giovanni a Bassano ad ospitarci. Rimane per noi importante il target delle giovanissime per contribuire a superare degli stereotipi sulle loro attitudini verso le materie tecnico-scientifiche, che possono invece offrire loro, non solo soddisfazioni personali, ma nel tempo anche professionali e di carriera, dato il fabbisogno professionale delle nostre aziende di figure tecniche e manageriali. Da diversi anni, collaboriamo con la città di Vicenza per questo importante progetto a favore di tutta la comunità, affinché possa essere conosciuta e vissuta dai giovanissimi come un luogo ricco di bellezza e future opportunità di studio e lavorative». I laboratori saranno sei per massimo 20 partecipanti ogni 45 minuti, ad ingresso gratuito con prenotazione obbligatoria sui seguenti temi: corto circuiti elettrici, bio investigation, tesori lucenti, virtual world, robotic lab, macchina perfetta. Novità di quest'anno sarà la City Stem Map della città di Vicenza: una mappa per far conoscere 10 punti di interesse a tema Stem presenti a Vicenza. Sarà l'occasione per scoprire luoghi dedicati al mondo tecnico-scientifico, che raccontano di invenzioni, fatti del passato e personaggi che hanno contribuito a nuove scoperte scientifiche. Quest'anno Vicenza Making Future on tour sarà realizzato in collaborazione oltre che con il Comune di Vicenza, anche con i Comuni di Thiene e Bassano del Grappa, con il contributo della Camera di Commercio di Vicenza e della Banca delle Terre Venete e il patrocinio della Regione Veneto, della Provincia, di Federmeccanica, di Federchimica e della Rete ITS Academy Veneto. Già dall'edizione 2022 Vicenza Making Future si è evoluto in un tour in 3 tappe nella provincia (Vicenza, Valdagno e Bassano del Grappa per l'anno 2022), con un enorme riscontro di pubblico e con il coinvolgimento di oltre 9.000 tra genitori, bambine e bambini. Per informazioni e prenotazioni www.makingfuturevicenza.it https://pleiadi.prenotime.it/... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

Antinous / Hermes de Pio-Clementino

Desmet Galerie

Antinous / Hermes de Pio-Clementino

Period:

17th century

Provenance :

Ital

Medium :

Wood

Dimensions :

l. 15.75 inch X H. 51.18 inch X P. 15.75 inch

Height: 130 cm

W x D: 40 x 40 cm

H 51 1/8 x W 15 3/4 x D 15 3/4inch

The statue shows a nude young man with a cloak ‘chlamys‘, thrown over his left shoulder and wrapped round the left forearm. He is standing at rest in a contrapposto pose gazing downwards.

The statue is made out of a soft wood and was originally covered in a layer of stucco, which would have been painted most likely in white to imitate marble. With the stucco surface gone, we can beautifully see how the statue was made. The body was carved out of one piece of wood and the head and arms were attached separately to make it easier for the sculptor to work.

The purpose was to make it look like a heavy marble classical statue. The white surface would cover any restorations, imperfections and from a distance it would have been impossible to see the difference. An added bonus was the weight of the soft wood; it could be placed on a lighter structure made of a different material than stone or marble.

Taken in consideration the material used and the technique of sculpting, it is not such a far stretch to imagine it on top of a balustrade in a Renaissance theatre. The best comparable is the Teatro Olimpico in Vicenza (1580-1585). It was designed by Andrea Palladio and it is today one of the three Renaissance theatres remaining in existence. (the other two being the Teatro all’antica in Sabbioneta and the Teatro Farnese in Parma).

The ancient Roman statue is also known as the l'Admirable, Admirandus, L'Antin, Hercules, Meleager, Mercury, Milo and Theseus.

It was apparently recorded for the first time on 27 February I543 when a thousand ducats were paid to 'Nicolaus de Palis for a very beautiful marble statue ... which His Holiness has sent to be placed in the Belvedere garden'. By April I545 it was certainly in the statue court. Writing a few years later Aldrovandi said that it had been found 'in our time' on the Esquiline near S. Martino ai Monti, but Mercati in the 1580s said that it had come from a garden near Castel S. Angelo- where the Palis family seems to have owned property. It remained in the statue court until 1797 when it was ceded to the French under the terms of the Treaty of Tolentino. It reached Paris in the triumphal procession of July 1798 and was displayed in the

Musée Central de Arts when it was inaugurated on 9 November 1800. It was removed in October 1815, arrived back in Rome on 4 January 1816, and was returned to the Belvedere courtyard before the end of February.

The statue won immediate fame and it was already known as Antinous (a title frequently given to figures of male youths) in 1545 when Primaticcio, on his second visit to Rome from Fontainebleau, had a mould made from it for François Ier. Alternative theories that it might represent Milo or the Genius of a Prince were suggested not long afterwards but won little support. The Antinous was mentioned with enthusiasm in virtually all accounts of the most famous statues in Rome. It was reproduced in all the leading anthologies and was also much drawn by visiting artists. It was copied both in marble and in bronze and in rare occasions in wood, as we can see here. In the catalogue of the sculptures of the Musée in Paris it was described as 'one of the most perfect statues that has come

down to us from antiquity - an opinion that continued to be very widely held for most of the nineteenth century.

Moreover, the Antinous was as popular with artists of all persuasions as it was with collectors and connoisseurs. Bernini was as enthusiastic as Duquesnoy and Poussin who (possibly with the assistance of Charles Errard) made measured drawings of it which were reproduced in Bellori's Lives of the Modern Painters, Sculptors and Architects. Two more measured engravings were published by Audran in his prints, made for the use of artists, on the proportions of the ideal human body, and in his portrait of Charles Lebrun (now in the Louvre) which Largillière presented to the Académie Royale de Peinture et de Sculpture in 1686 a reduced version of the Antinous (and also one, in bronze, of the Borghese Gladiator) was prominently displayed in front of the president's easel. Nearly seventy years later in his Amalysis of Beauty Hogarth (who, of course, never saw the original) claimed that in regard to the utmost beauty of proportion' it is allowed to be the most perfect of any of the antique statues'.

Before he saw the marble itself Winckelmann agreed that 'our Nature will not easily create a body as perfect as that of the Antinous admirandus'. He expressed passionate admiration of the statue for its sweetness and innocence of expression which, following a critical commonplace, he contrasted with the godlike majesty of the Apollo nearby. It was Winckelmann, however, who challenged the theory that the statue portrayed Antinous, suggesting instead, with not much force and with no evidence, that it was a Meleager.

A number of alternative hypotheses were also made. Mengs proposed verbally that it was a beardless Hercules; for others it was a Theseus; while Visconti (who greatly admired the figure) produced a strong case, which won general acceptance in his own day and has retained it ever since, that the Antinous was in fact a representation of Mercury, as had been proposed much earlier by Stosch and rejected by Winckelmann. Visconti's most cogent argument depended on the existence of another version of the same figure wearing winged sandals and holding a caduceus. This version (since 1546 in the Farnese collection and acquired for the British Museum in 1864) had been noted without special enthusiasm by some writers and draughtsmen since the sixteenth century, but it seems not to have been related to the Belvedere Antinous before the Richardsons: they, however, accounted for the fact that it was "the very same Figure on the grounds (which they

deduced from numismatic evidence) that Antinous was sometimes identified with Mercury. By the end of the nineteenth century, however, it was the Farnese statue in the British Museum which attracted most scholarly attention, but this in turn was eclipsed by the replica found at a tomb in Andros (now in the National Museum in Athens). Some scholars consider that these statues are copies of a work by Praxiteles, but the Belvedere Antinous is catalogued in Helbig as a Hadrianic copy of a bronze original possibly by one of his pupils.

Provenance:

Our provenance goes back to when it stood in the historic Chateau de la Crois des Gardes, “the jewel of the French Riviera”. this legendary Belle Epoque property is an homage to the glory days of the French Riviera. Legend has it that Grace Kelly immediately fell under the spell of this unique castle, positioned a few minutes from the port of Cannes.

Better late than never, @tutyayilmazz this is for you ;)

Interview at Rtl 102.5

So, Vic who was voiceless in the previous days now can speak almost normally again. They briefly mention her sister's birthday party and then ask if all the success Måneskin are experiencing brings them anxiety. Vic says it's more stress than anything else. Damiano says it doesn't bring them anxiety but the timing is actually stressful.

The interviewer asks if it is important for them to always remain themselves and Damiano jokes that "no one wants to become an asshole". Afterwards, speaking of what they miss from their former life, Thomas tells it's the time, in a general sense, to do things, like play music in his room, relax, etc.

They then move on to talk about how Zitti e Buoni was born. Ethan's first memory of the song is in the garage they had furnished as a small studio where they used to play at the beginning. Vic adds that almost all Teatro d'Ira was born in that garage, but Damiano also remembers that at the very beginning they always played on the terrace of Vic's dad's house and that for him ZeB was born there as the first draft.

Speaking of the tour in the stadiums, the interviewer try to ask about the lineup, but the band says it is way too early to talk about that, so the lady who is also from Rome, asks if it is better to play at Circo Massimo or at the Olimpico Stadium. Damiano replies that Circo Massimo is not where Roma (the football team) play.

Next question is if there will be songs in Italian, and if they will abandon Italian; Damiano jokingly says that everybody has this hyperfixation about this Italian thing and that they are giving them anxiety.

The band got asked where they feel at home, since they travel a lot. They all answer Rome, but Ethan adds that home is not a place but a feeling. Damiano, who was next to him, teases him abandoning him and going to Tom and Vic. Vic first says that Dami is envious of Ethan's pearls of wisdom and then that Ethan says so only because his rent has expired and he is now homeless. Damiano returns to his place next to Ethan.

Speaking of the roles within the band, Damiano says he's the asshole of the group, Vic says that if she were really the band's mom she would be the worst mom in the world. Then she tells how she met Thomas in junior high: he walked into her class to ask if anyone wanted to buy a bunny. Tom adds that it was just a market survey because he didn't really had a bunny to sell.

As people could send questions via sms someone asks if Måneskin plan to sing in Spanish. Damiano says it's difficult and that at most there could be some collaboration with Spanish-speaking artists. Speaking of the hypothetical collaborations Vic says Artic Monkeys would be her choice, Thomas chooses Salsh, Ethan says Patty Smith and Dami Rosalia. Then, speaking of the collab with Iggy Pop, Ethan recalls that they also recorded a burp of him. About the Elvis cover, they ask the band what their favorite Elvis song is. Vic says Burning Love and Damiano Suspicious Mind. The interviewer also asks for their all time favorite song. Tom says Baby I'm Gonna Leave You, Damiano Aerosmith's Full Circle and Ethan says Baba O'Riley by The Who.

On a new subject, Vic says their personal luggage is just gym suits and comfy clothes.

Since many people ask Damiano how he cures his voice he explains that he has a congenital malformation of the vocal cords and that his voice comes from the fact that his cords are distant and never touch each other, so people should stop telling him that he cannot sing (jokes).

The interviewer then ask what happened to Marlena, so Tom says it was their nightmare_question for a lot of time and Vic that it had been years since they got asked about her.

Now they talk about diets and Vic and Thomas say they eat burgers every day and lasagna at 3am. Ethan says that before the concerts he eats light and Damiano that he doesn't eat at all or he'd thow up on stage.

Finally, they talk about The Loneliest's video, the fact that they shot it in Italy, and how the newspapers exaggerated Damiano's incident.

Por cierto.. VIRGINIA MAESTRO como ayer hable de ANDo+zORRA (desde donde hicieron quebrar BANCO MADRID situado en plaza MARGARETH THATCHER en MADRID o junto a su desaparecido HARD ROCK CAFE.. donde tenia mi padre sus INVERSIONES por MARIANO MARTIN GARCI-MERCADO con el que fuimos a ROMA a ver al REAL MADRID en feb'08 como le VATICINE a mi padre cuando me dijo en el VATICANO el dia de la PROSTITUCION ESPAÑOLA 6-12-07 que el proximo partido del REAL MADRID en EUROPA lo veriamos y el cual me enseño en primicia el IPHONE de la MANZANA que se acababa de comprar en la GRAN MANZANA O MANHATTAN pues se conocian del PALCO PRIVADO DEL BERNABEU de JULIAN LOPEZ NIETO=yo soy el NIETO de mi abuelo SALVADOR y a lo mejor lo de JULIAN es por algo de JULIO o como se llama record español de maraton pero de alguien nacido en España JULIO REY DE PAZ que se lo quito a FABIAN RONCERO con el que quede en la fuente de EL ANGEL CAIDO del parque EL RETIRO.. y JULIAN LOPEZ NIETO que tambien invitaba a mi padre a su palco del TEATRO REAL, fue al primero que acudi cuando surgio el problema entre la empresa y mi padre cosa que me queria agradecer ofreciendome un trabajo y que le pusiese en un papel el dinero que queria pedir a mi padre o empresa y le dije que ni soy un EXTORSIONADOR, NI GILIPOLLAS solo ADVERTIA que estaban METIDO EN ALGO CON TODO TIPO DE CONSECUENCIAS Y EFECTOS COLATERALES.. y que no sabia como se salia de AHI.. y me dijo que cuando QUEBRARON PESA ELECTRONICA donde trabajo mi padre 40 años mediante la FILIAL AMERICANA que compraron en WALL ST y el director FINANCIERO JOHN SERVIZIO le dejaron un GRAN PUFO que casi arruina su empresa REDISLOGAR que tenia un equipo de futbol sala en 1era DIVISION.. por cierto.. Abrio una SUCURSAL en COSTA RICA exhibiendo una camiseta NARANJA del REAL MADRID firmada sobre UNA SILLA de la MESA DE REUNIONES en su INAGURACION.. y le vimos en el OLIMPICO de ROMA pero MARIANO y mi padre le EVITARON).. porque fui desde mi hotel en estacion de SKI de MASELLA donde a la entrada hay una gran ESCULTURA EXHIBIENDO LA POLLA y SIN CABEZA.. y desde ANDo+zORRA fui a TOSSA DE MAR donde nacio VELENCOSO y a donde iba KYLIE MINOGUE.. te recuerdo que cuando anunciaste tu concierto en ANDo+zORRA hiciste los CUERNOS en una PERSIANA (que no creo que fuera AMERICANA como la de SODA STEREO) que casi no deja pasar LUZ

The Teatro Olimpico in Vicenza was the last work of the architect Andrea Palladio, with the staging of Sophocles' Oedipus Rex.

It is the oldest covered theater in the world.

Construction began in 1580, but Palladio, due to his sudden death, did not see its completion;

his son Silla will continue the work, based on the notes left by his father.

The effect of the scenography, which reproduces the seven streets of Thebes in the five openings of the proscenium, is due to the refined perspective game created by the architect Vincenzo Scamozzi, spiritual heir of Palladio.

The theater is still a venue for performances and concerts and, since 1994, like other Palladian works, it has been included in the list of UNESCO World Heritage Sites!

#theater #unesco heritage #art

Il Teatro Olimpico di Vicenza, fu l' ultimo lavoro dell'architetto Andrea Palladio, con la messa in scena dell’ Edipo Re di Sofocle. È il più antico teatro coperto del mondo. La costruzione inizia nel 1580, ma il Palladio, a causa della sua morte improvvisa , non ne vede la realizzazione; sarà il figlio Silla a proseguire i lavori, sulla base degli appunti lasciati dal padre. L’effetto della scenografia, che riproduce le sette vie di Tebe nelle cinque aperture del proscenio è dovuto al raffinato gioco prospettico ideato dall'architetto Vincenzo Scamozzi, erede spirituale del Palladio.

Il teatro è tuttora sede di rappresentazioni e concerti e, dal 1994, come le altre opere palladiane, è incluso nella lista dei Patrimoni mondiali dell'UNESCO!

#teatro #patrimoniounesco #arte

Vicenza: XXXIII Settimane Musicali al Teatro Olimpico 2024

XXXIII Settimane Musicali al Teatro Olimpico 2024 Prima il silenzio, poi il suono, o la parola. Vicenza 12 aprile – 9 giugno 2024 Riparte il cammino delle Settimane Musicali al Teatro Olimpico di Vicenza che annunciano l’edizione 2024 del Festival, in programma dal 12 aprile al 9 giugno. Con la direzione artistica di Sonig Tchakerian, la stagione offre un ricco palinsesto di concerti e…

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