History Review: Comedy in Three Acts "self-ECA Nì you?" Valerio Manisa 
After airing on the Comedy Network TBM in three acts by Valerio Manisa CCE Nì you own? "Here's a review that has kindly written Maddalena D'Amicis.
Thanking you, we all wish you good reading!
"A comedy whatsoever!" Would tell the viewer distracted and collapsed in his chair, all taken from one crisis to post-prandial Sunday and prone to criticism more reason for envy. It is very easy to criticize what you do not know.
"The usual small theater company in the country, the usual bored and closed little world of reality Grottaglie which is now worn themes, characters and so many specks usual in this small piece of the world, in the dialect of a language full of cliches, the show places and common words "The audience would say that poor and bored the rest of theater companies we have seen many go on that stage. More or less good, more or less friendly but always the same thing.
The audience that matters instead, that it has taste to sell, you do not lose a first, a concert, a charity or cultural, who loves to fill her mouth with big words sounding, that audience that makes all that great event appointment , he would have to commend. Not find it uncomfortable or inconvenient to say that the play in question is worthy and inspired by the highest or the Neapolitan school of theater that can be seen between the vernacular learned quotations and original insights.
And then this genius director! A little 'Toto, a little' Troisi, very Eduardo De Filippo and maybe a pinch of De Crescenzo. That genius, perhaps, perhaps, have discovered their own.
This audience accustomed to make empty rhetoric mixed with appreciation to please the great artist, the genius, the director would say to me and those like me, "self-ECA Nì you?". What can understand and appreciate this play someone like you? How do you comment on things that are familiar even as the direction, photography, script. In fact the public like me no matter the direction or set design. To those like me who come to the total vision and humble at the same time curiously, without any prejudice or arrogance, and then compared their awareness of the fact that behind all this lies passion and sweat.
People like me and like the main character Capasa Franco (Francesco Motolese) are well aware of the sacrifice and blood, your hands are dirty ground and is not ashamed. Because the land is all they have, the family is the only true love and beloved sons and gold shinier. At a public
cosiffatto the thing that really matters are the emotions, thoughts and who knows ... maybe a few laughs!
Watching comedy with these eyes, it is projected into a secret garden, invisible to the eye of the beholder with presumption. They are the eyes of the young Valerio, perhaps for fear of seeming too fragile, too sensitive compared to other models used to a world far more mundane, says his fears, the stages and in rhyme. His thoughts, words, myths are made comedy, you are desecrating irony ..
a beautiful garden, lush, enchanted, where each flower is a joke, a food for thought, a character or a scene. It all blends, as to be unable to distinguish reality from fiction. Even the characters sometimes seem deliberately designed to the grotesque seems to interpret themselves.
rule in the natural scene, you feel on the stage in children, young artistic phenomena, and the bully can be seen in the capacity of managing director and talented actor in this carousel. But the real
undisputed star of this whole tournament is the audience laughing to tears. Laughs at the joke repeated catchphrase, a passion, laughs at the characters, of themselves, the vices that wear out its beautiful land, its prejudices, its passions, traditions. Ride and spares no applause, even when the tone became more harsh and jokes give way to the challenge to who, then as now, it should administer the thing with public awareness and attention to the needs of the weakest, while it is always busy with their own interests and those of its customers, so that the sacrosanct right to be heard by the institutions becomes a favor to ask on my knees getting in exchange only contempt.
The curtain closes with a little 'bitter taste in mouth, as those who remain helpless in the face of injustice. But there is still room for the latter consideration, the explanation of quell'allegoria: beautiful, well-played the final monologue that puts aside the irony to reveal the way up to an hour just hid the whole work.
Thus Aurelio (Valerio Manisa) explains because the small Pasqualino (Francesco Paolo Monopoli) may not be able to see. Why is this child so devoted and attached to the traditions of his country, he sees around him the collective indifference, but most of the institutions of their own countrymen.
That child, eager to see and know, represents all our children to deprive the view of the memories, traditions. Who lack the roots. Who has no roots slowly becoming blind because they had spent will not have eyes to see and understand the future.
CCE Nì you own? "Stir the conscience, albeit ironically. Urges us not deny our customs to embrace consumerist habits globalized, because then we only deny ourselves and what we are denying our ancestors and our children ... and we're nobody without an identity, we do not have strength, courage, critical spirit, without which there is a more equitable world .
"The world we have inherited from our parents are our children who have it soon!"
Thursday, February 3, 2011 at 19:30 DeltaUno live on Radio (103.1 FM frequencies) within the program "Monitor" Lilli Ch D'Amicis, interview Valerio Manisa on the show scheduled for 26, 27 and 28 March 2011 at the Teatro Monticello Grottaglie, entitled "Theatre is available for 2". 
