b'niket inhabbru l-mewt ta' dan il-blogg

Err.. mhux ezattament.

Biss qabel nofs/l-ahhar ta' Mejju dan il-blogg mhux ser jigi aggornat ghax ghandi xi progetti u affarijiet x'nehles l-ewwel (fosthom l-ezamijiet) u ma nixtieqx distrazzjonijiet kreattivi sa dak iz-zmien.

Wara dan iz-zmien ser nibda nibbloggja almenu darba fil-gimgha (jew [jekk possibbli] darbtejn).

Grazzi u sahha.

amerika + aux armes citoyens

L-Amerika

U bl-Ingliz din ghax hadt buzz nikteb bloggata bl-Ingliz (wara li kont ili iktar minn sena ma nikteb xi haga hekk b'din il-lingwa) l-ahhar darba.

Dans Amerika, le quotidien d’une famille est subitement confronté au surnaturel. Une force maléfique semble s’être infiltrée dans le foyer, provoquant la terreur chez ses occupants.

Constat poétique de l’après 11 septembre, Amerika cristallise les mécanismes de survie de notre monde. Car en consacrant le retour en force du réel et de l’angoisse, nine eleven a également mis le feu aux poudres des imaginaires individuels et collectifs.

We checked out a theatre piece called Amerika at the Halles de Schaerbeek yesterday. Very experimental stuff featuring a sheriff who sleeps in a kennel, a boy in a gorilla costume and a dwarf who (presumably) allegorised and externalised evil. I think it was a success insofar as the producer (Claude Schultz) wanted to create this piece partly as an homage to a certain imaginary America constructed by H.P. Lovecraft, Edgar Allen Poe and Alfred Hitchcock - the calm in the play was never free of a very quiet, menacing sort of Lovecraftian tension. As far as narrative goes there wasn't much to follow. I strongly agree with this write-up in Tuesday's Le Soir, but don't really agree with their conclusions. Granted, there were a few hiccups but in general the play worked very well indeed.

Oh, and if anyone thinks a rapidly balding, overwrought portly middle-aged man in a shirt and tie can't be scary they'll be proven wrong; the moment main actor Lou Castel (a veteran of several Wenders and Fassbinder films) angrily murmurs or, even more disconcertingly, comes close to the spectators and homicidally screams something at us the irreality of the piece is suddenly transformed into something uncomfortably real and disturbingly physical.

As Anita said 15 minutes into the play "mhux qed nifhem xejn imma qed toghgobni hafna". No actual storyline then, but the impending feeling of an emotional implosion within the nuclear family doesn't need a linear script to be felt or understood.

Bil-bajd...



Aux armes citoyens, formez vos bataillons...

Jien kburi. Kburi li fl-ahhar l-impjegati tal-gradi B u C ftiehmu bejniethom fid-dipartiment fejn nahdem jien. Ahna wiehed mill-ewwel dipartimenti li organizzajna speci ta' front mhux-gerarkiku li mhu affiljat ma' l-ebda union. Hemm sens palbabbli ta' tibdil fl-arja u forsi anke inkwiet min-naha ta' l-amministrazzjoni centrali li, biex niehu ezempju wiehed biss, kienet qaltilna biex ma napplikawx/ma nimlewx karti ta' l-overtime (xi haga li qieghda fil-kuntratti u fl-istatut u b'hekk taghna bi dritt) meta naghmlu sighat zejda li nigu mitluba naghmlu - biss l-amministrazzjoni ma tridx tipprovdi din id-direttiva bil-miktub ghal ragunijiet cari hafna (appuntu ghax hi talba illegali)!

Ritratt mehud mill-film La Commune

Meta xi hadd ihoss li iktar ma jghaddi z-zmien, iktar qed jaqla fuq wiccu minn kull naha, anke minn dawk ta' gewwa u anke jekk dan ghandu posizzjoni socjali relattivament rispettata u m'huwiex maid jew jahdem f'fabbrika, xorta wahda jibda b'xi mod jifhem daqsxejn ahjar ir-retorika tal-Komuniżmu...