Monday, March 16, 2009
Dora The Explorer Waffle Iron
The satire of "Blade mon pays" depicts a tragic story "Mediterranean".
Review by Tiziana Favero.
The Venice Biennale has proposed this year, from 20 February to 8 March in the review of the International Theatre Festival, more than twenty plays on the theme of the Mediterranean including the work of Driss Roukh, Blade mon pays! One of the most anticipated events of this spectacular sea-lab is the National Theatre Mohammed V of Rabat, who signs off for the first time in Italy, at the Teatro G. Poli in Santa Marta, with this director's Moroccan Driss Roukh the second foreign guest of this Biennale Teatro 2009. Internationally renowned actor (he starred in films such as Syriana, Babel, The Situation), film and theater director said, is one of the artists Roukh most prominent in Morocco.
not be surprised if in Venice has been proposed to deal with a topic as important as Mediterraneus, from the Latin "sea in the midst of the land." Venice, or rather the "Serenissima", immersed and surrounded by small fish these waters, has always been sensitive to these matters that touch the Mediterranean Sea from vicino.Il was in fact always been a source of conflict, but also of bringing nations together and the lands around him, and through human history has been known by several names that bring out all this characteristic of "centrality." There are many themes, ideas, issues that unite and divide, which link to become source of life and death more often. Since the late eighties, the Mediterranean is through the route of migration from Africa to Europe. Each year tens of thousands of economic migrants, refugees and political refugees by sea to reach the Italian coast, Greek and English. According to research conducted by the Centre Fortress Europe on the basis of information found in the international press, from 1988 to 2007 migrants drowned crossing the Mediterranean are at least 8,165 people.
A sea, ours has become, unfortunately, many years of stage performances of improvisation, in which actors of all nationalities, who find in him a meeting, read the part that are forced to interpret according to the bank from which they come. This is the main reason why this 40th edition opened its doors pièces de théâtre from this intersection of a culture of the land and the sea that is Latin, Arabic and Hebrew together and speaks all these languages, breathe oriental perfumes and feeds on religions, opinions and beliefs, music and life styles.
The show, which portrays the young and poor student of Meknes, in a few years has managed to become a reference point for their country, is a cry of accusation at all. Roukh plays primarily with the dialogues with the text that the viewer is hard to follow. He chooses to make his characters speak in Arabic with a Moroccan dialect infused with French. Just in France, in Paris, is set the story of two immigrant brothers Kader (Abdelkebir Regaguena) and Habib (Said Bey), who tell their despair as immigrants, their nostalgia for the country of origin, travel, violence suffered. But they represent two different ways of living and feeling the weight of being a migrant, one repressed in himself good-naturedly accepts the part of the "dirty Arab", the other interprets it in turns sinister and meddling in the criminal underworld. What then was the pain of not being in their own country and of not being accepted in their new one, can not back a loser and can not stay a stranger.
The director uses a subtle satire, for the viewer who does not understand Arabic and is therefore forced to shuttle between the stage and the black screen where the subtitles are projected, and otherwise sharp and clear to the public from the Maghreb. The satire, historically and culturally, answers the need of the human spirit to oscillate between the sacred and the profane , always takes care of important issues, especially politics, religion, sex and death (as stated by Daniele Luttazzi) , and on these proposed alternative viewpoints, and through laughter conveys small truth, sowing doubts, exposes hypocrisy, attacks the prejudices and question beliefs. And that is skilfully brought the work but may not necessarily be taken as an indicator of the degree of democracy in the country. Morocco, which is presented to us comes out from the words that flow like a restless river, Kader drunk and exhausted as the audience laugh at the wonderful performance. It almost seems to paint a picture of concentric circles, moving from a hellish pit to another.
family describes the condition where the money is never enough, his wife and mother does not consume ever quiet and obliging her sinful relationship. Unemployment, work that is not to be sought abroad, in large dream immigration. Is then told the flight from Morocco, the boat trip and the fear of dying, the sense of guilt for having been part of other young countrymen, for having supplied their dream "that night each of them carried the photo of the mother or father , or his brother's girlfriend ... wished happiness ... thought they had chosen the right path, that heaven was close ... did not know that many others had died in the same boat, others imprisoned and tortured ... I did not know the danger that awaited them, the way to paradise was so thorny , that their wings would be burned before take off ... I've deceived, I have made them forget the reality ... " Habib while trying not to feel guilty about his brother reminding everyone what they want to leave, "wanted to die? ... wanted the house, car convertible, and the blue-eyed girlfriend, the money," the money "... wanted to live in France or Italy ... they wanted to live the dream that I had promised! "But the immigrants grow only hatred in the country that receives them, exploits them in their youth, do not accept them, the same hate that show with his brother Habib in a mirror reflection of his face. Immigration, illegal immigration, nostalgia mix and remain in the balance as the immigrant's life that "I have lived hesitant and nervous, between my land and this country dirt and full of hate .. my life wasted to do anything ... all dreams fade away before our eyes today, and can not be realized. Now I know that he was weak, timid, fearful the greatest. "
After a long journey made in their lives, at the end of the last act, Kader reveals his plan to his brother committed suicide and the reasons why "if I can not go back, at least I can stir my spirit with the sun and die. .. fade, return to the earth from which we came ... return to the days of our country, its noise, its colors ... return to Achour, RAMADAN in the district .. the cop who stops you if you let it disturb your sister ... the days of the country are a plague, a disease. Children smoke opium every night, get drunk and sleep on cartons .. the days of our country are days of cold, dust kills the spiders nest on our skin. The bread there but we're hungry, there are the clothes we are naked, but the people are poor ... and others spend millions montone.I eating days of our country ... you right but you can not ask ... is forbidden, not to mention, make no sign, do not raise your hand and not put it down, shut up, you have neither heard nor seen, and I need not say ... do not think so either. In our country, corruption is party by the court, and you can not say anything, if you need anything else I have to give something in return ... in our country we live like flies to poop in the middle. In our the whole country is dirty, you complain and you can not say anything. Some dressed in white and become spokespersons of the religion, they are Muslims and we disbelieve, but the night will find them in the most beautiful bar to drink and swim in the midst of sin. "
in "their" country is a complex, difficult, but always eastern and exotic, fascinating precisely because it lies beyond the sea that we continue to cross. Probably all the records will not be transmitted to his audience, but the important thing is to know at least a different voice, critical, ironic and disillusioned about what the East and the West about what was presented. This is the greatness the show, his goal difficult to achieve, an awareness on the part of Moroccan migrants to abandon their dreams into goals that will not ever what they had promised, and across Europe launched the complaint, accused of racism and violence, but perhaps more seriously guilty of ignorance, of being still a banquet of star at the center of political and economic map of the world, selling even a dream that never come true.
The 40th edition of the International Theatre Festival brings us closer to the other side of the Mediterranean.
The play directed by Moroccan Driss Roukh in search of paradise between immigration and discrimination.
The play directed by Moroccan Driss Roukh in search of paradise between immigration and discrimination.
Review by Tiziana Favero.
The Venice Biennale has proposed this year, from 20 February to 8 March in the review of the International Theatre Festival, more than twenty plays on the theme of the Mediterranean including the work of Driss Roukh, Blade mon pays! One of the most anticipated events of this spectacular sea-lab is the National Theatre Mohammed V of Rabat, who signs off for the first time in Italy, at the Teatro G. Poli in Santa Marta, with this director's Moroccan Driss Roukh the second foreign guest of this Biennale Teatro 2009. Internationally renowned actor (he starred in films such as Syriana, Babel, The Situation), film and theater director said, is one of the artists Roukh most prominent in Morocco.
not be surprised if in Venice has been proposed to deal with a topic as important as Mediterraneus, from the Latin "sea in the midst of the land." Venice, or rather the "Serenissima", immersed and surrounded by small fish these waters, has always been sensitive to these matters that touch the Mediterranean Sea from vicino.Il was in fact always been a source of conflict, but also of bringing nations together and the lands around him, and through human history has been known by several names that bring out all this characteristic of "centrality." There are many themes, ideas, issues that unite and divide, which link to become source of life and death more often. Since the late eighties, the Mediterranean is through the route of migration from Africa to Europe. Each year tens of thousands of economic migrants, refugees and political refugees by sea to reach the Italian coast, Greek and English. According to research conducted by the Centre Fortress Europe on the basis of information found in the international press, from 1988 to 2007 migrants drowned crossing the Mediterranean are at least 8,165 people.
A sea, ours has become, unfortunately, many years of stage performances of improvisation, in which actors of all nationalities, who find in him a meeting, read the part that are forced to interpret according to the bank from which they come. This is the main reason why this 40th edition opened its doors pièces de théâtre from this intersection of a culture of the land and the sea that is Latin, Arabic and Hebrew together and speaks all these languages, breathe oriental perfumes and feeds on religions, opinions and beliefs, music and life styles.
The show, which portrays the young and poor student of Meknes, in a few years has managed to become a reference point for their country, is a cry of accusation at all. Roukh plays primarily with the dialogues with the text that the viewer is hard to follow. He chooses to make his characters speak in Arabic with a Moroccan dialect infused with French. Just in France, in Paris, is set the story of two immigrant brothers Kader (Abdelkebir Regaguena) and Habib (Said Bey), who tell their despair as immigrants, their nostalgia for the country of origin, travel, violence suffered. But they represent two different ways of living and feeling the weight of being a migrant, one repressed in himself good-naturedly accepts the part of the "dirty Arab", the other interprets it in turns sinister and meddling in the criminal underworld. What then was the pain of not being in their own country and of not being accepted in their new one, can not back a loser and can not stay a stranger.
The director uses a subtle satire, for the viewer who does not understand Arabic and is therefore forced to shuttle between the stage and the black screen where the subtitles are projected, and otherwise sharp and clear to the public from the Maghreb. The satire, historically and culturally, answers the need of the human spirit to oscillate between the sacred and the profane , always takes care of important issues, especially politics, religion, sex and death (as stated by Daniele Luttazzi) , and on these proposed alternative viewpoints, and through laughter conveys small truth, sowing doubts, exposes hypocrisy, attacks the prejudices and question beliefs. And that is skilfully brought the work but may not necessarily be taken as an indicator of the degree of democracy in the country. Morocco, which is presented to us comes out from the words that flow like a restless river, Kader drunk and exhausted as the audience laugh at the wonderful performance. It almost seems to paint a picture of concentric circles, moving from a hellish pit to another.
family describes the condition where the money is never enough, his wife and mother does not consume ever quiet and obliging her sinful relationship. Unemployment, work that is not to be sought abroad, in large dream immigration. Is then told the flight from Morocco, the boat trip and the fear of dying, the sense of guilt for having been part of other young countrymen, for having supplied their dream "that night each of them carried the photo of the mother or father , or his brother's girlfriend ... wished happiness ... thought they had chosen the right path, that heaven was close ... did not know that many others had died in the same boat, others imprisoned and tortured ... I did not know the danger that awaited them, the way to paradise was so thorny , that their wings would be burned before take off ... I've deceived, I have made them forget the reality ... " Habib while trying not to feel guilty about his brother reminding everyone what they want to leave, "wanted to die? ... wanted the house, car convertible, and the blue-eyed girlfriend, the money," the money "... wanted to live in France or Italy ... they wanted to live the dream that I had promised! "But the immigrants grow only hatred in the country that receives them, exploits them in their youth, do not accept them, the same hate that show with his brother Habib in a mirror reflection of his face. Immigration, illegal immigration, nostalgia mix and remain in the balance as the immigrant's life that "I have lived hesitant and nervous, between my land and this country dirt and full of hate .. my life wasted to do anything ... all dreams fade away before our eyes today, and can not be realized. Now I know that he was weak, timid, fearful the greatest. "
After a long journey made in their lives, at the end of the last act, Kader reveals his plan to his brother committed suicide and the reasons why "if I can not go back, at least I can stir my spirit with the sun and die. .. fade, return to the earth from which we came ... return to the days of our country, its noise, its colors ... return to Achour, RAMADAN in the district .. the cop who stops you if you let it disturb your sister ... the days of the country are a plague, a disease. Children smoke opium every night, get drunk and sleep on cartons .. the days of our country are days of cold, dust kills the spiders nest on our skin. The bread there but we're hungry, there are the clothes we are naked, but the people are poor ... and others spend millions montone.I eating days of our country ... you right but you can not ask ... is forbidden, not to mention, make no sign, do not raise your hand and not put it down, shut up, you have neither heard nor seen, and I need not say ... do not think so either. In our country, corruption is party by the court, and you can not say anything, if you need anything else I have to give something in return ... in our country we live like flies to poop in the middle. In our the whole country is dirty, you complain and you can not say anything. Some dressed in white and become spokespersons of the religion, they are Muslims and we disbelieve, but the night will find them in the most beautiful bar to drink and swim in the midst of sin. "
in "their" country is a complex, difficult, but always eastern and exotic, fascinating precisely because it lies beyond the sea that we continue to cross. Probably all the records will not be transmitted to his audience, but the important thing is to know at least a different voice, critical, ironic and disillusioned about what the East and the West about what was presented. This is the greatness the show, his goal difficult to achieve, an awareness on the part of Moroccan migrants to abandon their dreams into goals that will not ever what they had promised, and across Europe launched the complaint, accused of racism and violence, but perhaps more seriously guilty of ignorance, of being still a banquet of star at the center of political and economic map of the world, selling even a dream that never come true.
Exercise Bad For Herpes
"Waltz with Bashir," dancing between pain and memory.
Review by Tiziana Favero
In these days of conflict, they see once again involved in the Palestinian Territories and the Gaza Strip Gaza, Israeli tanks, missiles, Kassam, and the search for an enemy to Israel is just a film about the Israeli Lebanese conflict of 1982. "Waltz with Bashir" was released in Italy on January 9 and is a film that everyone should see. Of those who leave the audience seated until the end of the credits, which raise the people in silence. One of those films that brought the audience to reflect on what has been shown, "to learn about what happens around them.
Presented at 'last Cannes Film Festival, winner of six Israeli Oscars and now in competition with Gomorrah, for' the American Oscar foreign language film, "Waltz with Bashir" offers all this. Despite appears as an animated film is set in the documentary genre tracing, using the autobiographical story of its director, the hard reality of conflicts that involved the Lebanon in the early eighties and the massacre of Sabra and Shatila in 1982.
Just listening to the middle of the night in a bar the story of a friend, concerned about a recurring dream, Ari Folman said Israeli records, you realize that you have removed an important part of their lives. He began his research, the dark area that was completely abolished, which had been in 18 years, his experience in 'the Israeli army committed in the first Lebanon war to eradicate the Palestinians from those territories and their missiles that threatened the North Israel. Like a dream that continues throughout the film with the use of innovative technology projects the viewer on a journey through the unconscious, creating a kind of plan is not really between the stage and the dark area that the protagonist tries to investigate all the film.
Once started this quest for truth, enter into its analysis and the analyst during a session Folman talks to a patient who has similar holes in his memory: "They are called dissociative amnesia. This inability to recall important personal information in response to a dramatic event. I might mention the case of an amateur photographer, a patient of mine. In 1983 I asked: 'How did he overcome the first months of the war? ' and he replied: 'Pretending to be a long stay in a theme park. I kept telling myself, look at that beautiful photos can be taken from here, gunfire, mortar fire, dead bodies, wounded, blood '. He watched everything that happened through a camera imaginary, and for a while 'it worked. Then, something happened, as if the camera was broken. He explained that the experience he had become traumatic when suddenly his department had occupied the Hippodrome of Beirut. Carcasses were everywhere in the stables of Arabian horses, and massacred those who were not dead, dying. That scene broke my heart, I said my patient. In war it is normal that men commit atrocities on other men, but what have those poor animals? The vision of those beautiful Arabian horses wounded to death was too much even for him. He had learned to use a mechanism that allowed him to remain outside of what's happening around, but it was enough that it would involve a scene in first person, because he could no longer say 'this is not really happening'. And shortly thereafter, went mad. " It is these that are dissociative amnesia as a thread throughout the film by the Israeli army.
Through the stories of his former comrades forgotten that even reluctant to return him to remember buried nightmares, returns to his youth. The carelessness of youth, of those guys that unprepared, inexperienced, super-armed and with the same face of the terrified soldiers entering today in Gaza, they left in 1982 to the conquest of Lebanon. Reappear as sharp as photographs faded by time but always real, the events of those days of war. The starting point for a long jaunt, including campaigns and days of sun on the beaches of Lebanon. The background music that accompanies them is the same one that sang the first American soldiers in Korea and Vietnam after the same shots that turned into death and despair everywhere pass.
It is through the technique of animated documentary, the film manages to evoke great images because of their cruelty. The desperation of a soldier under sniper fire forced the Palestinians to come out to dance the waltz under the posters of Bashir. The erotic fantasies of another, he imagines to swim on a woman's body while burning it all off. The array of wild dogs chasing a friend of Bashir and seem to those who had had to kill because they did not bark during the maneuvers. Coming
the inevitable truth of the massacre he witnessed helplessly in the refugee camps of Sabra and Shatila. While the Israeli Army entered West Beirut in September 1982, Bashir Gemayel, a young and charismatic Maronite Christian Phalange allies general Israel's newly elected president of Lebanon, was assassinated (still do not know by whom and from which side). Did not wait the reaction of the Falange. Under the incredulous eyes of the Israeli army and powerless and the tacit approval of then defense minister Ariel Sharon, killed and massacred women, children and elderly. It was a genocide that the director unconsciously associated with the Hebrew. Three days and three thousand innocent victims, the same that appear in the final sequence of the film. A few minutes of footage, this time no longer a real cartoon, the population of what he found once back in the camps, death, debris, bodies torn and suffering innocent. Although little
known was one of the most shameful pages of history and tragic Israeli-Palestinian conflict. The news shocked the world, including Israel, hundreds of thousands of people took to the streets, so unanimous protest forced the government to set up a commission of inquiry. Sharon was found guilty of not doing enough to stop a massacre, since he had been informed. Declared unfit to command had to resign with the prohibition to hold that office again. In '96 he became foreign minister in 2001 and became prime minister.
The film plays on some recurring themes when it comes to genocide and war, but the real skill of the director lies in the fact that the same words can and should be valid for all peoples, as the Jewish Palestine. MEMORY, what is lost, which is suppressed, that you want to forget, but the only thing that binds us to our past and we can project while avoiding the errors in the future. Innocence of a child who just wants to play in the snow with his fake gun, a beautiful horse run free, a carefree man to walk on their own land. WAR, even though the same man should have learned respect and the right to be "a man who dies for a yes or a no." In this age of technology, the illusion of being able to control everything with a remote control, media wars and massacres on the agenda, the idea that machines are superprecise to drop bombs. We forget too often that however the war is still done by men. Forgetting more often these men, unconscious of their guilt. Sins so heavy that removes the memory. We are so perfect a machine to remove exactly the things you do not want to remember.
Review by Tiziana Favero
In these days of conflict, they see once again involved in the Palestinian Territories and the Gaza Strip Gaza, Israeli tanks, missiles, Kassam, and the search for an enemy to Israel is just a film about the Israeli Lebanese conflict of 1982. "Waltz with Bashir" was released in Italy on January 9 and is a film that everyone should see. Of those who leave the audience seated until the end of the credits, which raise the people in silence. One of those films that brought the audience to reflect on what has been shown, "to learn about what happens around them.
Presented at 'last Cannes Film Festival, winner of six Israeli Oscars and now in competition with Gomorrah, for' the American Oscar foreign language film, "Waltz with Bashir" offers all this. Despite appears as an animated film is set in the documentary genre tracing, using the autobiographical story of its director, the hard reality of conflicts that involved the Lebanon in the early eighties and the massacre of Sabra and Shatila in 1982.
Just listening to the middle of the night in a bar the story of a friend, concerned about a recurring dream, Ari Folman said Israeli records, you realize that you have removed an important part of their lives. He began his research, the dark area that was completely abolished, which had been in 18 years, his experience in 'the Israeli army committed in the first Lebanon war to eradicate the Palestinians from those territories and their missiles that threatened the North Israel. Like a dream that continues throughout the film with the use of innovative technology projects the viewer on a journey through the unconscious, creating a kind of plan is not really between the stage and the dark area that the protagonist tries to investigate all the film.
Once started this quest for truth, enter into its analysis and the analyst during a session Folman talks to a patient who has similar holes in his memory: "They are called dissociative amnesia. This inability to recall important personal information in response to a dramatic event. I might mention the case of an amateur photographer, a patient of mine. In 1983 I asked: 'How did he overcome the first months of the war? ' and he replied: 'Pretending to be a long stay in a theme park. I kept telling myself, look at that beautiful photos can be taken from here, gunfire, mortar fire, dead bodies, wounded, blood '. He watched everything that happened through a camera imaginary, and for a while 'it worked. Then, something happened, as if the camera was broken. He explained that the experience he had become traumatic when suddenly his department had occupied the Hippodrome of Beirut. Carcasses were everywhere in the stables of Arabian horses, and massacred those who were not dead, dying. That scene broke my heart, I said my patient. In war it is normal that men commit atrocities on other men, but what have those poor animals? The vision of those beautiful Arabian horses wounded to death was too much even for him. He had learned to use a mechanism that allowed him to remain outside of what's happening around, but it was enough that it would involve a scene in first person, because he could no longer say 'this is not really happening'. And shortly thereafter, went mad. " It is these that are dissociative amnesia as a thread throughout the film by the Israeli army.
Through the stories of his former comrades forgotten that even reluctant to return him to remember buried nightmares, returns to his youth. The carelessness of youth, of those guys that unprepared, inexperienced, super-armed and with the same face of the terrified soldiers entering today in Gaza, they left in 1982 to the conquest of Lebanon. Reappear as sharp as photographs faded by time but always real, the events of those days of war. The starting point for a long jaunt, including campaigns and days of sun on the beaches of Lebanon. The background music that accompanies them is the same one that sang the first American soldiers in Korea and Vietnam after the same shots that turned into death and despair everywhere pass.
It is through the technique of animated documentary, the film manages to evoke great images because of their cruelty. The desperation of a soldier under sniper fire forced the Palestinians to come out to dance the waltz under the posters of Bashir. The erotic fantasies of another, he imagines to swim on a woman's body while burning it all off. The array of wild dogs chasing a friend of Bashir and seem to those who had had to kill because they did not bark during the maneuvers. Coming
the inevitable truth of the massacre he witnessed helplessly in the refugee camps of Sabra and Shatila. While the Israeli Army entered West Beirut in September 1982, Bashir Gemayel, a young and charismatic Maronite Christian Phalange allies general Israel's newly elected president of Lebanon, was assassinated (still do not know by whom and from which side). Did not wait the reaction of the Falange. Under the incredulous eyes of the Israeli army and powerless and the tacit approval of then defense minister Ariel Sharon, killed and massacred women, children and elderly. It was a genocide that the director unconsciously associated with the Hebrew. Three days and three thousand innocent victims, the same that appear in the final sequence of the film. A few minutes of footage, this time no longer a real cartoon, the population of what he found once back in the camps, death, debris, bodies torn and suffering innocent. Although little
known was one of the most shameful pages of history and tragic Israeli-Palestinian conflict. The news shocked the world, including Israel, hundreds of thousands of people took to the streets, so unanimous protest forced the government to set up a commission of inquiry. Sharon was found guilty of not doing enough to stop a massacre, since he had been informed. Declared unfit to command had to resign with the prohibition to hold that office again. In '96 he became foreign minister in 2001 and became prime minister.
The film plays on some recurring themes when it comes to genocide and war, but the real skill of the director lies in the fact that the same words can and should be valid for all peoples, as the Jewish Palestine. MEMORY, what is lost, which is suppressed, that you want to forget, but the only thing that binds us to our past and we can project while avoiding the errors in the future. Innocence of a child who just wants to play in the snow with his fake gun, a beautiful horse run free, a carefree man to walk on their own land. WAR, even though the same man should have learned respect and the right to be "a man who dies for a yes or a no." In this age of technology, the illusion of being able to control everything with a remote control, media wars and massacres on the agenda, the idea that machines are superprecise to drop bombs. We forget too often that however the war is still done by men. Forgetting more often these men, unconscious of their guilt. Sins so heavy that removes the memory. We are so perfect a machine to remove exactly the things you do not want to remember.
Pokemon Soul Silver Shiny Stone
Review "Jasmine" Eli Amir
In Jasmine's all the love and hatred of two nations, which can lead one between an Arab and a Palestinian?
The first novel by Eli Amir, Israeli writer, tells us that the conquest of East Jerusalem in 1967.
"and described the city \u200b\u200bas a poet's lover, saying that its stones speak in rhyme, a golden light, sweet and gentle, winding. He told the Grand Mosque of Omar and al-Aqsa, the rock from which Muhammad ascended to heaven was riding his horse al-Buraq, and of course the Temple Mount, the Wailing Wall ... here is preserved the spirit of the prophets, sages, kings and poets who have lived in this city and have given nine measures of beauty, but also transforming it in a messianic, like a magnet that attracts crazy all over the world, people in search of redemption, waiting of an imaginary Messiah and whose prayers will not be exhausted. " So Eli Amir describes the city of Jerusalem in his first novel published in Italy by Einaudi Jasmine and available in bookstores. The Israeli writer lets us know this story that unfolds in a newly re-conquered Jerusalem by the Israelis in the war of '67, a little-known literature such as the Israeli Sephardic. That fact is often anchored in the folk context, recalling the colorful and a bit 'nostalgic for a world extinct. Here we are instead on a whole different level: modeled on the political, historical and social.
The plot unfolds as if it were a travelogue of the protagonist to discover that unknown world that East Jerusalem was for Israel in the aftermath of victory, but also the personal journey to discovering what it means to be Israeli in the aftermath of war and confrontation / clash with the other Arab.
Just as radios of Cairo, Amman, Damascus still sing the heroic deeds of their armies, Israeli soldiers have been busy (or released) in East Jerusalem. Nothing will ever be, in the Middle East, as elsewhere in the world. As it suggests by the words of Prime Minister Eshkol, the Israeli government is also well aware that early in the new situation, the issues related to the area east of the city: "It's the V for victory? - Asked the Secretary. Eshkol looked at him without smiling. No, it is W of the Wi krikht men zikh oys, as we work it out? ... I consider it an example of clarity in the euphoria that permeated all of us, of humanity between the roars of victory. " To best meet this new situation for appointing director of Arab affairs thirty-something Sephardic jew Nuri Elias Nasseh.
The figure of the protagonist of the novel may seem in all respects cloned on the experience of the author's life, both were born in Baghdad, their first language is Arabic, have had the experience of refugees from Iraq who flee to take refuge in Israel's experience in Kibbutz Mishmar Haemek new immigrant, the institutional role done. A life in balance continuously, trying to mediate and seek points of contact between two cultures are very distant now.
Nuri finds himself faced with a reality shared by the bitterness and frustration of those who lost the war, which coexists with the euphoria and disbelief of those who won it but has not yet become aware of the complex reality that awaits him. He feels deeply connected to the Arab culture from which it derives and in which is located at the same time can not forget to be a jew. The internal split that will go Nuri feels throughout the novel constructed through a continuous interplay of opposites, in which everything is opposed, places, characters , In their stories. Within the Arab world as in the exploding Israeli conflict and tension between those who want to remain anchored to their positions, without conceding anything, and who would be open to the 'Other' in the knowledge that is the only way to get to know and to live in peace alongside each other.
During the discovery of the East Jerusalem, including its narrow streets and slums, remained hidden until the Six Day War, Nouri try a direct approach with the population approaching one of the most prominent of the city. He knows and enters familiar with Abu George, a Christian Arab owner and journalist of the daily Al Watan and al-restaurant Hurriyeh accepting, at the suggestion of Nuri, to resume its activities, while clashes with Abu Nabil, a member of Abu George Muslim and Arab journalist who prefers to accommodate the talents of Arab propaganda peppering his wares of deceit and lies. Watching from reality he is aware of the needs and reasons for the "enemy" and strives unselfishly to help the Palestinians in alleviating those problems that the new political inconvenience has inevitably created. Strongly opposes the Israeli official, Haram, arrogant and deceitful that does everything to put obstacles instead of solving the messy situations. But listen and help the young and naive shepherd who knows Ghadir during military service in his youth on Mount Scopus. But unfortunately
"In this narrow bed next to a wall of clay, full of cracks, holes and burrows of spiders lizards when I turn I fall into the sea. In this narrow, hard bed did you sleep with me, oh dear, or smash the head - my and my children, against the Wailing Wall? "Jasmine points out how in one of their early discussions," Who belongs to this narrow bed? ". Two people are vying for a piece of land. And Jasmine, tries to make him understand.
the background of a thousand issues of Arab-Israeli conflict, the population problem, the internal differences between the state of Israel Ashkenazi and Sephardim, she arrives. Suddenly. Jasmine is the only son of Abu George, who moved from Paris after a Ph.D. in educational psychology and find a job with the help of Nuri in an Israeli institution that deals with handicapped children. Young Arab
modern Western culture has acquired through studies in a European city, Jasmine stands in contrast to the world that Israel perceives as a "usurper" and trying to combat by all means. Try not want to see a reality that is placed under the eyes, that "our oppressors would bring in the heart of the wounds, just like us." The two young men, a Palestinian Christian and a member of a family jew Orthodox Jews, began to walk along a path of friendship towards a mutual understanding of self and other.
Two parallel roads, such as the Jewish people and the Palestinian people, like that of two young lovers can never intersect in a mutual acceptance of the achievements and limitations inherent in themselves? Only if they understand "The opposite each other-the two sides of a single narrow stream dall'alveo away forever."
The first novel by Eli Amir, Israeli writer, tells us that the conquest of East Jerusalem in 1967.
"and described the city \u200b\u200bas a poet's lover, saying that its stones speak in rhyme, a golden light, sweet and gentle, winding. He told the Grand Mosque of Omar and al-Aqsa, the rock from which Muhammad ascended to heaven was riding his horse al-Buraq, and of course the Temple Mount, the Wailing Wall ... here is preserved the spirit of the prophets, sages, kings and poets who have lived in this city and have given nine measures of beauty, but also transforming it in a messianic, like a magnet that attracts crazy all over the world, people in search of redemption, waiting of an imaginary Messiah and whose prayers will not be exhausted. " So Eli Amir describes the city of Jerusalem in his first novel published in Italy by Einaudi Jasmine and available in bookstores. The Israeli writer lets us know this story that unfolds in a newly re-conquered Jerusalem by the Israelis in the war of '67, a little-known literature such as the Israeli Sephardic. That fact is often anchored in the folk context, recalling the colorful and a bit 'nostalgic for a world extinct. Here we are instead on a whole different level: modeled on the political, historical and social.
The plot unfolds as if it were a travelogue of the protagonist to discover that unknown world that East Jerusalem was for Israel in the aftermath of victory, but also the personal journey to discovering what it means to be Israeli in the aftermath of war and confrontation / clash with the other Arab.
Just as radios of Cairo, Amman, Damascus still sing the heroic deeds of their armies, Israeli soldiers have been busy (or released) in East Jerusalem. Nothing will ever be, in the Middle East, as elsewhere in the world. As it suggests by the words of Prime Minister Eshkol, the Israeli government is also well aware that early in the new situation, the issues related to the area east of the city: "It's the V for victory? - Asked the Secretary. Eshkol looked at him without smiling. No, it is W of the Wi krikht men zikh oys, as we work it out? ... I consider it an example of clarity in the euphoria that permeated all of us, of humanity between the roars of victory. " To best meet this new situation for appointing director of Arab affairs thirty-something Sephardic jew Nuri Elias Nasseh.
The figure of the protagonist of the novel may seem in all respects cloned on the experience of the author's life, both were born in Baghdad, their first language is Arabic, have had the experience of refugees from Iraq who flee to take refuge in Israel's experience in Kibbutz Mishmar Haemek new immigrant, the institutional role done. A life in balance continuously, trying to mediate and seek points of contact between two cultures are very distant now.
Nuri finds himself faced with a reality shared by the bitterness and frustration of those who lost the war, which coexists with the euphoria and disbelief of those who won it but has not yet become aware of the complex reality that awaits him. He feels deeply connected to the Arab culture from which it derives and in which is located at the same time can not forget to be a jew. The internal split that will go Nuri feels throughout the novel constructed through a continuous interplay of opposites, in which everything is opposed, places, characters , In their stories. Within the Arab world as in the exploding Israeli conflict and tension between those who want to remain anchored to their positions, without conceding anything, and who would be open to the 'Other' in the knowledge that is the only way to get to know and to live in peace alongside each other.
During the discovery of the East Jerusalem, including its narrow streets and slums, remained hidden until the Six Day War, Nouri try a direct approach with the population approaching one of the most prominent of the city. He knows and enters familiar with Abu George, a Christian Arab owner and journalist of the daily Al Watan and al-restaurant Hurriyeh accepting, at the suggestion of Nuri, to resume its activities, while clashes with Abu Nabil, a member of Abu George Muslim and Arab journalist who prefers to accommodate the talents of Arab propaganda peppering his wares of deceit and lies. Watching from reality he is aware of the needs and reasons for the "enemy" and strives unselfishly to help the Palestinians in alleviating those problems that the new political inconvenience has inevitably created. Strongly opposes the Israeli official, Haram, arrogant and deceitful that does everything to put obstacles instead of solving the messy situations. But listen and help the young and naive shepherd who knows Ghadir during military service in his youth on Mount Scopus. But unfortunately
"In this narrow bed next to a wall of clay, full of cracks, holes and burrows of spiders lizards when I turn I fall into the sea. In this narrow, hard bed did you sleep with me, oh dear, or smash the head - my and my children, against the Wailing Wall? "Jasmine points out how in one of their early discussions," Who belongs to this narrow bed? ". Two people are vying for a piece of land. And Jasmine, tries to make him understand.
the background of a thousand issues of Arab-Israeli conflict, the population problem, the internal differences between the state of Israel Ashkenazi and Sephardim, she arrives. Suddenly. Jasmine is the only son of Abu George, who moved from Paris after a Ph.D. in educational psychology and find a job with the help of Nuri in an Israeli institution that deals with handicapped children. Young Arab
modern Western culture has acquired through studies in a European city, Jasmine stands in contrast to the world that Israel perceives as a "usurper" and trying to combat by all means. Try not want to see a reality that is placed under the eyes, that "our oppressors would bring in the heart of the wounds, just like us." The two young men, a Palestinian Christian and a member of a family jew Orthodox Jews, began to walk along a path of friendship towards a mutual understanding of self and other.
Two parallel roads, such as the Jewish people and the Palestinian people, like that of two young lovers can never intersect in a mutual acceptance of the achievements and limitations inherent in themselves? Only if they understand "The opposite each other-the two sides of a single narrow stream dall'alveo away forever."
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