Agosto by Tracy Letts

By Tracy Letts

El retrato de una familia disfuncional de l. a. América profunda en su peor momentoIngenio, acidez, ironía, tragedia y mucho humor negroTras l. a. desaparición del patriarca de los Weston una calurosa noche de de verano, el extended family se ve obligado a reunirse en los angeles casa time-honored de Pawhuska, Ocklahoma, donde sentimientos reprimidos du rante años estallan en un torrente de emociones. Todos estarán bajo l. a. influencia de Violet, una mujer que cuando no está absolutamente drogada por las píldoras, suelta veneno por l. a. boca; se enfrentarán con su pasado y su presente, entre secretos y verdades a medias.Premio Pulitzer de Teatro 2008, l. a. adaptación cinematográfica de l. a. novela está protagonizada por Julia Roberts, Meryl Streep y Ewan McGregor.

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He wanted to abolish all its psychological, literary and subjective elements, to arrive at an art work that was concrete and autonomous. In 1923 he was one of those who signed the Futurist Machine Art Manifesto, and carried its aims into theatre by replacing the actor with mechanised scenery, lifts, phonographs and other elements. Shows were presented in Paris in 1925 and 1927. In the 1930s he became interested in exploiting the biological presence of matter and its autonomous chemical or other changes.

The old man talks with the other characters, and what they say should be in keeping with what has gone before. A glass falls off the table. All of them fall on their knees and weep. The old man changes from a kindly man into a ferocious “butcher” and murders a little girl who has just crawled in from the left. At this very moment a handsome young man runs in and thanks the old man for murdering the girl, at which point the characters in red sing and dance. Then the young man weeps over the body of the little girl and says very amusing things, whereupon the old man becomes once again kindly and good-natured and laughs to himself in a corner, uttering sublime and limpid phrases.

From 1914, he was a friend of Mussolini and fascist enthusiast. It is hard to argue any inherent connection between futurism and fascism, however, since the Russian futurists embraced the soviet revolution with equal enthusiasm. Bruno Corra, author of Per I’arte nuova della nuova Italia (1918), and Emilio Settimelli both wrote futurist sketches, and both signed the Manifesto of Futurist Cinema (1916). Corra and his brother pioneered the technique of painting directly on film in 1910. Settimelli appeared in one of the lost futurist films, Vita Futurista, and wrote Marinetti, Man and Artist (1921).

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