Tuesday, April 21, 2009
Sunday, April 12, 2009
Thursday, April 9, 2009
Sunday, April 5, 2009
Stain Removal Bathtub Hair Dye
Utto quotes ..
Utto quotes ...
"The mystery has risen irreversible momentum with the course of their destiny. " 
Utto quotes ...
"The mystery has risen irreversible momentum with the course of their destiny. "
Wednesday, April 1, 2009
Bideos De Nenas Follando
Dear boys ...
Dear boys,
we read the letter you sent to Liberation and some of the letters posted on the blog. We feel we have to tell you something, we can not tolerate any questions that you devote did not answer, no one makes an attempt to explain, to dry your, our, tears.
We Fabio Luciano and, we believe, we do not know, but we engineers Raffaello Sanzio, two of those found in Dijon on stage where Alfredo has died. We bring the thought of the company, not represent in any way, we are just people who work there and who were witnesses to a terrible event, unbearable, and that are still alive.
Yes, because Alfred, a boy of 27 years, the youngest and most "inexperienced" between us is dead, we can continue to live, work and play. He did not. The thought heavy, and the tragic awareness that we did everything we could and should do to ensure the safety and lives of those who work with us will be with us and we will weigh a ton for the rest of our days. We will not forget. It is not possible.
You are right, the letter read on the day of the funeral by Raffaello Sanzio was wrong and inappropriate. In those moments was only silence and the ability to step aside, respect the others, and also their pain, tears and silence. It is enough. To explain, to tell the dynamic was no time.
doing so has not done anything but feed suspicion and anger. It seemed that the company wanted to protect, or trying to hide something, also because of the voices that were filmed in Italy since the beginning, and the more varied nature. We do not know why that choice was made, and if we have to be honest, we just interesting.
But we know how things went. We know it's been a death in the workplace, in absurd circumstances at that time and seemingly inexplicable (and that is why we believe that many versions have been crossed in the first times). We know it's been using a machine, which was that Alfredo was equipped and commanded to each replica, to feel an emotion, to "see what happens." We understand that it is difficult to accept this reality, but unfortunately that is how things are done: no one had asked him to jump, it was a personal choice, self-contained, no tax, no job description to be met. We say this for the love of truth and absolute consciousness.
All this does not mean anything to the terrible gravity of what happened. Damn that car could have killed anyone else had used. That car did not have to be there should not be on stage, nor there, nor anywhere else. That device, made to be used by the actors, had to be checked, approved and secured by professionals who are able to do so. But this was not done.
The central problem to this point is the ease with which it is played, in all these years of wonderful performances and triumphant, with the risk, with the thin boundary between fiction and real suffering, of danger and illusion of control, ultimately perhaps, between life and death.
In the name of art you can get to stake a life that is not his? No, no, no and no. But many times we have more or less consciously accepted the risk, guilty with lightness, and we, technical experts and "sailed" we get drawn into a dynamic child that included inside the game of challenge and danger. This will not be. But the price paid is unacceptable.
Our stupidity and incompetence, our failure, they leave behind a trail of pain, for you and the family of Alfredo, which for us is and always will be unbearable.
Just as there is unbearable to continue to work on Inferno, continue to bring this show on tour, where every minute of work reminds us of those spent with Alfredo, his curiosity, the desire to learn, play, share experience collective.
Whatever you want to know about that afternoon, or work that Alfredo place, we are here, cerchiamoci, let's meet and talk. Because the issues that you raised: the safety of work in theaters, the artistic limits should be imposed and how we, and not only the laws, we can protect the safety and lives of all who work in these fields are commitments that the death of a comrade and a friend obliges us to keep up with relentless perseverance. A hug
and Fabio Luciano Trebbi Sajiz 
Dear boys,
we read the letter you sent to Liberation and some of the letters posted on the blog. We feel we have to tell you something, we can not tolerate any questions that you devote did not answer, no one makes an attempt to explain, to dry your, our, tears.
We Fabio Luciano and, we believe, we do not know, but we engineers Raffaello Sanzio, two of those found in Dijon on stage where Alfredo has died. We bring the thought of the company, not represent in any way, we are just people who work there and who were witnesses to a terrible event, unbearable, and that are still alive.
Yes, because Alfred, a boy of 27 years, the youngest and most "inexperienced" between us is dead, we can continue to live, work and play. He did not. The thought heavy, and the tragic awareness that we did everything we could and should do to ensure the safety and lives of those who work with us will be with us and we will weigh a ton for the rest of our days. We will not forget. It is not possible.
You are right, the letter read on the day of the funeral by Raffaello Sanzio was wrong and inappropriate. In those moments was only silence and the ability to step aside, respect the others, and also their pain, tears and silence. It is enough. To explain, to tell the dynamic was no time.
doing so has not done anything but feed suspicion and anger. It seemed that the company wanted to protect, or trying to hide something, also because of the voices that were filmed in Italy since the beginning, and the more varied nature. We do not know why that choice was made, and if we have to be honest, we just interesting.
But we know how things went. We know it's been a death in the workplace, in absurd circumstances at that time and seemingly inexplicable (and that is why we believe that many versions have been crossed in the first times). We know it's been using a machine, which was that Alfredo was equipped and commanded to each replica, to feel an emotion, to "see what happens." We understand that it is difficult to accept this reality, but unfortunately that is how things are done: no one had asked him to jump, it was a personal choice, self-contained, no tax, no job description to be met. We say this for the love of truth and absolute consciousness.
All this does not mean anything to the terrible gravity of what happened. Damn that car could have killed anyone else had used. That car did not have to be there should not be on stage, nor there, nor anywhere else. That device, made to be used by the actors, had to be checked, approved and secured by professionals who are able to do so. But this was not done.
The central problem to this point is the ease with which it is played, in all these years of wonderful performances and triumphant, with the risk, with the thin boundary between fiction and real suffering, of danger and illusion of control, ultimately perhaps, between life and death.
In the name of art you can get to stake a life that is not his? No, no, no and no. But many times we have more or less consciously accepted the risk, guilty with lightness, and we, technical experts and "sailed" we get drawn into a dynamic child that included inside the game of challenge and danger. This will not be. But the price paid is unacceptable.
Our stupidity and incompetence, our failure, they leave behind a trail of pain, for you and the family of Alfredo, which for us is and always will be unbearable.
Just as there is unbearable to continue to work on Inferno, continue to bring this show on tour, where every minute of work reminds us of those spent with Alfredo, his curiosity, the desire to learn, play, share experience collective.
Whatever you want to know about that afternoon, or work that Alfredo place, we are here, cerchiamoci, let's meet and talk. Because the issues that you raised: the safety of work in theaters, the artistic limits should be imposed and how we, and not only the laws, we can protect the safety and lives of all who work in these fields are commitments that the death of a comrade and a friend obliges us to keep up with relentless perseverance. A hug
and Fabio Luciano Trebbi Sajiz
Subscribe to:
Posts (Atom)