Enrico Celestino Di
One of the favorite topics by Marco Tutino, assisted on several occasions to Bondi refined thinkers such as ministers and secretaries and authoritative Brunetta as Giro and Carlucci, to validate the theory of "de-stabilization" of organic art theater has always been: "We need new rules to allow the opera houses to perform better and produce more." Which is the usual argument (Italian politicians docent) used primarily by those who want to hide their shortcomings and, subsequently, its sights confessed.
Mire and omissions
Mire, including Tutino and company singing (!) Which are, basically, of wanting to undo the stable complex of theaters, replacing them with more "agile" and "lean" modular complex as precarious (the orchestra is a shining example co.co.pro. Maghenzani of Parma and Pellegrini)
The infamous project which is only Tutino a follower, because for years now, more or less obvious, is pursued, essentially provides that a superintendent may dispose of mainly public money in a status of complete deregulation, in the absence of any control and the slightest responsibility for budget and then continue to subsidize the system of agencies has always been prevalent in the artistic field as well as food la nebulosa attribuzione di compensi non precisamente quantificabili, anche per la natura stessa delle prestazioni artistiche, il tutto in un contesto ad alto rischio di evasione fiscale.
Il liquidatore
Non è un mistero, per chi è dell’ambiente, che l’astuto quanto simpatico Tutino sia stato inviato come liquidatore del Comunale di Bologna.
Esclusi per ovvi motivi la Scala e l’Opera di Roma, il Comunale, all’epoca dell’insediamento di Tutino, rappresentava, fra i teatri disponibili, that there could be more dangerous for the advocates of non-stability: excellent international visibility, prestige established by major directors such as stable and then Gatti Chailly, Orchestra and organized under a single compact unions.
undermine all of this was necessary to annihilate, in the logic of "one strike to educate one hundred", while all the foundations and the Presidency of the same dell'Anfols Tutino resulting in gradual dissociation of most of the Stewards, is was an additional tool for Tutino and Co.
Use Media
Surely in order to "terminate" the orchestras of theaters has been the focus of functional coverage I mentioned at the beginning, led by various Bondi ("... the current contracts that enable these workers, in some cases, unjustified privileges, without ensuring adequate productivity. "" ... the contracts of these foundations provide 16 hours of work per week ... "Carlucci (" The organic prevent excessive use of funds to produce , salaries account for 80% ") etc.. etc.
E’ chiaro che, in prima istanza, se cotanti galantuomini sapessero di trovarsi in presenza di un’informazione meramente degna non si permetterebbero di propalare così enormi scempiaggini prive di fondamento di logica come “ …concertare nuove regole per cui si lavori di più e meglio, senza vuoti di programmazione, con turni più serrati e senza ricorrere ad aggiunti esterni…” o “…se anche il Fus fosse il doppio, i teatri non farebbero una sola recita in più…”.
Un giornalista un minimo informato sulla materia, infatti, potrebbe smontare prontamente the house of cards of the Pinocchio turn quoting actual data, or wondering why then the orchestra in Bologna, for example, is largely untapped compared to the employment contract.
This morning knowing Daily, said Marco Travaglio: "... the job of a newspaper is not to put a microphone in the mouth of this or that, but check the reliability of what he says ..."
returnable bottles
Returning to the substance of the statements, it is not clear what has to make the contract work with the "empty programming." These are rather related to the management skills of superintendents, art directors and, if anything, the offices responsible.
orchestra or choir used for only ten days in a month, maybe for a few nights of entertainment, report a problem of inability of the so-called "manager", not employees or contract.
To be more clear. If I, Viola Before the Teatro Comunale in Bologna do a single performance in a month or I do twenty, at the Teatro cost exactly the same figure.
So maybe the problem lies elsewhere.
For example, in the cachet of artists and directors or the costs of furnishings or even the lack of coordination among foundations in the exchange of productions. Who knows.
Or, more simply, everything is in a shameful fact: Italy spends 0.16% of GDP to the culture, the European average is 1 to 4%. And this is a fact reported in the first cuts Bondiani.
But in the press campaign referred to above (as in Bondi decree) have never read anything in this regard and never missed a quote princely privileges and salaries of the musicians
proposals, protests
It 'been repeatedly demonstrated, right here at the Comunale of Bologna, the response of proposals for public programs is also easy to listen and not necessarily with the protagonists of fame has always been positive.
The Bolognese, like the rest of the Italian public, who thirst for music (and entertainment in general) and evenings of music together or Bologna Mozart Festival Orchestra, or not enough to satisfy them.
Orchestra and Chorus may be used in productions at no cost that could run away from bringing the public performances of the School-wise Opera Tutino.
But no. It was decided that the cancer of Italian theaters are the salaries of orchestras. And this is enough
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License September 30, 2010 ... 19:29
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