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Carlos Rodero
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«Un divertido acercamiento al pasado desde la radical óptica del presente.» «Un viaje lleno de sorpresas que nos mantiene atentos y nos hace cuestionar cuál es el valor de la ficción en nuestros días.» A Morgana,...
que se zambulle en la ficción como si le fuera la vida Costanza (2017) Text & Dramaturgy • Carlos Rodero
Dramaturgy Assistant • Balassa Eszter
Based on • La Gitanilla (The Little Gypsy Girl)
A short novel by • Miguel de Cervantes Performed by • Raquel Pardos Music • Jorge F.G. Gila
Scenography & Costumes Assisstant • Hajnalka Ándulka Tóth
Voice & Diction Assessor • Paloma De Pablo
Singing Assessor • Heiter Melinda
Video • Buday Daniel Hungarian Subtitles • János Antal Horváth
Assistance • Magos Eszter Production • MISERO PROSPERO Project
Executive Producer • TWIN MEDIA Staged & Directed by • Carlos Rodero Ver más
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...The Servant is Harold Pinter's 1963 film adaptation of a 1948 novelette by Robin Maugham. A British production directed by Joseph Losey, it stars Dirk Bogarde, Sarah Miles, Wendy Craig and James Fox. It opened at London's Warner Theatre on 14 November 1963. The first of Pinter's three film collaborations with Losey, which also include Accident (1967) and The Go-Between (1971), The Servant is a tightly-constructed psychological dramatic film about the relationships among the four central characters examining issues relating to class, servitude and the ennui of the upper classes...
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Joseph Losey's superb 1963 film about class and sex is once again in cinemas – but to locate its elusive gay gene, you have to revisit its source in Robin Maugham's extraordinary and disturbing novella. Even in context, however, The Servant looks unique: its formal, theatrical elegance, combined with the ugliness of its emotions and fears, looks sharper and fiercer than ever. With its dark shadows, and faces distorted in convex mirrors, it looks like a scary movie, which is w...hat it is. In Britain in 2013, even with Old Etonians in charge, the master/servant dialogue of 50 years ago seems impossibly arrogant. It was not unusual for instructions to be brusque, and the word "please" to be avoided, and a sentence rounded off with a curt "… would you?" And so the servant classes might well take refuge in an enigmatic mask, or take revenge with little gestures of pique or cheek, and generally store up resentment. In Britain the rhetoric of class, like that of sex, was largely in code. This is what the outsider Losey orchestrates, what Pinter writes and what Bogarde embodies. Ver más
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Johan Troch “Sleepwalkers”,
Dancer: Sylvie Guillem
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“Anyone who has never made a mistake has never tried anything new.”
― Albert Einstein
...photo by Chris Frazer Smith...
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