[live] web-show :
From 2009
... including Amarcord, Mirror, Dreams, Wild Strawberries?

... personal (participant is using the matrix for confession)?

wiki -- forum/list

audience = performers (ritual principle)

stagematrix.com -- !!!

... + cine101.com


"Amarcord Principle" (humor/memory) for CALIGARY ?

Childhood themes:



God, religion



Self, first steps

... 8.5

Lul for

Shows *


* director Federico Fellini, his filmography, The Voice of the Moon, his thoughts, Variety Lights, his awards, Fellini's Roma, the actors, The Clowns, screenwriting credits, Casanova, Giulietta Masina, Ginger and Fred, Marcello Mastroianni, Toby Dammit, his favorite foods, And the Ship Sails On, his likes and dislikes, Juliet of the Spirits, Anita Ekberg, The Nights of Cabiria, Neorealism, I Vitelloni, the critics, La Dolce Vita, Roberto Rossellini, La Strada, his sense of play, Satyricon, his friends, Interview, his family, 8 1/2, Anthony Quinn, City of Women, Angelo Rizzoli, Il Bidone, Rimini, his place of birth, Amarcord, his experiences during the war, Orchestra Rehearsal, Nino Rota, and The White Sheik.


Federico Fellini Virtual Theatre: Directing, Acting, Drama, Theory


The Films of Federico Fellini (Cambridge Film Classics) This study examines the career of one of Italy's most renowned filmmakers through close analysis of five masterpieces that span his career: La Strada, La Dolce Vita, 8 1/2, Amarcord and Interview. Providing an overview of Fellini's early career as a cartoonist and scriptwriter for Neorealist directors such as Roberto Rosselini, it traces the development of his unique and personal cinematic vision as it transcends Italian Neorealism. Rejecting an overtly ideological approach to Fellini's cinema, Bondanella emphasizes the director's interest in fantasy, the irrational, and individualism.

A MAN: Fellini presents two sides of the same coin with some of his archetypal male figures. He shows men's idealized self-stereotype — strong, virile, masterful — while other images portray men as prisoners of their own sex roles.

His idealized, male-fantasy image of Man as Master, Dominator of Women and King of his Domain is perhaps best represented in the 8-1/2 harem sequence. Here, Fellini's alter ego Marcello imagines himself as absolute master of all of the women he has ever desired, real or imagined. The absurdity of Marcello's fantasy brought me laughter, but as with all effective humor, his joke touched a grain of truth. In the dark recesses, away from the politically-correct facade, the sincere sensitivity of the intellect, lies the same old primal, sex-driven id longing to even the score for a lifetime of perceived rejections and maternal domination. The connection is brought even closer to home by Marcello's mild manner and largely 'enlightened' attitude toward women in his waking life. *

WOMAN WHORE: Fellini's women play many roles, with most characters seeming to fill a niche in the male protagonist's life scheme and specific neediness. Prominent among these is the primal sex object and/or the available whore.

In several instances, he looks back with some fondness on his earliest sexual experiences as a preadolescent. In 8-1/2, young Marcello's encounter with the grotesque Saraghina is filled with excitement, child-like delight mixed with cruelty, wonder, trepidation, fear and ultimately guilt. Again, Fellini faithfully recalls a seemingly universal male experience with awakening sexuality. Little Marcello and his friends don't seem to really understand why they should be excited, but they are. Saraghina's crude, raw sexuality and the boys' response are portrayed with crosscuts between her suggestive gyrations and their initial unmoving shock and subsequent joyful leaping. Invited to closer contact, he responds with alternating approach and avoidance, ended by the inevitable peer pressure as the other boys push him forward. To top it off, Fellini portrays one of the worst possible childhood fates — being caught red-handed by adults...

[ author: Gerry Manacsa ]

Fellini on Fellini

Conversations with Fellini

Embeds : film.vtheatre.net/fellini [8.5]


picasa Fellini album


... AMARCORD as webshow! u21.us -- Utopia Project.

lul shows


{ Amarcord }

2009 : Theatre Lul Dreams


Spring 2006: Waiting for Godot -- Beckett (instead)


Good for staging (episodic structure); composition. Must be theatrical equivalent for Fellini. To use the travel in time (memories): Amarcord = "I'm remembering" (It.). The boy, young man, and the old man (three ages).

Not Fellini's footage, but the newsreels of the era (fascism, war and after). The same with music.

[ maybe I want to write/direct about my own childhood in Soviet Moscow -- parades, red flags, and etc. Foggoten and lost world. From another century. Another country. Maybe it should be done in Russia. ]

This page is waiting for the show...

And the show is waiting for me.



Fellini Fellini

Use the pages in film.vtheatre.net on Fellini, Bergman, Kurosawa.


Amarcord - Criterion Collection (1974) Federico Fellini's 1974 fantasy-memoir of life in his hometown during the Fascist era is basically the full palette of experience--sex, families, politics--with his surreal twist. As a general picture of the 1930s community carrying on rituals but with an element of government harshness in the air, the film is quite memorable (especially in scenes set around the town square). Less satisfying is Fellini's tighter focus on certain, forgettable individuals. The ironic title translates into, "I remember," but here memory is more a matter of loving vision than actuality.
Next: Bergman
Fellini Rota (Film Score Anthology) [SOUNDTRACK] Venice-DonJuan2003
Venice Carnival 2002 & DJ 2003

The Cinema of Federico Fellini This major artistic biography of Federico Fellini shows how his exuberant imagination has been shaped by popular culture, literature, and his encounter with the ideas of C. G. Jung, especially Jungian dream interpretation. Covering Fellini's entire career, the book links his mature accomplishments to his first employment as a cartoonist, gagman, and sketch-artist during the Fascist era and his development as a leading neo-realist scriptwriter. Peter Bondanella thoroughly explores key Fellinian themes to reveal the director's growth not only as an artistic master of the visual image but also as an astute interpreter of culture and politics. Throughout the book Bondanella draws on a new archive of several dozen manuscripts, obtained from Fellini and his scriptwriters. These previously unexamined documents allow a comprehensive treatment of Fellini's important part in the rise of Italian neorealism and the even more decisive role that he played in the evolution of Italian cinema beyond neorealism in the 1950s. By probing Fellini's recurring themes, Bondanella reinterprets the visual qualities of the director's body of work--and also discloses in the films a critical and intellectual vitality often hidden by Fellini's reputation as a storyteller and entertainer. After two chapters on Fellini's precinematic career, the book covers all the films to date in analytical chapters arranged by topic: Fellini and his growth beyond his neorealist apprenticeship, dreams and metacinema, literature and cinema, Fellini and politics, Fellini and the image of women, and La voce della luna and the cinema of poetry.

Fellini on Fellini
ShowCases: shows.vtheatre.net
I, Fellini Forged from the many conversations Charlotte Chandler conducted with the director of La Dolce Vita, 8 1/2, and La Strada over the course of fourteen years, I, Fellini is a portrait of one of Italy's greatest filmmakers in his own words.

I'm a Born Liar: A Fellini Lexicon Documentarian Pettigrew was introduced by novelist Italo Calvino to Federico Fellini (1920–1993) on the set of Fellini's And the Ship Sails On (1983). In 1991–1992, Pettigrew shot in-depth interviews with Fellini, material later used in his documentary Fellini: I'm a Born Liar (2003). Returning to their original q&a, Pettigrew has now extracted an alphabetical compilation of quotes from Fellini's responses. With an underlying theme of creativity, it runs the A-to-Z gamut from actors ("An actor's face and body are more important to me than plot structure"), Anita Ekberg ("a glorious apparition!") and Antonioni, to clowns, death, God, guilt, Hollywood, music, puppets, vagabonds, Visconti and women, "the source of man's creativity." As screenwriter Tullio Kezich notes in his foreword, Fellini is a "matador of words." Beautiful page designs by Brankica Kovrlija are festooned with torn-paper effects and flamboyant fonts, a stylish setting to display 125 illustrations, including numerous never-before-published photographs courtesy of the Fellini Foundation and the Cineteca di Bologna. Striking sepia scrapbook photos appear alongside imaginative color images from such masterworks as Amarcord, Satyricon and Juliet of the Spirits. Amid creamy b&w stills from 8 1/2,La Dolce Vita, La Strada and others, production photos capture Fellini on Cinecittà sets, directing and gesticulating. "Real life doesn't interest me," Fellini once said. His flair for fantasy and visual poetry is evident throughout this rich, ornate volume. 125 photos.

Roma Fellini Pages [ right ]


LUL seasons:
Is it the same show as Janhoy? Or Trinity... filmplus.org/plays/ideas -- to think about it @ G-groups [stagematrix & playwright]
movement-show, like Caligari?
... ANT