2017 Directed by Ivo van Hove
Gino is a drifter, down-at-heel and magnetically handsome. At a road side restaurant he encounters husband and wife, Joseph and Hanna. Irresistibly attracted to each other, Gino and Hanna begin a fiery affair and plot to murder her husband. But, in this chilling tale of passion and destruction, the crime only serves to tear them apart.
NT Live: Obsession, National Theatre at Home: Obsession, National Theatre Live/Barbican: Obsession, NT Live/Barbican: Obsession, Obsession, Obsession based on the script by Luchino Visconti, Mario Alicata, Gieseppe De Santis and Giovanni Puccini (sic), Obsession based on the script by Luchino Visconti, Mario Alicata, Giuseppe De Santis and Gianni Puccini, 迷情记
UK
Netherlands
USA
Netherlands
UK
USA
فكرة ان المسرحية تكون مأخوذة عن نص فيسكونتي المأخوذ بدوره عن رواية
ساعي البريد يدق الباب دائما مرتين لجيمس مولاهان كين
كانت حركة جامدة، لان نص فيسكونتي اللي كان يعتبر البذرة الأولى للواقعية الايطالية الجديدة
طرح في النص السينمائي خط غير موجود بالعمل الأصلي
طرح موضوع المثلية لأسباب تخص ذاتيته كمخرج مؤلف، والخط ده منح قصة الرواية اللي تعتبر مثلث غرامي وخيانة عادي بُعد نفسي لشخصية البطل، فكان طرحه جريء
المسرحية قدمت نفس المعالجة بديكور تجريدي مركب، فالتركيز انصب على اداء الممثلين اهم من واقعية تصميم المكان
اداء جود لو وصل انه يخلي شخصية جينو تكون مأساوية هو محاصر من اختياراته ومصيره المحتوم
العمل كله عجبني الصراحة
This feels like an experience that existed solely in the room and I don't think the production translated well through the recording. However, the performances were bold, Ivo's staging was expectedly electrifying, and the edible I took only enhanced the already heightened emotions. God, I miss live theatre.
Needing in 2017 to take some forms into town to get completed,I decided to see what was being shown at the cinema. Finding the listings to be filled with inane-sounding blockbusters,I was taken aback to spot a "live" theatrical adaptation of Luchino Visconti's Film Noir Ossessione (which I've sadly not yet seen.) Finding the National Theatre versions of Frankenstein and Coriolanus ( 2011 & 2014-both also reviewed) to be extremely distinctive versions,I got set to see a Film Noir on stage.
View on the film:
Stripping the Film Noir world bare,co-writer/(with Simon Stephens and Jan Peter Gerrits trims the set down to the bare elements,with a bar table,an engine (which spills oil over the stage) accordions in glass and a shower…
