MOMO - Teatro Giuditta Pasta

Momo
AND
THE GREY MEN
Materiale
DIDATTICO
Tratto da MOMO
di Michael Ende
Testo adattato da
Manuela Maya Mariani e Rossana Mola
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Gentili Insegnanti,
“Out of the Blue” nasce dall’esperienza di Manuela Maya Mariani e Rossana Mola, due
attrici/insegnanti bilingui che hanno lavorato e collaborato per anni nell’ambito del
Theatre in Education (TiE), sia in Inghilterra che in Italia.
La compagnia utilizza il teatro come mezzo per l’insegnamento della lingua inglese e
come strumento per aiutare gli studenti ad acquisire spigliatezza ed espressività di
comunicazione.
Lo spettacolo che siamo liete di proporvi per questo anno scolastico si intitola
Momo and the Grey MeN
ed è tratto da Momo, il famoso libro di Michael Ende.
Per agevolare la comprensione, forniamo il testo dello spettacolo e un glossario in
italiano che l’insegnante potrà utilizzare prima dello spettacolo e un eserciziario da
utilizzare dopo. Il copione è in versione integrale ma la trasposizione teatrale sarà
ulteriormente semplificata grazie all’ausilio di musiche, luci e giochi scenici e potrà
subire dei cambiamenti. Vi suggeriamo di non distribuire il testo ai vostri studenti ma
di utilizzarlo per spiegare i passaggi del nostro adattamento rispetto al testo originale,
per presentare i personaggi e per divertirvi a recitarne in classe qualche scena come
suggerito nella dispensa fornita.
Ricordiamo che al termine della rappresentazione saremo felici di rispondere alle
domande dei vostri ragazzi e che per eventuali chiarimenti e aiuti nello svolgimento
degli esercizi post-spettacolo, potete scriverci all’indirizzo e-mail riportato a piè
pagina.
Ci vediamo in teatro!
Enjoy the show!
Manuela Maya Mariani e Rossana Mola
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A quick note ABOUT THE AUTHOR
Michael Andreas Helmuth Ende
(Germany, 12 November 1929 – 28 August 1995)
Author of fantasy and children’s literature. He’s best known for his epic fantasy story
The Neverending Story. Michael Ende was born in Germany. He started training as
an actor in Munich. Afterwards, he took part in several small theatre productions in
Northern Germany. Michael Ende worked as a film critic and wrote scenes and
chansons for political cabaret. He studied Bertold Brecht and got involved in
organising the “Schwabinger Fasching” (Swabian Carnival), a worldwide well known
event, in the Fifties. In 1956 he started writing “Jim Button” which was published in
1960 in Stuttgart. Twelve years later, “Momo” was published in Stuttgart and 1976 he
wrote “The Neverending Story”. A few years later, “The Neverending Story” became a
very famous film. Ende received several awards for Children’s Literature, both in
Germany and Europe. In 1986 “Momo” became a film too. Ende died in 1995.
JUST OUT OF CURIOSITY…
In 1982, Michael Ende signed a contract for a film
version of "The Neverending Story”. He soon found out that the producers had
granted the director with complete freedom over the script. Michael rushed to the
studios but he wasn’t even allowed to enter the room.In 1984 the film was released
despite Michael's request to stop it. Ende filed a suit against the producers and
demanded to cancel his name because the fim version was too different from the
original, but he lost the suit.
PLOT OF The Play.
We meet young Momo in the ruins of an anphitheatre of a small unnamed town. She
immediatly befriends the town people and becomes one of them. They all take care of
her by giving her food, objects and love. Momo doesn’t possess anything apart from
her ability to listen. In return for people’s help she simply listens to them and they
find all the answers they need by themselves.
But something strange is happening in town. A group of Grey Men are convincing
people to save time and put it in the Timesavings Bank with the promise that they will
have it back at the age of 62 with interest. Gradually, the sinister influence of the
Grey Men affects the whole city. People seem to have no time for anything but work:
no time for a chat, no time for imagination. Even spending time with loved ones is
considered time-wasting. Momo stops receiving visits from her friends. Nobody goes
to see her enymore. When even her closest friends fall under the influence of the Grey
Men, Momo decides to speak to them but soon realises that the Grey Men are too
powerful. Momo meets a Grey Man herself and is able to resist his attempt of
convincing her to deposit her time. Knocked back by Momo’s way of listening, the
Grey Man tells her all about their “work”: in reality the more time people save the
less they have; the time they save is actually lost to them. Instead, it is consumed by
the Grey Men in the form of cigars made from the dried petals of the hour-lilies that
represent time. Without these cigars the Men in Grey cannot exist. The Grey Men soon
realise that Momo represents a threat to their scheme and decide to get rid of her.
Momo meets the tortoise Cassiopeia that leads her to the Palace of Master Secundus
Minutus Hora, the Time Dispenser. Master Hora tells Momo that she is the only one
who can defeat the Grey Men. With the help of Cassiopeia that can predict thirty
minutes further into the future and the precious indications of Master Hora, Momo
finally manages to save her friends .
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Major Themes
In our own adaptation, Momo is a young girl, aged around 13. It’s not specified where
she’s from. In Michael Ende’s original version, Momo reaches an unnamed city after
running away from an orphanage. Here, it isn’t specified where she comes from.
Momo says that she doesn’t want to go back “there”.
“There” could mean anything. An orphanage, a prison, a country, a situation. Momo
says that she needs peace. She needs a shelter, a place where she can grow up
happily. The people Momo meets offer her that shelter in different ways.
LISTENING
“Momo listened to everyone and everything... even to the rain and the wind and
the pine trees – and all of them spoke to her after their own fashion.”
Momo hasn’t got anything material to offer her new friends. But she can listen. Momo
can listen in a very special way. Truthfully. In silence. And it’s through that silence,
that simple lack of action which is Momo’s listening, that people find their answers,
they find themselves.
Besides underlying the importance of trying to listen to others without judging, Ende
invites us to reflect on how very little we tend to listen to our innerself.
TIME
“Time is life itself, and life resides in the human heart”
The play was written in 1973, but couldn’t be more contemporary.
Our society is becoming more and more fast-paced and driven by consumerism.
People are always in a rush trying to keep up with “everything else” and haven’t got
any time left to just stop and benefit from those small moments of enjoyment that life
should be made of.
Could it be that loss of time automatically brings loss of important values with it?
Do we work to live or do we actually live to work?
Do we consider free time wasted time?
When one of the Grey Men visits Mr Fusi, he says:
GREY MAN
Do you live alone with your mother, Mr Fusi? Every day you consacrate a full hour to
the old lady. That means you sit and talk to her despite the fact that she’s deaf. A
whole wasted hour. I also know that you go to the movies once a week, you go to
church, you meet your friends twice a week in a tavern and you even read books
almost every day. In short, you kill time with these useless activities in a rate of
three hours a day which gives us a total of 165,564,000 seconds. Amazing, ah?
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MOMO: TAKE YOUR TIME!
The general objectives of the show and the exercises are:
Stimulating your student’s interest in English
Expanding their English vocabulary
Enhancing their confidence in their language skills
Working on their communication skills (language and body communication)
Improving their pronunciation
Strenghthening their self-confidence
Improving their critic skills
Developing their expression and creative skills
note
We advise you to always let your students read through a whole scene before
making any comments (unless strictly necessary), and ask the audience to clap warmly at the
end of each reading or performance so as to build up their confidence.
Dear Teacher,
Exercise number 1 is meant as a first simple step to approach
drama work in class in order to get you and your students ready
to work on more complex improvisation further on.
On a grammar level the scene is quite simple and it includes
some very useful phrases that middle school students should be
very familiar with.
This exercise will give them the opportunity to refresh them, to
get to know Momo, and to feel at ease when speaking in
English with others.
Exercise 1
GETTING TO KNOW MOMO!
Specific objectives:
- Encouraging your students to write and read in English
- Improving their English by acting out some scenes from the play they have watched
- Stimulating them to discuss simple issues all together
Duration : 1 hour
Space: Your classroom.
Scene 2: Who is She?
Ask everybody to stand in a circle. Tell them that today they will have their first drama
session. They will start practicing by using SCENE 2 from the play.
Ask for three volunteers to read out scene 2 from the play.
note
If you’ve already printed out the script, ask your students to read the
scene from there, otherwise you could print out the following two pages.
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SCENE 2 – WHO IS SHE?
Enter Liliana and Nino. They look at Momo with interest.
LILIANA
Who is she?
NINO
I don't know. Who is she?
LILIANA
I don't know. Go ask her!
NINO
No, you ask her!
LILIANA
No, you go ask her!
NINO
What's your name?
Momo doesn’t answer.
NINO
My name is Nino. What's your name?
LILIANA
Go back to the tavern, Nino. I’ll speak to her.
Exit Nino.
So... What's your name?
No answer. Liliana takes food out of her bag and hands it to Momo. At first Momo doesn't
trust her, then she takes it and eats it.
MOMO
Thank you.
LILIANA
You are hungry, aren't you?
MOMO
Yes, I am.
LILIANA
So what's your name?
MOMO
My name is Momo.
LILIANA
Hello Momo. My name is Liliana.
MOMO
Hello.
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LILIANA
Where do you live, Momo?
MOMO
I live here. In the theatre.
LILIANA
In the theatre? This is not a house! Where is your house?
MOMO
My house is here. The theatre.
LILIANA
All right. And where is your family?
Momo doesn’t answer.
LILIANA
Where do you come from?
Momo doesn’t answer.
LILIANA
How old are you?
Momo doesn’t answer.
LILIANA
Momo, what’s going on? Let's go to the police station!
MOMO
Police? No, please!
LILIANA
You can't stay here! You're only a young girl...
MOMO
No please! They’ll send me back there. I don’t want to go back! Please! I haven’t got any
family left. I’m alone. It’s dangerous there!
LILIANA
You can't stay here! You need a house!
MOMO
I don't need a house. I need peace, all right! I’ve got to go now! Forget about me!
LILIANA
Momo, wait! All right, I will help you. Wait here.
MOMO
Are you going to call the police?
LILIANA
No, I’m not. Trust me. Wait here. I’ll be back.
Exit Liliana
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FIRST FEEDBACK
Ask your students if they remember this scene from the play they have watched, whether
they understand what is happening in it and what the characters are saying.
Help them understand the difficult passages and remind them of the situation. (i.e.
this is the first meeting between Momo, Nino and Liliana. Liliana is trying to understand who
the little girl is and how she happens to be in the old theatre).
Ask for 2 more volunteers to read the scene out again. Ask the class if the scene seems to
make more sense now.
GRAMMAR LINK
- Use this very simple exercise to go
over some of the most frequently
asked questions in the English
language- What’s your name? –
Where do you live? – Where is
your house?- How old are you?
- Practice Do/Don’t
- Practice the use of personal
pronouns
Now tell your students that before they can act out the scene as if they were on stage, they
will have to get more familiar with their lines exactly like real actors do.
Print out the following page on an A4 sheet and hand them out to the group.
Stand in the circle with your students. Start by asking the first question to the first student
on your right
Eg.
T- What’s your name?
S1 – My name is Giorgio. (to student 2- on his/her right) Where do you live?
S2 – I live in Rome (to student 3- on his/her right) Where is your house?
Keep going anticlockwise until the question is back to you. Repeat the exercise going in the
opposite direction. If your students are particularly good and fast at this you can ask them to
put the paper down and to continue with the exercise. They will have to ask one of the
questions they have just used and make sure they don’t repeat the questions they have just
been asked.
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What’s your name?
My name is………………………………..
………………………………………………………………….
Where do you live?
I live………………………………..
………………………………………………………………….
Where is your house?
My ………………………………..
………………………………………………………………….
Where is your family?
My………………………………..
…………………………………………………………………
How old are you?
I am………………………………..
…………………………………………………………………
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Now Split the class into pairs. Ask them to interview their classmate. (S1 interviews S2
and viceversa).
Allow max 10 minutes to do this.
They will have to fill in the dotted space as their colleague answers the questions. (eg: What’s
your name? – My name is Giorgio)
After the interview ask them to rewrite the interview as if they were talking about a third
person by using the appropriate personal pronoun. Use the dotted space immediately
below each answer. (eg: His name is Giorgio. He lives in Rome etc..)
Complete the exercise by asking each person to describe their friend. Start this last part by
asking them the question “Who is she/he?”
ACTING SCENE 2
Go back to Scene 2 from the play and ask for three volunteers to play Momo, Nino and
Liliana. The question and answer section should be very clear to all now.
All you need to do is to stage the beginning of the scene. Ask the students who are
watching to sit down as an audience and make sure you give directions as to where the stage
(i.e. acting area) begins and ends and where the actors enter and exit. (from one point on
they will be visible to the audience, otherwise they will be considered as being backstage)
Ask the student playing Momo to sit on stage and do an action. It can be anything she likes,
from making a paper airplane to brushing her hair.
Liliana and Nino enter and look at her with interest. Momo is suspicious and they are very
curious. They don’t know how to approach her. First they stand back. Then as Liliana says
to Nino the first “Go ask her!” She pushes Nino towards Momo. He does the same with
Liliana when he says the same line and again Liliana until they reach Momo and start talking to
her.
Momo clearly trusts Liliana more than she does Nino, so he leaves it up to his wife to talk to
Momo.
By the end of the scene Momo’s character begins to be outlined. Clap warmly at the end of
the performance.
Ask the class if they have any suggestions to give to the actors in order to improve the
scene. Give further directions if necessary. Ask for more volunteers and repeat the scene as
many times as your time allows you to do but make sure you leave 10 minutes to round up the
session.
Round up
Invite everybody to make a circle again. Ask them questions about Momo’s characters and
what they could work out about her by working on this scene. Use the same questions they
practiced in the scene (eg: Who is Momo? Where does she live? How old is she? Where is her
family?) and add more if you think it’s suitable. (eg: Does she live alone? Where do you think
she was before coming here?)
Thank everybody for participating and bring to an end with a final round of applause.
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exercise 2
a minute saved is a minute earned
Mr fusi meets one of the grey men
Specific objectives:
- Improving your students’ English by acting scenes from the play they have watched
- Writing, reading and getting familiar with very high numbers
- Stimulating a conversation about serious issues such as the way we spend our time
Duration : 2 hours
Space: An empty room that allows enough space for the students to move freely.
note
This exercise is slightly more complex than the one before. It might require a long time to be
fully completed. You could decide to split the work according to your time schedule.
Scene 7: Save your time Mr Fusi
INTRO:
Welcome your students and invite them to stand up in a circle. Ask them if they remember
the scene in which Mr Fusi, the barber, is first contacted by the Grey Men. (SCENE 7) The
Grey Man who goes into his shop asks him how he spends his time and calculates how much
time Mr Fusi wastes doing different activities. Every year he builds up billions of seconds
wasted.
Tell your students that you will play a fun game involving numbers which will help them
performing in the scene.
note
Before starting the warm-up in a circle help your students remember how to say the main
numbers they will need (hundreds, thousands etc.). You can go over them by using the
blackboard. Write each number down and ask them to say it out loud in words.
Eg. start from 1>one, then keep adding zeroes.
10>ten
100>one hundred
1.000>one thousand
10.000>ten thousand
100.000>one hundred thousand
1.000.000>one million
10.000.000>ten millions
100.000.000>one hundred millions
1.000.000.000>one billions
10.000.000.000>ten billions
…and so on
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Step 1: WARM UP
Make sure the circle is wide and even. Start the game by saying “1” to the person
immediately to your right. They will, in turn, have to say a higher number to the person on
their right (eg. 25). He/she will continue in that direction by going higher than 25. They will
keep going anticlockwise with the numbers going up until someone says “99”. The person
immediately after them will have to say 100 and the direction will change and go clockwise.
This change of direction happens every time someone must or wants to add a new zero
(1.000, 10.000, 100.000, 1.000.000. 10.000.000, 100.000.000). If someone makes a mistake,
that person is eliminated and must sit down. Repeat the game more than once if necessary.
GRAMMAR LINK
Use this very simple exercise to go
over CARDINAL NUMBERS from 1
to 999 trillions.
first FEEDBACK
Ask your students if they feel more sure of themselves when saying high numbers aloud.
Encourage them and give them any further help in understanding the way they work.
Step 2: - SAVE YOUR TIME MR FUSI
Reading out the scene
Ask for two volunteers to read out Scene 7 from the play.
note
If you’ve already printed out the script, ask your students to read the
scene from there, otherwise you can print out the following pages.
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SCENE 7 – save your time mr fusi!
Mr Fusi’s barber shop. Enter Grey Man. Mr Fusi is suddenly cold.
GREY MAN
Good day, Mr Fusi. I’m Agent XYQ/384/b. I represent the Timesavings Bank.
MR FUSI
How come it’s so cold all of a sudden?
GREY MAN
Take a seat, Mr Fusi. Time is money, Mr Fusi.
Mr Fusi sits down.
GREY MAN
So, Mr Fusi. You’re wasting your time in a very irresponsible manner. I’d like to prove this
to you with a very simple computation.
MR FUSI
It’s freezing cold.
GREY MAN
One minute contains 60 seconds. One hour contains 60 minutes. 60 times 60 is 3600. 24
hours in a day. 365 days in a year. That gives us a grand total of 31.563.000 seconds, per
year. How old are you, Mr Fusi?
MR FUSI
42
GREY MAN
42? (He writes) “LIFE TO DATE: 1,324,512,000 seconds”. Impressive figure!
How long do you usually sleep each night, Mr Fusi?
MR FUSI
8 hours.
GREY MAN
(He writes) “SLEEP: 441,504,000 seconds” of time you just throw away. How much time
do you have to consecrate to your profession, Mr Fusi?
MR FUSI
About 8 hours.
GREY MAN
We add the same amount to the minus column. Now, how much time do you need for
meals?
MR FUSI
About two hours?
GREY MAN
110,376,000 seconds to be exact. Do you live alone with your mother? Every day you
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consecrate a full hour to the old lady. That means you sit and talk to her despite the fact
that she’s deaf. A whole wasted hour. 55,188,000 seconds. I also know that you go to the
movies once a week, you go to church, you meet your friends twice a week in a tavern and
you even read books almost every day. In short, you kill time with these useless activities
in a rate of three hours a day which gives us a total of 165,564,000 seconds. Amazing, ah?
One more thing. You’ve got a little secret, haven’t you, Mr Fusi?
MR FUSI
You know about that too? I thought apart from me and Miss Daria...
GREY MAN
Are you planning to marry Miss Daria?
MR FUSI
Oh, no! Of course not.
GREY MAN
But you visit her half an hour every day to bring her a flower. Why do you do that?
MR FUSI
Because she likes flowers.
GREY MAN
That’s nothing but wasted time for you, Mr Fusi. A waste of time that amounts to a total of
27,594,000 seconds. And if we add the time you spend sitting at the window thinking
about the day gone by every day before you go to sleep, we deduct another figure of
27,594,000 which adds up to 1,324,512,000 seconds to be exact.
Now Mr Fusi, let’s see what’s left of the 42 years of yours. Well, nothing. ZERO. Nothing.
That’s the balance of your life to date, Mr Fusi. Wouldn’t you rather start saving some
time?
MR FUSI
I sure would. What do I have to do?
GREY MAN
My friend, you surely know how to save time.
MR FUSI
And what do I do with the time I save?
GREY MAN
We put the time you have saved in the Timesavings Bank and every year you get a 20%
interest and by the time you are old we give you all the time back with interests and you
can enjoy it all together.
MR FUSI
Like a pension?
GREY MAN
Yes, like a time pension.
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MR FUSI
A time pension!
GREY MAN
You are wasting more time. There is no time to waste. Sign the contract. Write “I AGREE”
and sign under it.
MR FUSI
Yes, a time pension. I agree. Here's my signature. A time pension!
GREY MAN
(as he exits) Hurry, don't waste time. Work faster, faster. Remember, Mr Fusi: Time is
money.
MR FUSI
Time is money. Time is money. Time is money.
The phone rings.
MR FUSI
Hello? Oh, Miss Daria. I’m not coming today, sorry. (throws the flowers in the bin) I’ve got
to work. Time is money, you know?
Mr Fusi puts the phone down and starts working fast.
MR FUSI
Time is money. Time is money. Time is money.
We hear different voices saying: TIME SAVED IS TIME DOUBLED – TIMESAVERS LIVE
BETTER – FUTURE BELONGS TO TIMESAVERS –IMPROVE YOUR LIFE! SAVE TIME! TIME IS
PRECIOUS, DON’T WASTE IT! TIME IS MONEY! SAVE IT!
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second FEEDBACK
After the first reading, ask your students if they remember this scene from the play they
have watched, whether they understand what is happening in it and what the characters are
saying.
Help them understand the difficult passages and remind them of the situation.
(i.e. Mr Fusi finds himself thinking about time. The Grey Man is in fact sucking his energy. Fusi
finds it difficult to resist the Grey Man and at one point he gives into him).
Ask for 2 more volunteers to read the scene out again. Ask the class if the scene seems to
make more sense now.
Step 3: setting the scene out
Physical and emotional preparation
Tell your students that before they can act out the scene they will have to understand what is
physically and emotionally happening to the characters in the play. That will help them get into
character.
Find 2 volunteers to play the Grey Men. Then ask all other students to walk freely around
the room and fill all the space. Tell them to walk slowly, ask them to imagine that it’s a late
Sunday morning on a bright spring day and they are walking around without a care in the
world. It’s important that they walk quite slowly and enjoy the warm weather. When you
see they are quite comfortable doing this, ask them to say hello to all the people they meet
and to hug them warmly, asking them how they are.
Allow them to do this for a couple of minutes, then introduce the 2 intruders. They are 2
Grey Men, they walk very fast and they mean business. Every time they walk close to one of
the happy citizens, these feel a chill and shiver for a second saying “BRRRR!”, then they
continue doing what they were doing before.
After another couple of minutes ask the 2 Grey Men to start tapping some of the happy
citizens on a shoulder. When they do this the happy citizens they touch will feel the
influence of the Grey Men and will keep walking but they will feel as cold as they would if
they were wearing a T-shirt on a cold winter and they will start walking slightly faster. From
now on the people who have been tapped once will only shake hands with their fellow
citizens and will no longer ask them how they are.
Give the group five minutes to get used to the new status and now tell the Grey Men that
they can tap the citizens that have already been tapped a second time. When this happens,
the citizens become Grey Men themselves. They start walking at a very fast pace, they
don’t acknowledge their friends anymore and they can tap them on the shoulder. Let them
continue until everybody has become a Grey Man.
Conclude with a round of applause. Ask the class how they felt in these different
situations. Was there a way of being that they found familiar? Do they normally find the time
to stop and say hello to their friends or do they normally run away in a rush. Did they feel
more comfortable when they were playing the Grey Men or when they were being citizens? Did
they enjoy the power the Grey Men had over the others? Tell them they are now ready to act
scene 7.
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Step 4: ACTING SCENE 7
Cast 2 actors to play Mr Fusi and the Grey Man. You will repeat the scene a few times so,
as a first performance, we suggest you to choose 2 students that can perform the scene with
ease and be a good encouragement for the students that will follow. Base your decision on
what you have observed during the previous exercise and not on their ordinary school
performance. Remember that you are using an alternative learning tool and your best student
might not be your best actor.
Outline the edges of the stage with exits and entrances and the space for the audience.
Mr Fusi is already on stage. Give him an action to do quite slowly and happily. He can be
deciding which flower to take to Miss Daria today. He can be singing a song to himself as he
cleans out his tools or he can simply be reading a book whilst he waits for a customer.
note
The objects used in a scene can be real or imaginary. In the second case,
make sure that students show the right proportion and the weight of the real object.
When the Grey Man comes in he immediately feels cold. As the Grey man speaks Mr Fusi feels
colder and colder as it happened to the citizens in the previous exercise.
The Grey Man obliges him to sit down on a chair to listen to him and Mr Fusi keeps trying to
stand up to pick up things (jumpers and towels) to cover himself up with. The grey man takes
him back to his seat.
This will give them an action to do and will make the scene more fun to watch and more
interesting to perform.
They Grey Man can use a blackboard to write down the numbers if he/she feel it will help
his/her performance.
By the end of the scene Mr Fusi has become frantic and obsessed with time. He will start
cleaning relentlessly at a very fast pace whilst he repeats his last lines.
Give a big round of applause at the end of the performance.
Reminder
We remind you to always let your students read through a whole scene before making any
comments (unless strictly necessary), and ask the audience to clap warmly at the end of each
reading or performance so as to build up their confidence
Ask the class if they have any suggestions to give to the actors in order to improve the
scene. Give further directions if necessary. Ask for volunteers and repeat the scene a few
times with different actors.
Step 55- thinking of time
What is a waste of time?
Ask your students to sit in a circle and invite them to comment on Mr Fusi’s scene. In this case
they will have to draw from their personal experience and tell their classmates how they
spend their time.
Split them into pairs and hand out the following print out. Ask each person to interview their
colleague by asking the given questions.
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How much time do you spend doing your homework?
…………………………………………………………………………………………………………………..
How much time do you spend eating?
…………………………………………………………………………………………………………………..
How much time do you spend watching TV?
…………………………………………………………………………………………………………………..
How much time do you spend on the internet?
…………………………………………………………………………………………………………………..
How much time do you spend on social networks?
…………………………………………………………………………………………………………………..
How much time do you spend seeing your friends?
…………………………………………………………………………………………………………………..
How much time do you spend practicing sport?
…………………………………………………………………………………………………………………..
How much time do you spend talking to your parents?
…………………………………………………………………………………………………………………..
How much time do you spend on your passion/doing your favourite thing?
…………………………………………………………………………………………………………………..
How much time do you spend having fun?
…………………………………………………………………………………………………………………..
How much time do you spend…………………………………………………………………?
…………………………………………………………………………………………………………………..
How much time do you spend………………………………………………………………..?
…………………………………………………………………………………………………………………..
What do you consider time well spent?
…………………………………………………………………………………………………………………..
Do you think you spend your time in a balanced way?
…………………………………………………………………………………………………………………..
18
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Round up
After each couple has finished the question and answer session, ask them to discuss the
outcome and to give their opinion on whether they think their colleague spend too much time
or too little time doing something or other.
Ask them to share the outcomes with the rest of the group and stimulate a discussion on time
use…and don’t forget: There’s a time for everything!
Thank your group for participating and start a big round of applause for everyone... in the best
theatre tradition!
19
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Momo
AND
THE GREY MEN
THE SCRIPT
Tratto da MOMO
di Michael Ende
Testo adattato da
Manuela Maya Mariani e Rossana Mola
1
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SCENE 1
It’s night time. An abandoned amphitheatre. A young girl enters. After a while, enter
Beppo the Sweeper and Gigi, the Story Teller. They see Momo, they meet and we
understand that they become good friends.
SCENE 2
Enter Liliana and Nino. They look at Momo with interest.
LILIANA
Who is she?
NINO
I don't know. Who is she?
LILIANA
I don't know. Go ask her!
NINO
No, you ask her!
LILIANA
No, you go ask her!
NINO
What's your name?
Momo doesn’t answer.
NINO
My name is Nino. What's your name?
LILIANA
Go back to the tavern, Nino. I’ll speak to her.
Exit Nino.
So... What's your name?
No answer. Liliana takes food out of her bag and hands it to Momo. At first Momo
doesn't trust her, then she takes it and eats it.
MOMO
Thank you.
LILIANA
You are hungry, aren't you?
MOMO
Yes, I am.
LILIANA
So what's your name?
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MOMO
My name is Momo.
LILIANA
Hello Momo. My name is Liliana.
MOMO
Hello.
LILIANA
Where do you live, Momo?
MOMO
I live here. In the theatre.
LILIANA
In the theatre? This is not a house! Where is your house?
MOMO
My house is here. The theatre.
LILIANA
All right. And where is your family?
Momo doesn’t answer.
LILIANA
Where do you come from?
Momo doesn’t answer.
LILIANA
How old are you?
Momo doesn’t answer.
LILIANA
Momo, what’s going on? Let's go to the police station!
MOMO
Police? No, please!
LILIANA
You can't stay here! You're only a young girl...
MOMO
No please! They’ll send me back there. I don’t want to go back! Please! I haven’t got
any family left. I’m alone. It’s dangerous there!
LILIANA
You can't stay here! You need a house!
MOMO
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I don't need a house. I need peace, all right! I’ve got to go now! Forget about me!
LILIANA
Momo, wait! All right, I will help you. Wait here.
MOMO
Are you going to call the police?
LILIANA
No, I’m not. Trust me. Wait here. I’ll be back.
Exit Liliana
SCENE 3
Enter a boy. He's holding a scooter. He sees Momo.
TOM
Hey, you! You’re all right?
MOMO
I think so.
TOM
I’ve never seen you around here... I'm Tom.
MOMO
Hi, my name is Momo.
Tom throws his scooter over a pile of rubbish. Momo picks it up.
MOMO
What is this?
TOM
It’s a scooter. But it’s broken now. It’s useless.
MOMO
We could fix it.
TOM
Oh no... My dad has already bought me a new one.
MOMO fixes the scooter.
TOM
Wow! It’s almost perfect! You’re good. You can keep it if you like... It’s yours.
MOMO
Thank you.
TOM
So, Momo, where do you live?
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MOMO
Well... Here. I live here now. This is my new home.
TOM
Here?!?! It doesn't look much as a house...
MOMO
I know, but that's not a problem. I've got loads of stuff.
TOM
Where? In that small bag?
MOMO
I’ve got all I need. I've got a scooter. And I've got all that stuff. Come on! Help me!
Momo and Tom set Momo’s new house up by using things taken off the rubbish.
TOM
Wow! It's cool now! It's a nice house.
MOMO
It's very special.
TOM
Listen, I’ve got to go now. I will come back tomorrow, if you like...
friends...
with a few
MOMO
It would be great. See you tomorrow.
Exit Tom.
SCENE 4
Nino’s tavern. There’s a signpost on the wall which says “HAVE A DRINK AND PAY
TOMORROW”
NINO
Thank you for coming! I will see you tomorrow. My regards to your beautiful wife!
Enter Gigi
GIGI
Hey Nino! How are you!
NINO
Gigi! Good to see you! Take a seat. Oh, you’ve got your guitar! Brilliant, play
something while I pour a glass of wine for you!
GIGI
Oh, no thank you Nino. Today, no tourists-no money!
NINO
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Money? Who said anything about money! I don’t want your money! The wine is on the
house! Enjoy it! I’ll ask Liliana to make you a nice soup too.
GIGI
Thank you Nino, you’re a friend.
Enter Momo.
NINO
Oh, hello Momo! How are you today? Just in time for a nice warm soup. Take a seat.
MOMO
Thank you, Nino!
SCENE 5
We undestand that some time has gone by. Momo lives in the theatre.
MOMO’S FRIEND 1
Hi Momo.
MOMO
Oh, hello! How are you?
MOMO’S FRIEND 1
I'm tired.
MOMO
I’m listening.
MOMO’S FRIEND 1
School is too hard for me. There’s too much to do. I can’t manage. My mum doesn’t
understand. Well... I’ve never actually talked to her, have I? Maybe I should,
shouldn’t I? She might be able to help me. Yes, maybe I should talk to her, shouldn’t
I? Yes, I will talk to her. I’m sure she can help me. Thank you Momo. Thank you for
listening.
Exit Momo’s Friend 1. Enter Momo’s Friend 2.
MOMO’S FRIEND 2
Hi Momo.
MOMO
Oh, hello! Good to see you! How are you doing?
MOMO’S FRIEND 2
I'm confused.
MOMO
I’m listening.
MOMO’S FRIEND 2
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There’s a new girl at school. She is so beautiful and smart. I’d like to ask her out. But
she is going to laugh at me. I’m not good enough for her. Well, actually... She doesn’t
even know I exist. I’ve never spoken to her. Maybe I should ask her if she wants to do
something together. Well.. I should introduce myself first, shouldn’t I? Yeah... I
should do that to start with... I know she likes going to the cinema. And so do I. All
right. That’s it. I’m going to introduce myself and ask her if she wants to go to the
movies. Together. Right. Thank you Momo. Thank you for listening.
Exit Momo’s Friend 2. Enter two people. They are in the middle of an argument.
MAN 1
It’s your fault!
MAN 2
No! It’s your fault!!
MAN 1
How dare you! Momo...
MOMO
I’m listening.
MAN 2
He asked me to help him painting his house...
MAN 1
... and he’s painted my bathroom bright green!
MAN 2
It’s a beautiful colour! You wanted to paint it white!
MAN 1
My wife chose that colour! It’s her favourite colour!
MAN 2
But it’s boring!
MAN 1
Are you saying my wife is boring?
MAN 2
Yes! No! I’m saying white is boring!
MAN 1
You’re right!
MAN 2
What?
MAN 1
You’re right. Boring!
MAN 2
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Who? Your wife?
MAN 1
Yes! No! White! White is boring!
MAN 2
No, listen… I’m sorry! It’s not my business! White is a good colour! It goes with
everything...
MAN 1
No, no... I like bright green. My wife will like it too.
MAN 2
No she won’t. Let’s make her happy. Let’s go paint it white!
MAN 1
Thank you for helping me. You’re a great friend.
MAN 2
No, you’re a great friend.
MAN 1
No, you are.
MAN 2
You are.
MAN 1
Let’s go to Nino’s tavern and have a drink!
MAN 2
Good idea!
Thank you Momo. Thank you for listening.
They both exit. It’s night. Momo sits on a stone. We see a shadow moving. Momo
shivers.
scENE 6
Morning. At the theatre. Enter Beppo.
BEPPO
A step-a breath-a sweep...
Momo runs towards him. We understand they’ve become very good friends.
BEPPO
Good morning Momo. How are you today?
MOMO
Hello Beppo. I’m very well thank you. Are you still working?
BEPPO
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Oh yes, I am. Wait a second. A step-a breath-a sweep. All right. Finished.
MOMO
Oh, look. There’s Gigi...
Enter Gigi, with a group of tourists. Momo and Beppo hide.
GIGI
Come this way!! Follow your Supreme Guide Gigi, the Story Teller! Here we are.
Ladies and gentlemen let me show you now the most beautiful place of all: the
theatre. This theatre was built in ancient times... Actors, music, lights.... “To be or
not to be. That's the question....Romeo Romeo wherefore are thou Romeo...” . The
audience cheered and clapped hands “ Eh, Bravo... Bravo”!!!!! Oh, it was magical...
But then the war came. This theatre became an air-raid shelter. People came and hid
here, under the stage. “Come in, move along please... There’s enough room for
everybody... don’t push... Stay calm, please...”. The actors of the theatre sang and
recited poetries to help people forget about the danger... You could feel the fear… the
grief. But also solidarity. The strength that came by being together. In the theatre.
Together. Helping each other... One night the theatre was hit... Magic was over. And
so it’s been abandoned for years... Dead... Until one day, Princess Momo came riding
her loyal horse bringing happiness and joy back to this place. And this theatre has
come back to life in all its splendour! Thank you. Thank you! Now... An offer for Gigi,
the Story Teller? A couple of euros? One? Half? Thank you.. Thank you for coming!
Exit Gigi and Beppo. Momo takes her scooter out. We see another shadow moving.
Momo shivers again.
SCENE 7
Mr Fusi’s barber shop. Enter Grey Man. Mr Fusi is suddenly cold.
GREY MAN
Good day, Mr Fusi. I’m Agent XYQ/384/b. I represent the Timesavings Bank.
MR FUSI
How come it’s so cold all of a sudden?
GREY MAN
Take a seat, Mr Fusi. Time is money, Mr Fusi.
Mr Fusi sits down.
GREY MAN
So, Mr Fusi. You’re wasting your time in a very irresponsible manner. I’d like to prove
this to you with a very simple computation.
MR FUSI
It’s freezing cold.
GREY MAN
One minute contains 60 seconds. One hour contains 60 minutes. 60 times 60 is 3600.
24 hours in a day. 365 days in a year. That gives us a grand total of 31.563.000
seconds, per year. How old are you, Mr Fusi?
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MR FUSI
42
GREY MAN
42? (He writes) “LIFE TO DATE: 1,324,512,000 seconds”. Impressive figure!
How long do you usually sleep each night, Mr Fusi?
MR FUSI
8 hours.
GREY MAN
(He writes) “SLEEP: 441,504,000 seconds” of time you just throw away. How much
time do you have to consacrate to your profession, Mr Fusi?
MR FUSI
About 8 hours.
GREY MAN
We add the same amount to the minus column. Now, how much time do you need for
meals?
MR FUSI
About two hours?
GREY MAN
110,376,000 seconds to be exact. Do you live alone with your mother? Every day you
consacrate a full hour to the old lady. That means you sit and talk to her despite the
fact that she’s deaf. A whole wasted hour. 55,188,000 seconds. I also know that you
go to the movies once a week, you go to church, you meet your friends twice a week
in a tavern and you even read books almost every day. In short, you kill time with
these useless activities in a rate of three hours a day which gives us a total of
165,564,000 seconds. Amazing, ah? One more thing. You’ve got a little secret,
haven’t you, Mr Fusi?
MR FUSI
You know about that too? I thought apart from me and Miss Daria...
GREY MAN
Are you planning to marry Miss Daria?
MR FUSI
Oh, no! Of course not.
GREY MAN
But you visit her half an hour every day to bring her a flower. Why do you do that?
MR FUSI
Because she likes flowers.
GREY MAN
10
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That’s nothing but wasted time for you, Mr Fusi. A waste of time that amounts to a
total of 27,594,000 seconds. And if we add the time you spend sitting at the window
thinking about the day gone by every day before you go to sleep, we deduct another
figure of 27,594,000 which adds up to 1,324,512,000 seconds to be exact. Now Mr
Fusi, let’s see what’s left of the 42 years of yours. Well, nothing. ZERO. Nothing.
That’s the balance of your life to date, Mr Fusi. Wouldn’t you rather start saving some
time?
MR FUSI
I sure would. What do I have to do?
GREY MAN
My friend, you surely know how to save time.
MR FUSI
And what do I do with the time I save?
GREY MAN
We put the time you have saved in the Timesavings Bank and every year you get a
20% interest and by the time you are old we give you all the time back with interests
and you can enjoy it all together.
MR FUSI
Like a pension?
GREY MAN
Yes, like a time pension.
MR FUSI
A time pension!
GREY MAN
You are wasting more time. There is no time to waste. Sign the contract. Write “I
AGREE” and sign under it.
MR FUSI
Yes, a time pension. I agree. Here's my signature. A time pension!
GREY MAN
(as he exits) Hurry, don't waste time. Work faster, faster. Remember, Mr Fusi: Time is
money.
MR FUSI
Time is money. Time is money. Time is money.
The phone rings.
MR FUSI
Hello? Oh, Miss Daria. I’m not coming today, sorry. (throws the flowers in the bin) I’ve
got to work. Time is money, you know?
Mr Fusi puts the phone down and starts working fast.
MR FUSI
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Time is money. Time is money. Time is money.
We hear different voices saying: TIME SAVED IS TIME DOUBLED – TIMESAVERS LIVE
BETTER – FUTURE BELONGS TO TIMESAVERS –IMPROVE YOUR LIFE! SAVE TIME!
TIME IS PRECIOUS, DON’T WASTE IT! TIME IS MONEY! SAVE IT!
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::Continues::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
12
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GLOSSARY
NOUNS, ADJECTIVES AND ADVERBS
Abandoned
Abbandonato
But
Ma
About
Circa
Church
Chiesa
Activity
Attività
Cold
Freddo
Actor
Attore
Colour
Colore
Actually
In realtà
Computation Calcolo
Agent
Agente
Confused
Confuso
Contract
Contratto
Air-raid shelter
Rifugio antiaereo
Almost
Quasi
Dad
Papà
Alone
Solo
Danger
Pericolo
Already
Già/di già
Dangerous
Pericoloso
Amazing
Incredibile
Dead
Morto
Amount
Ammontare
Deaf
Sordo
Amphitheatre
Anfiteatro
Despite
Nonostante, malgrado
Ancient times
Tempi antichi
Each
Ogni
Answer
Risposta
Even
Persino
Apart
A parte
Exit
Uscita
Argument
Litigio
Fact
Fatto
Around
Intorno
Family
Famiglia
Audience
Pubblico
Fast
Veloce
Back
Indietro
Favourite
Preferito
Bag
Borsa
Fear
Paura
Balance
Bilancio
Few
Pochi
Barber shop
Barbiere
Figure
Cifra
Bathroom
Bagno
Flower
Fiore
Beautiful
Bello
Food
Cibo
Before
Prima
Friend
Amico
Bin
Cestino
Full hour
Un’ora intera
Book
Libro
Girl
Ragazza
Boring
Noioso
Glass
Bicchiere
Both
Entrambi
Good
Bene-buono
Boy
Ragazzo
Grand total
Totale
Bright green Verde brillante
Great
Grande/grosso
Brilliant!
Fantastico!
Great!
Bene!/Fantastico!
Broken
Rotto
Grief
Dolore
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Group
Gruppo
Mum
Mamma
Guide
Guida
Name
Nome
Guitar
Chitarra
Never
Mai
Half
Metà
New
Nuovo
Hand
Mano
Nice
Carino
Happiness
Felicità
Night
Notte
Hard
Duro/Difficile
Nothing
Niente
Hello
Ciao
Now
Ora/Adesso
Here
Qui
Offer
Offerta
Home
Casa
Old
Vecchio
Horse
Cavallo
Once
Una volta
House
Casa
Only
Solo/soltanto
How
Come
Over
Sopra
How long
Quanto tempo
Peace
Pace
How much
Quanto
Pension
Pensione
If
Se
Perfect
Perfetto
Interest
Interesse
Phone
Telefono
Irresponsible Irresponsabile
Pile of rubbish
Joy
Gioia
Place
Posto
Just
Solo
Please
Per favore
Lady
Signora
Poetry
Poesia
Light
Luce
Police station
Like
Come
Police
Polizia
Little
Piccolo
Problem
Problema
Loyal
Fedele
Profession
Professione
Magical
Magico
Rather
Piuttosto
Manner
Maniera
Room
(in questo caso) Spazio/posto
Maybe
Forse
Same
Stesso
Meals
Pasti
School
Scuola
Scooter
Monopattino
Second
Secondo
Minus Column
Colonna delle cifre da
sottrarre
Montagna di spazzatura
Comando di polizia
Minute
Minuto
Secret
Segreto
Miss
Signorina
Shadow
Ombra
Money
Soldi
Signature
Firma
Morning
Mattina
Signpost
Cartello
Mother
Madre
Simple
Semplice
Mr
Signor
Small
Piccolo
14
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Smart
Intelligente
Together
Insieme
So
Quindi
Too
Anche
Solidarity
Solidarietà
Towards
Verso
Something
Qualcosa
Twice
Due volte
Soup
Zuppa
Under
Sotto
Special
Speciale
Useless
Inutile
Splendour
Splendore
Usually
Di solito
Still
Ancora
Very
Molto
Stone
Pietra
Wall
Muro
Story teller
Racconta storie
War
Guerra
Strength
Forza
Well
Bene/beh
Suddenly
Improvvisamente
What
Cosa/Come
Supreme
Supremo
Where
Dove
Surely
Sicuramente
While
Mentre
Sweeper
Spazzino
Who
Chi
Tavern
Taverna
Whole
Intero
Theatre
Teatro
Wife
Moglie
Then
Poi
Window
Finestra
There
Lì-là
Wine
Vino
Thing
Cosa
With
Con
Time
Tempo
Work
Lavoro
Work
Lavoro
Timesavings Bank
La Banca del Tempo
Tired
Stanco
Young
Giovane
Today
Oggi
Your
Tuo/tua (anche plurale)
To add
Aggiungere
To be over
Essere finito
To agree
Essere d’accordo
To be
Essere
To answer
Rispondere
To become
Diventare
To become
Diventare
To break
Rompere
To build
Costruire
To buy
Comprare
To call
Chiamare
To cheer
Acclamare
VERBS
To ask somebody out
uscire
Invitare qualcuno a
To ask
Chiedere
To be able
Essere capace/ in grado
To be exact
Per essere precisi
To be good enough for somebody
Non essere abbastanza per qualcuno
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To choose
Scegliere
To live
Vivere
To clap
Applaudire
To look
Guardare
To make
Fare
To come back to life
To come
Ritornare in vita
Venire
To make someone happy
qualcuno
To consacrate Dedicare
To contain
Contenere
To deduct
Sottrarre
To do
Fare
To eat
Mangiare
To enjoy
Godere/divertire
To enter
Entrare
To exist
Esistere
To exit
Uscire
To finish
Finire
To fix
Aggiustare
To follow
Seguire
To forget
Dimenticare
To go
Andare
To go back
Tornare (indietro)
To go by
Passare
To go
Andare
To hand to
Dare/passare
To have got
Avere
To hide
Nascondere
To hit
Colpire
To hold
Tenere
To hurry
Sbrigarsi/fare in fretta
Presentare
To keep
Tenere
To kill
Uccidere
To know
Sapere/conoscere
To laugh at somebody
qualcuno
Sposare
To meet
Incontrare
To move alone
To give back Restituire
To introduce
To marry
Prendere in giro
Rendere
Andare avanti/fare posto
To move
Muovere
To need
Avere bisogno
To paint
Dipingere/pitturare
To pick up
Prendere
To plan
Pianificare
To play
Suonare/recitare/giocare
To pour
Versare
To prove
Provare/dimostrare
To put
Mettere/depositare
To read
Leggere
To recite
Recitare
To represent
Rappresentare
To ride
Cavalvare
To ring
Suonare
To run
Correre
To save
Risparmiare
To see
Vedere
To send
Mandare
To set up
Sistemare/Allestire
To shiver
Avere un brivido
To show
Mostrare
To sign
Firmare
To sing
Cantare
To sit
Sedersi
To sleep
Dormire
To speak
Parlare
To leave
Rimanere
To start with Cominciare con
To let
Lasciare/permettere
To stay
Stare
To like
Piacere
To take off
Togliere
To listen
Ascoltare
To take out
Tirare fuori
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felice
To take
Prendere
To use
Usare
To talk
Parlare
To visit
Visitare
To think
Pensare
To wait
Aspettare
To throw away Buttare via
To want
Volere
To throw
To waste
Sprecare
To work
Lavorare
To write
Scrivere
To trust
Lanciare
Avere fiducia
To understand Cap ire
TENSES, MODAL AND AUXILIARY VERBS
POTERE
Can – present – eg. I can eat > posso mangiare
Cannot/Can't –negative present – eg. I Cannot/Can't eat > non posso mangiare
Could – present conditional - eg. I could eat > potrei mangiare (possibilità)
Might - present conditional - eg. I might eat > potrei mangiare (ipotesi – magari mangio)
DOVERE
Must – present – eg. I must eat > devo mangiare
Should – present conditional - eg. I should eat > dovrei mangiare
NOTE: The easiest way to understand the following verbs is to know that if you insert them
between the subject and the verb they change the tense or the mode of the verb. Here’s a few
examples
Will – the verb used becomes future eg. To Eat - I will eat > mangerò
Won’t – the verb used becomes negative future - I won’t eat > non mangerò
Would – the verb used becomes conditional present - I would eat > mangerei
FRASEOLOGY
After a while
Dopo un po’
With interest
Con attenzione/con interesse
At first
In un primo momento
All right
Va bene
What’s going on?
Che succede?
Let's go
Andiamo
Forget about me!
Dimenticati di me!
Are you going to
Hai intenzione di...
That's not a problem!
Non è un problema!
I've got loads of stuff!
Ho un sacco di roba!
Come on!
Andiamo!/Dai!
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Help me!
Aiutami!/Aiutatemi!
It's cool!
E’ forte!
See you tomorrow!
Ci vediamo domani!
Have a drink and pay tomorrow
Prendete da bere e pagate domani
Thank you for coming!
Grazie per essere venuto!
My regards to your wife
I miei riguardi a tua moglie
How are you?
Come stai?
Take a seat!
Siediti!
No tourists-no money
Niente turisti-niente soldi
The wine is on the house!
Il vino lo offre la casa!
Enjoy it!
Goditelo!
You’re a friend!
Sei un amico!
Take a seat!
Siediti!
I can’t manage!
Non ce la faccio!
Good to see you!
Che bello vederti!
How are you doing?
Come stai?
In the middle of ...
Nel mezzo di...
It’s your fault!
È colpa tua!
How dare you!
Come ti permetti?
I’m sorry!
Mi dispiace!
It’s not my business!
Non sono affari miei!
Good idea!
Buona idea!
A step-a breath-a sweep
Un passo-un respiro-una spazzata
Wait a second!
Aspetta un secondo!
Come this way!!
Venite da questa parte!
Here we are!
Eccoci!
Ladies and Gentlemen...
Signore e Signori...
“To be or not to be. That's the question....Romeo Romeo wherefore are thou Romeo?...”
“Essere o non essere. Questo è il problema… Romeo Romeo, perché sei tu Romeo?…”
Don’t push!
Non spingere!
Stay calm, please!
State calmi, per favore!
A couple of euros?
Un paio di euro?
All of a sudden
All’improvviso
Take a seat
Siediti
Time is money
Il tempo è denaro
It’s freezing cold!
Si gela!
60 times 60 is 3600
60 per 60 fa 3600
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Per year
All’anno
Life to date
Vita fino ad oggi
Impressive figure!
Che cifra impressionante!
To be exact
Per essere precisi
In short
In breve/In poche parole
In a rate of…
A un ritmo di…
One more thing
Un’altra cosa
I sure would!
Lo farei sicuramente!
By the time you’re old...
Ora che diventi vecchio/Quando sarai vecchio
Time saved is time doubled!
Timesavers live better!
Tempo risparmiato è tempo raddoppiato!
Chi risparmia tempo vive meglio!
Future belongs to timesavers!
Il futuro appartiene a chi risparmia tempo
Improve your life! Save time!
Migliora la tua vita! Risparmia tempo!
Time is precious, don’t waste it!
Il tempo è prezioso! Non sprecarlo!
Time is money! Save it!
Il tempo è denaro! Risparmialo!
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