CUORE DI CACTUS
di Antonio Calabrò
adattamento, regia e interpretazione di Fausto Russo Alesi
L'inferno dei viventi non è qualcosa che sarà. Se ce n'è uno, è quello che è già qui, l'inferno che abitiamo tutti i giorni, che formiamo stando insieme. Due modi ci sono per non soffrirne. Il primo riesce facile a molti: accettare l'inferno e diventarne parte fino al punto di non vederlo più. Il secondo è rischioso ed esige attenzione e apprendimento continues: seek and learn to recognize who and what, in the middle of hell, is not hell, then make them endure, give them space. (Italo Calvino, "Invisible Cities")
leave, stay, come back. Go, stay, come back.
Sicily, Palermo, and the sea. And the need to make the journey back in its origins to verify, refute, prove to themselves and their own land that has not betrayed, has not escaped, that such ' hell you have not accepted and is went to research the possibility of creating a future.
precisely the future that does not even exist as a verb, in the Sicilian dialect: "The challenge of a possible future, different, better, is a challenge with their own language of origin" .
Fausto Russo Alesi you modern Odysseus who undertakes a journey in their own country: a nostalgic evocation of Call For Price not have to be found in the memory of past conditions of the reasons for this.
It 's a journey that starts from the feeling of the earth Sicily, even from Sicily. The wind that blows on the words that describe the nature of places and people is full of love, desire (which stems from a lack thereof) in relation to their land. And restlessness that lives in the high seas Sicily, in those who feel the need to go to sea to find themselves under the curse of those who remain. In
" night of memories and budgets" retrace along with the words of the protagonist's history: the family, the places, the relationship with the sea, and the first concern, herald the need for leave. As background, the voice of the piano that interacts with the text.
mature before the departure time of the relationship with Palermo and Sicily lives intertwined with the history of social, political, cultural, of those years. The beginnings as a reporter in Time, the newspaper where many Young people have poured their enthusiasm for renewal, and the teachings of the master Vittorio Nisticò, the jazz piano give voice to the decades of the seventies, with a cultural life devoted to artistic experimentation, only to be heavy in describing the decline that has erased the glories of their ancestors. And then the "slaughter" : blood, violence, atrocities that the mafia has put before the eyes of Palermo. The failure of this attempt to change the world, the murder of anti-mafia Commissary Ninni Cassara, and the determination to leave. Not the betrayal of their homeland, but the fatigue of having to cry on the blood of too many friends killed. The inner movements of
Calabrò are ideal interpreter in Fausto Russo Alesi, not only for the similarity between their personal histories, but also for the sad coincidence of their departures: Calabrò aftermath of the killing of Cassara, Russo Alesi that of Falcone. And 'under ideal interpreter of the matter is referred to actor made his stand on stage: a few players know how to invest every word, every gesture, every object of sense, content, with evocations of the truth of Russo Alesi. The text becomes a score in which the actor is the rhythm, the trends, changes in the metric. This is a show that is essentially in the changes of pace and clear distinction between the areas of the scene representing the different places: if the proscenium, separated by a gate, is the place of ' today, when the gate opens the rest of the scene becomes a place of remembrance, "the soul".
The director, signed by the same Russo Alesi, reflects the same sensitivity of the interpreter: the lights draw the atmosphere, permeates the scene of suggestions, the simple props (a chair, a typewriter, copies of Time spread on the floor, the piano) in the hands of Russo Alesi become a symbol, and the actor plays with them, invent symbols to the suggestion of the final image (the beacon light and song of the gulls).
"Palermo and it was hell. But for this of this hell you have to try to be right. Without cry on. Wings of an eagle. And expect to fly. "
Listen to the interview with Ira Rubin Fausto Russo Alesi to Babel (Radio Popular)
Babel and Heart of cactus in the theater
From press
... Fausto Russo Alesi, one of the most talented actor of his generation prepared and curious ... is the voice, intelligence, emotion body but also the story of Antonio Calabrò ... finding itself , in his experience, his tenderness to dodge the father figure in his choices, not a match ... There is considerable satisfaction nel'linterpretazione dry and actor, but very much in tune with the author "
Listen to the interview with Ira Rubin Fausto Russo Alesi to Babel (Radio Popular)
Babel and Heart of cactus in the theater
From press
... Fausto Russo Alesi, one of the most talented actor of his generation prepared and curious ... is the voice, intelligence, emotion body but also the story of Antonio Calabrò ... finding itself , in his experience, his tenderness to dodge the father figure in his choices, not a match ... There is considerable satisfaction nel'linterpretazione dry and actor, but very much in tune with the author "
(Maria Grazia Gregori," delteatro.it)
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