November 20
Lars Norén
directed by Fausto Russo Alesi
with Fausto Russo Alesi
Production Piccolo Teatro di Milano
Go into the room, the Studio Theatre which always gives a feeling of welcome and embrace with its semicircular balconies, and find a row of chairs to enclose three sides of the barren stage. On the fourth side (the bottom) comes an intense beam of light straight as a gun pointed at him. After the first moments known that some viewers are still, you look better and you realize that mannequins are incredibly similar to real people. First sensation of discomfort.
Enter the protagonist ends the wall that serves as backdrop / Wailing Wall / board, for a moment she lowered the lights in the room, then switch back to enlighten the public. The protagonist, with precise movements, in backbeat, calculated and measured is a weapon: knives, ammunition, the rifle. Start the siege.
to keep the gun pointed on the spectators is represented by Lars Norén Sebastian Bosse, an artist who through his writings puts us in front of the anxieties, the questions, the horrors of nosta society. The German boy who one morning in 2006 was presented to school armed to the teeth and opened fire on teachers and classmates and then kill himself, is the first that the tragedy happen: the morning before going to school.
Lars Norén is not seeking justification, not judgmental, but puts the viewer in a problematic given the constraints of our society, and the strong impact that his texts involve us in person. The goal is not the "complaint" is not the "picture" of society, but the "magnifying glass" (as written by Luca Ronconi) through the voice of the weakest part of society, those who suffer, who succumb ( "If people do not support the life you can even kill" ). Sebastian Bosse is a teenager who had no reference points and did not have the tools to grow within the company where he lived, where he looked for interlocutors not find them. The evening before his gesture has posted on YouTube (now faulty vehicle of fragmented communications, misunderstandings, illusions of a whole which are not) a video that has given the explanation of the reasons which led it to compote as it did. Sebastian wanted to scream their discomfort, but he felt persecuted and used another way to communicate, one of the weapons (which for him represented a value). It is clear from the text underscores the leading role of Sebastian in his own subjectivity: "The my now" , "I'm who decides" . Voleva essere protagonista di una vita che ha sempre vissuto in disparte, alimentando il sentimento di essere sfigato , fallito , fottuto .
Da queste suggestioni è nata l'idea registica di Russo Alesi di mescolare tra pubblico vero il pubblico dei manichini: rappresentano gli interlocutori reali di Sebastian, quelli che non hanno saputo comprendere il suo disagio. Lars Norén chiama in causa il pubblico vero a intervenire quando la tragedia non è ancora avvenuta per cambiare il corso degli eventi, per trovare delle risposte agli interrogativi che Sebastian pone guardando violentemente negli occhi lo spettatore. Nel luogo della cultura e dell'incontro (il teatro) Norén innalza la storia di Sebastian a portavoce del disagio non solo giovanile, ma sociale e culturale che coinvolge tutto il mondo occidentale. Interrogativi sulla ricerca della felicità, sul consumismo, sull'omologazione, sul senso della vita, sulle prospettive future (il protagonista scrive sulla lavagna Se questo è il futuro non mi interessa ), sulla sete di avere sempre di più , cercano una possibile risposta e impongono una riflessione non passiva sul ruolo delle istituzioni come scuola e famiglia.
A scandire i tempi della storia il cronometro, come una bomba a orologeria. Alla fine a esplodere di fronte agli occhi degli spettatori è il video, questa volta vero, di Sebastian. Un ragazzo come tanti altri, alone and with a desperate need to communicate and be communicated.
Fausto Russo Alesi has set a clear direction and effective ideas, and the interpreter has followed a rigorous and consistent - as usual. He dug in the breaks identified in the text to find deeper meaning to the words which at times have made almost monologue. He shared with the protagonist of the tortuous inner journey towards an extreme action, emotional intensity with which it has transmitted all the violence of the text.
In both the two replicas that we have seen the public did not give direct answers to questions that he had addressed to him by the protagonist. An attitude due to several factors: first, the rigidity the Italian public, accustomed to interacting with the actor on the scene only in presence of the comic (not referring exclusively to the cabaret or surroundings, but also shows strong array of comic prose, such as the 'Harlequin Soleri ), the Italian public rather uncomfortable in situations of dramatic prose (and even embarrass the lights in the room because they suggest a feeling of involvement that Wagner was then slowly doze off to the current intellectual). Secondly, the Studio Theatre has not the strength of the claustrophobic Magic Box (which was set up the show last season) and are more dispersed space, was also weakened l'urto emotivo che poteva spingere il pubblico a rispondere a voce alta a quegli interrogativi. Infine l'impostazione recitativa di Russo Alesi ha creato una linea di distacco con il pubblico: un'interpretazione non naturalistica, eppure così vera, prestata a una materia umana non condivisibile, semmai catartica, con un chiaro intento di mettere sotto pressione gli interlocutori/spettatori accusandoli ( Voi non siete innocenti! ). Emozioni troppo forti per poter dare voce a una reazione.
Per vedere il video promo dello spettacolo clicca qui
visto al Piccolo Teatro Studio il 12 e il 21.XII.2010
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