seems to be the year of trilogies and triptychs. In addition to the more popular - The trilogy with the critically acclaimed holiday Toni Servillo - have followed the trilogy on the family signed by Aquilino directed by Stefano De Luca (who at the Teatro di Monza Track 7 presented Mamma mammazza , Verginella and finally, in the first national Canicani ), the trilogy about the Man of investigation conducted by the company Monkeys Nude ( which begins on February 24 to Theatre Contradiction the concluding chapter, Perversions , which we discuss in the next few days) we will witness the Triptych Tarantino, which debuted last night Teatro Out Off the and will remain on stage until Sunday, and we have seen awaited Trilogy glasses Emma Dante, at the Teatro CRT until March 6.
great anticipation for a show presented with many honors (the ones that are always missed the director, often questioned, but recently, say since he directed the debut of the season at La Scala last year, we are very sparse) . The trilogy consists of three short acts independent ( Acquasanta , Zisa Castle , Ballarini ), but trails by a common thread that unites them is the theme of marginality to be investigated through three different stories , three characters from three different conditions. Poverty, sickness, old age. The hub cloves from the mainland on which it was abandoned dreams of the sea (love and a sense of his life), the catatonic boy Nicholas, attended by two little nun who squeak in a frenzy of gestures and bickering, an old pair of dancers that traces its life back in the skies brighten, before a return to this sad lonely vedovale.
all wear glasses, which should be the accomunante element is that it is absolutely marginal - as acknowledged by the same Emma Dante, which are irrelevant because they put them in the title. Only in the first chapter also has a dramatic value, to characterize the different characters interpretati dall'eclettico e travolgente Carmine Maringola, la cui interpretazione è così coinvolgente da far dimenticare le perplessità sullo spettacolo. Poche parole, tanta musica (popolare, trascinante), una gestualità esasperata che sembra sopperire alla povertà drammaturgica. Nel secondo capitolo le parole sono più rare (esplodono dalla bocca di Nicola, che con trasporto infantile e commovente si immagina di avere davanti il castello della Zisa), per scomparire del tutto nell'ultimo. L'impressione generale è che si tratti di un lavoro incompiuto, di una fase di transizione verso una forma scenica ancora da trovare. Non immaginiamo dove possa condurre questa ricerca: a un arricchimento della parola attraverso elementi più instinctive and emotional gestures like the music? Or in total silence, relying exclusively on the dramatic visual and audio elements? Meanwhile, Emma Dante look, we remain perplexed.
Visually, the third chapter is lyrical and intense light of the cuts, the two trunks, but mirror opposites, the lights hanging in the sky to create an even more poetic representation of the two old, between memories of youth and sexual itches never dormant. Do not quote the classic round (Beckett, in this case), as is now very critical, in the absence of other benchmarks of the Classic puts in half a century (that much is never wrong). Classics the same filmmaker who says he has taken as a model. Another is the starting point of his theater, always looking for intimate conduct an investigation on the Man by elements that return constants (such as the presence of dialect, which makes it more authentic expression - but that sometimes seems a bit please 'too much' taste, as in the case of the Neapolitan narrow segments).
A work which still lacks an identity. Do not call it study, however: the study is a kind of representation that can not be used to define an event each time the work has failed completely. However the director is continuing to work with stakeholders to refine this Trilogy.
For a scene so visceral, so physical, so primordial as its surprising how you can enjoy it more intellectually than emotionally.
seen in the CRT 16.II.2011
TRILOGY OF GLASSES
Emma Dante
directed by Emma Dante
with Carmine Maringola (segments), Onofrio Zummo (Nicole), Stéphanie Taillandier Claudia Benassi (nuns), and Elena Sabino Civilleri Burgundy (old)
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