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TARANTINO FOR THE DIRECTION OF THE THEATRE: THE DEBUT IN playwright's "Triptych "

Oreste Valente in the role of clown-Dresser

The clown that hosts the property, the public in the foyer is the same one that shows a certain way the American author of this triptych and splendid interpreter novice at seventy years: Mister Antonio Tarantino.

The lovely person who has the stage to explain the reasons for this debut and what he has learned from this experience (to be more careful in what he writes because the actors must then learn it by heart) wins since the expression of bright eyes, expressive accent and always with an ironic, spoken by the spontaneous and genuine. His intelligence and his clarity in the photograph accompanying the contemporary his being on stage. He has fun, we laugh.

laugh, even if it portrays the misery, poverty and economic relations dramatic: Rome-Bacau starring an elderly ex-worker and a young Rumanian forced to beg. Among the various attempts of exploitation of man against the girl the two find themselves sharing the same destiny of isolation to find out to depend on each other as if they were husband and wife.

The irony that Tarantino manages to even express in the representation of despair without a horizon of hope is our gift to these dark times, an infectious joyousness that emanates from the intelligence of dramatist.

Il secondo atto breve, Medea , vede in scena una donna assassina dei propri figli e vittima del tradimento del marito. Figura femminile che si riferisce chiaramente alla Medea del mito, ritrova il suo Giasone ormai vecchio e consumato, e decide di perdonare il passato di dolore: se "Dio non c'è per nessuno" , i rapporti umani invece restano, sopravvivono alle macerie di una vita frantumata per continuare a essere una consolazione e una speranza. Intensa l'interpretazione di Gilda Postiglione, figura femminile lacerata ma che mantiene la forza coriacea dei sopravvissuti.

Il Trittico termina con Telesogni e l'intervista condotta da un improbabile quanto realistico presentatore tv (a Oreste Valente in part, after being dubbed the clown) who reveals the mechanisms of media manipulation and then give concrete evidence by interviewing an elderly person who lives in Turin in a squalid attic of a building being invaded by immigrants. The man is the mouthpiece of the most stupid prejudices against foreigners, showing his ignorance improper use of the term "racist". The finish is all positive: a new life is born and before the future that makes the meat even harder the heart is moved.

Get in the game at seventy years is a labor of love for the theater that was the author of memorable lyrics (from Stabat Mater With which she opened in Ramallah House) and is a serious and fair play towards the public: the vitality, humor, positivity of the playwright make it clear that its not a habit senile, but a real need to communicate. His generosity as an artist who still has a lot to give to the theater. It affects his ability to photograph the contemporary gloss, and his deep knowledge of the text bring out in its interpretation, subtle aspects that would otherwise remain in the shadows.

With Gilda Postiglione and Oreste Valente form a close-knit trio that serves as the shoulder to the lively and creative director Cristina Pezzoli, in a scene dominated by three large frames that define the setting, suggest states of mind, serve as a backdrop. Give added value to the party directing the lights (suggestive cuts) and the rousing music of Roy Paci.

We hope to see you again in many other places: this show is valuable and is a gift to the theater that everyone deserves to see.

seen at the Teatro Out Off 27.II.2011

tritici

Antonio Tarantino

with Antonio Tarantino, Gilda Postiglione and Oreste Valente

directed by Cristina Pezzoli