The contemporary family is no escape: the first and basic social nucleus, and dell'individio development environment, is explored in its internal mechanisms to discover who has no chance of a positive evolution.
Gaddo Bagnoli, founder and director Artistic Nude company Scimmmie (born 2003), has created a on Man Trilogy, which consists of three shows that self-develop themes relating to three different aspects of life: Pauraedesiderio , machines and this 'Finally, Perversions. Understood not so much, not only as a sexual perversion: the first and most immediate horizon of meaning is rejected by the thematic richness of the drama (author of the Bagnoli). It refers rather to the etymological sense to reverse the order, the good turn for worse: it is in the family - which should be a place of security, absolute love (ie 'untied' from any purpose other than the good of others), education, development - that are cultivated physical and psychological violence, destructive ideologies, monstrous behavior.
The show is played on the fabric of hypocrisy of the characters, theatrically explicit in the setting reminiscent of the circus and that's the refers to Pirandello SOVR affixing life-stage, choral and dramatic scenes in which all the characters show off in front of the public smiles and harmonies that are just the facade that hides the troubled relations between the characters. Brother and sister, parents and children, husband and wife, uncle and nephew relationships are the fertile soil in which each grow their own perversions. That, as claimed by Bagnoli, should be "one of the essential creative means that man uses to investigate about its 'being' and his 'do'" . And instead become an instrument of oppression, but also of self-punishment: both victims and perpetrators, predators but also prey. All in search of their identity from the other state to have a role in this society: the relations are nothing if not a game of roles (father-master, slimy uncle, the woman-mother in sexual frustration, his brother to be stronger than the sister). "Lack of identity, lack of existence" , is repeated in the show.
The company, the debut of the trilogy in 2008, has pursued a style based on the lack of naturalness of expression, the abandonment of psychologism on which much of Western theater. Effective choice: the separation, rather than emotional involvement, can activate the critical consciousness in the viewer, and is the only purpose for which it must seek the theater that addresses these issues. With an eye to cruelty of Artaud and one at Brecht's epic theater. We can not but mention the recent Canicani Stefano De Luca: ways and styles, both directors have gone in the direction of the non-naturalness of communication. Evidently there is a strong need to shake the critical sense of the spectator in the face of contemporary everyday life, family, where children are still victims of frustrated parents, too busy to assert themselves or too busy trying to establish itself with the authority of dictators. In recent years it has changed the meaning of crime in the family: we are no longer facing the quiet people singing Subsonica ten years ago in reference to the massacres carried out in the family. The drama is not only the blood of the massacre, but it's a daily violence that is consumed in the home without being on the outside and therefore even more treacherous and hopeless.
The show has its own identity style, certainly mature and improve, but based on the representation of the elements that make immediate communicative to the public: objects (and costumes) become symbols in the game of the theater (the table becomes the podium for his father-dictator, mirror, table , bed, slide, and the scarf as a blindfold, and is used as rope chains), the music accompanies scenes complete the meaning, the stage movements refer to the meanings clear.
The Naked Apes are maintained by foreign provocations too easy, obvious and banal. No mention of current events expected in the representation of morbid attention of his uncle against the nephew, not free in the representation perversions. Fortunately, we are faced with a group that has a real urgency to search within man, and leading this research with rigor and without discount, by staging a lot of material which requires a further study (never like this If the completeness of the result would be sterile) to strip in a decisive manner by residues of psychologism that weaken the drama, and to enter an even more decisive in the flesh of the issues investigated. To be even more cruel .
The show is played on the fabric of hypocrisy of the characters, theatrically explicit in the setting reminiscent of the circus and that's the refers to Pirandello SOVR affixing life-stage, choral and dramatic scenes in which all the characters show off in front of the public smiles and harmonies that are just the facade that hides the troubled relations between the characters. Brother and sister, parents and children, husband and wife, uncle and nephew relationships are the fertile soil in which each grow their own perversions. That, as claimed by Bagnoli, should be "one of the essential creative means that man uses to investigate about its 'being' and his 'do'" . And instead become an instrument of oppression, but also of self-punishment: both victims and perpetrators, predators but also prey. All in search of their identity from the other state to have a role in this society: the relations are nothing if not a game of roles (father-master, slimy uncle, the woman-mother in sexual frustration, his brother to be stronger than the sister). "Lack of identity, lack of existence" , is repeated in the show.
The company, the debut of the trilogy in 2008, has pursued a style based on the lack of naturalness of expression, the abandonment of psychologism on which much of Western theater. Effective choice: the separation, rather than emotional involvement, can activate the critical consciousness in the viewer, and is the only purpose for which it must seek the theater that addresses these issues. With an eye to cruelty of Artaud and one at Brecht's epic theater. We can not but mention the recent Canicani Stefano De Luca: ways and styles, both directors have gone in the direction of the non-naturalness of communication. Evidently there is a strong need to shake the critical sense of the spectator in the face of contemporary everyday life, family, where children are still victims of frustrated parents, too busy to assert themselves or too busy trying to establish itself with the authority of dictators. In recent years it has changed the meaning of crime in the family: we are no longer facing the quiet people singing Subsonica ten years ago in reference to the massacres carried out in the family. The drama is not only the blood of the massacre, but it's a daily violence that is consumed in the home without being on the outside and therefore even more treacherous and hopeless.
The show has its own identity style, certainly mature and improve, but based on the representation of the elements that make immediate communicative to the public: objects (and costumes) become symbols in the game of the theater (the table becomes the podium for his father-dictator, mirror, table , bed, slide, and the scarf as a blindfold, and is used as rope chains), the music accompanies scenes complete the meaning, the stage movements refer to the meanings clear.
The Naked Apes are maintained by foreign provocations too easy, obvious and banal. No mention of current events expected in the representation of morbid attention of his uncle against the nephew, not free in the representation perversions. Fortunately, we are faced with a group that has a real urgency to search within man, and leading this research with rigor and without discount, by staging a lot of material which requires a further study (never like this If the completeness of the result would be sterile) to strip in a decisive manner by residues of psychologism that weaken the drama, and to enter an even more decisive in the flesh of the issues investigated. To be even more cruel .
seen at the Theatre of the Contradiction 24.II.2011
staged at the Theatre of Contradiction until Sunday, March 6.
PERVERSIONS
Gaddo a show with Claudia Bagnoli
Franceschetti, Igor Loddo, Andrea Magnelli, Marco Olivieri, Laura Rinaldi
music of Bon and Sebastian Francesco Canavese
collaboration with Ian Magilton and the Roy Hart Theatre
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