Theater, a "Villa Malgiocondo" that looks like Marquez's "Macondo"

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Pirandellian avalanche characters, disruptive and painful, unearthed for a hundred years of solitude.

Enter and leave a nursing home ("Villa Malgiocondo") Almost a sort of imaginary city like the Macondo of Marquez populated with those lives that Pirandello in one of his poems he calls "Silly lives of countless mortals … what a roundup of original dramas."

Which is like saying the individual devoured by history and history devoured by myth.

A ritual, a myth that was celebrated in the shadow of the other night Telamon of the Griffo Museum of Agrigento directed by Gaetano Aronica and a "cascade" of Agrigento actors that the director and president of Pirandello Theater Foundation has pulled out of the mothballs of missed opportunities, of the dreamed desires of souls and bodies that in art and acting seek their ubi consistam.

An answer to the “what am I doing here? " given by Foundation that after "Dressing the naked " is "moon crazy"Continues the "Comparison – writes Aronica in his direction notes together with his collaborator Giovanni Volpe – with immortal pages, rereading them in a way that we consider original and for the reflection they have in our individual and social life, with the certainty of being able to offer a courageous, contemporary and high-impact show created with a group of exceptional actors: Ilaria Bordenga, Franco Bruno, Barbara Capucci, Giusi Carreca, Gabriele Ciraolo, Silvia Frenda, Marcella Lattuca, Rosa Maria Montalbano, Giovanni Moscato, Salvatore Nocera Bracco, Marianna Rotolo, Claudio Vasile Cozzo, Arianna Vassallo and with the extraordinary participation of Andrea Tidona".

And of courage and inventiveness Aronica she has had enough of it since the beginning of the staging where a young waitress Marta brings the coffee to the bed of the director of the clinic, aka Pirandello. The fabulous inspiring muse had never been seen and thought Marta could help the writer to put on his shoes while Don Luigi mumbles about the contemporaneity of collapsed bridges and viaducts, cities submerged by high water, ranting against thieves and politicians, hypocrites and corrupters.

"Maybe I was unable to center the language of mass communication – tell us Aronica – but the temptation I have to turn to the alleged holders of Pirandello's truth is always strong. We didn't play theater, we did it. And with all the intellectual and dramaturgical assumptions. There is no life outside the form and then this form must be made changeable, in order not to remain prisoners of the void until it becomes its pregnant workers. "

Aronica defines his exceptional actors and after seeing the show you can agree very well with him, so well set in their roles, aimed at unraveling reality and imagination and with the addition of Andrea Tidona who manages to weld the participation of the actor group on a high common denominator.

Also thanks to a scenic writing that graft the emotional knots of the stories with some figures that become a symbol of the evoked vanity of mortals, of life, of solitude in dark hues, of social dictatorship.

In the end, warm applause from the audience and, incredible to say, kisses and hugs from the actors to the audience.

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