Saturday 13 - Cleopatra with Arianna Scommegna Sabato 13 febbraio 2010, ore 21.00
presso Spazio ISV Via Einaudi, 23- fraz. Rotta-Travacò Siccomario
con immenso piacere ISV torna ad ospitare sul suo palco Arianna Scommegna con
Cleopatràs di Giovanni Testori
regia di Gigi Dall’Aglio
con Arianna Scommegna
al violoncello Chiara Torselli
...dell’immana che fui io me Cleopatràs,
qui, in del magno teatro
e in sulla terra intrega,
cosa de mai ce resteràs?
Nigotta?
Nigottàs? PRENOTAZIONE CONSIGLIATA!
Ingresso intero Euro 10.00, ridotto di legge Euro 8.00
PER INFO E PRENOTAZIONI: 339.5373945 E' questo il primo lavoro di una trilogia, intitolata “Anima mia”, pubblicata postuma nel 1994 che affronta i tre lamenti di morte di Cleopatra, di Erodiade (Erodiàs) e della Madonna (Mater Strangosciàs) rivolti ai loro rispettivi amati.
“Cleopatràs” in particolare racconta the regret of the protagonist in the past and full life as irretrievably lost. In the face of death, what they think are the goods most obsessively conreti of his life gone, what has possessed quell'Egitto that was hers and that in reading Testori becomes a piece of Lombardy.
a show not to be missed.
Cleopatra appears.
Arriva violent and powerful as a slap sound / word, quell'ossessiva, emphatic ending in - as. All that matters impacting invests the audience gathered in the courtyard of Villa Gola, from the outset, since Arianna Scommegna (Cleopatra) candidly and sacral dressed in white, sits on the throne poor.
Bare feet and legs outstretched, irreverent posture that echoes many of the female figures in Caravaggio. Cleopatra begins in late: he threw out the word that lump, sound, scream, while embracing a fetish puppet, a mask that both refers to the art of Enrico Baj.
The funeral tears, the loneliness of speech becomes vehement cry of love, emotion and dejected. A conversation with the death of the loved one that is simultaneously too wept over his death, close to happen. But in form, this becomes regurgitation destiny of life.
engages all the actor's ability monologo liberatorio di Cleopatràs perché la parola è viscerale come la lingua spezzata, blasfema, a singhiozzo, impasto di arcaismi, frammista di latino e di dialetti lombardi, forestierismi, dal francese e dallo spagnolo, di parole conosciute o puramente inventate. Impasto di grammatica e ritmo, prosa e rima e citazioni. Fonemi stridenti, acuti, grevi, alternati a canto e al lamento.
L’interlocutore, semmai, è il suono del violoncello, che dialoga con la solitudine della regina.
Improvvisi scarti muovono l’umore scenico e il corpo si fa carne in moto, si esprime a strappi, a urla, a sgorghi, a svuotamenti. Brava Arianna Scommegna a raggrumare suono/parola fino a renderla un’unica substance.
Interesting the idea of \u200b\u200breturning the body as the geography of places of memory, of experience, the Kingdom of Egypt in rewriting testoriana becomes Lombardy between the two branches of Lake Como, and so Cleopatra Arianna Scommegna dips his hands in 'mixture of primary color, and stretching his belly on your investment paints and body as an artist of "action painting", where the resulting work emphasizes the physical act of painting itself.
And again refers to painting the image of Christ on the Cross, as well as within the sought after and exhibited at the "snake", a harbinger of death, which still belongs to Caravaggio figures.
A mixture of colors, the sound worked on until they're exhausted, but also the absence of nihilism, of anything that ends in the womb, a place for all the questions.
Bravi
Many applause, several times repeated at every call in the scene.
Rosanna Ratti
