(from Judgement , web version)
The hard play by Beckett with a wonderful interpretation Asti's
Igor Vazzaz
increasing noise, chaotic, mixed with hissing of the storm: the dazzling clarity of a veil is lifted. Dark. The look on his sense of theater is loaded deeper see things that are hidden , dizziness reckless, wild-eyed glimpse over the threshold of the newspaper. Light. The background floodlit draw with precision the profile of a sharp pile at center stage. Appear twisted or angled plates languages \u200b\u200basphalt road as residues of an earthquake. At the top of storage, a human figure: stuck at the waist, blocked in every sense, for life.
Happy Days is one of the most difficult texts of Beckett , is next to the French period in both Krapp's Last Tape , return to the mother tongue. The criticism highlights since the debut of the harshness, as if to deny the elegant construction of the earlier masterpieces absurd: Winnie, a woman literally planted on the ground, grow stubborn illusion of a happy life at his side, so to speak, of her husband Willie, a man unable to walk if they do not crawl, almost always out of sight of his wife. Ironic that, compared to initial doubts, the play has become big achievement for actresses, especially on the threshold of middle age: Winnie, almost like Hamlet for male colleagues, is the character on the basis of the unforgettable examples of Madeleine Renaud, Natasha Perry and, in Italy, and Giulia Lazzarini Anna Proclemer.
The drama arises from the very beginning a dilemma: give priority to the grueling nature of the text or underline the absurdity of such a ferocious comic metaphor for life? Bob Wilson choose the first road, even with some cuts to the original score. Adriana Asti is a beautiful Winnie: talkative, smiling, sometimes mother, and his face blanched sprouts from the central intrigue pointed, using clean and bright colors. The first act
insidious: all'ossessività text matches the serenity of the absurd hero. It is difficult to get into the show, the river speech is the sciura abundantly justifies the brevity of her husband guttural ( Yann de Graval ) by muttering monosyllables. Time is crystallized in the continued chatter of women, in his desperate, emotional happiness. Everything looks normal, but nothing is, neither normal nor even less sense. Not only is the paradoxical existence of a Madame stuck in the ground, but that of each of us stuck in mounds of earth or rubble, to find meaning or even deluded remnants of alleged serenity.
Second act as a dry razor with Winnie immobilized until the neck, Willie crawl until you reach the view is developing swan song, to seal a relationship as real as possible. The external events (the perhaps excessive light changes, the flash that stands motionless in the sky) do not touch the lives laughable as that paradoxical moment of contattovisivo, loose part of the famous of The Merry Widow Lehar . The surgical construction Beckett, his nihilistic irony is obvious: What if Winnie Merry Widow?
The best known is in Beckett's fierce sense of proportion, to say without saying too much, while making use of images of unusual power and corrosive. Directed by Wilson, which s'accompagna excellent test Adriana Asti species in the rough physical restraint, has the great merit of a text back hard, play monologue disguised as dialogue, without losing the nuances of deep, mindful perhaps for some pictures, by the body that Peter Brook realized over the past decade. Have we could, and should, laugh more, but a performance so well done it is unthinkable to ask further. To see.
(03 December 2009)
Viewed in Prato, Teatro Metastasio, November 4, 2009
The hard play by Beckett with a wonderful interpretation Asti's
Igor Vazzaz
increasing noise, chaotic, mixed with hissing of the storm: the dazzling clarity of a veil is lifted. Dark. The look on his sense of theater is loaded deeper see things that are hidden , dizziness reckless, wild-eyed glimpse over the threshold of the newspaper. Light. The background floodlit draw with precision the profile of a sharp pile at center stage. Appear twisted or angled plates languages \u200b\u200basphalt road as residues of an earthquake. At the top of storage, a human figure: stuck at the waist, blocked in every sense, for life.
Happy Days is one of the most difficult texts of Beckett , is next to the French period in both Krapp's Last Tape , return to the mother tongue. The criticism highlights since the debut of the harshness, as if to deny the elegant construction of the earlier masterpieces absurd: Winnie, a woman literally planted on the ground, grow stubborn illusion of a happy life at his side, so to speak, of her husband Willie, a man unable to walk if they do not crawl, almost always out of sight of his wife. Ironic that, compared to initial doubts, the play has become big achievement for actresses, especially on the threshold of middle age: Winnie, almost like Hamlet for male colleagues, is the character on the basis of the unforgettable examples of Madeleine Renaud, Natasha Perry and, in Italy, and Giulia Lazzarini Anna Proclemer.
The drama arises from the very beginning a dilemma: give priority to the grueling nature of the text or underline the absurdity of such a ferocious comic metaphor for life? Bob Wilson choose the first road, even with some cuts to the original score. Adriana Asti is a beautiful Winnie: talkative, smiling, sometimes mother, and his face blanched sprouts from the central intrigue pointed, using clean and bright colors. The first act insidious: all'ossessività text matches the serenity of the absurd hero. It is difficult to get into the show, the river speech is the sciura abundantly justifies the brevity of her husband guttural ( Yann de Graval ) by muttering monosyllables. Time is crystallized in the continued chatter of women, in his desperate, emotional happiness. Everything looks normal, but nothing is, neither normal nor even less sense. Not only is the paradoxical existence of a Madame stuck in the ground, but that of each of us stuck in mounds of earth or rubble, to find meaning or even deluded remnants of alleged serenity.
Second act as a dry razor with Winnie immobilized until the neck, Willie crawl until you reach the view is developing swan song, to seal a relationship as real as possible. The external events (the perhaps excessive light changes, the flash that stands motionless in the sky) do not touch the lives laughable as that paradoxical moment of contattovisivo, loose part of the famous of The Merry Widow Lehar . The surgical construction Beckett, his nihilistic irony is obvious: What if Winnie Merry Widow?
The best known is in Beckett's fierce sense of proportion, to say without saying too much, while making use of images of unusual power and corrosive. Directed by Wilson, which s'accompagna excellent test Adriana Asti species in the rough physical restraint, has the great merit of a text back hard, play monologue disguised as dialogue, without losing the nuances of deep, mindful perhaps for some pictures, by the body that Peter Brook realized over the past decade. Have we could, and should, laugh more, but a performance so well done it is unthinkable to ask further. To see.
(03 December 2009)
Viewed in Prato, Teatro Metastasio, November 4, 2009
Entertainment
Happy Days, of Samuel Beckett, directed by Robert Wilson, with Adriana Asti and Yann de Graval
Happy Days, of Samuel Beckett, directed by Robert Wilson, with Adriana Asti and Yann de Graval
Rating: 
Card
Upcoming: Naples, Mercadante, until 6 / 12, Bari, Piccinni, 9-13/12, Bergamo, Donizetti, 15-20 / 12; Jesi, Pergolesi, 15-16/1/2010; Pavia, Fraschini, 19-21/1; Como, Social, 23-24/1; St.Pölten (Austria), Landestheater, 28-29/1; Aosta , Giacosa, 3-4/2, Cremona, Ponchielli, 6-7/2, Piacenza, Municipal, 16-17/2
The rest of the poster: Jacques Reynaud (costumes and makeup), AJ Weissbard (lighting design) ; Peter Cerone, Emre Sevindik (sound); draft Change Performing Arts commissioned from 52nd Spoleto Festival of 2 Worlds and Grand Théâtre de Luxembourg, produced by CRT Artifice, Milan
Robert Wilson: director, playwright, theatrical total, sculptor, artist. Class 1941, Texas, has worked for years around the world and is one of the fathers of contemporary avant-garde. Among many things, we remember the work Einstein on the Beach, co-written with minimalist composer Philip Glass. See www.robertwilson.com
Adriana Asti: first lady of theater and film not only Italian, he starred with Visconti, Bolognini, Pasolini, Bunuel, De Sica (the good), Strehler, Gassman, winning prizes and awards unanimous
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