(from Judgement , web)
Luigi Lo Cascio port in a show inspired by The Bacchae of Euripides: Hunting is well thought out, but there is no contact with the tragedy
Igor Vazzaz
obsession with tragic form and you can not express it, to penetrate the size of the Dionysian, his wisdom and destructive, life-giving at the same time, paradoxical. Luigi Lo Cascio is thrown headlong into complex reinterpretation of Euripides' Bacchae in this Hunting , look desperate and asymptotic to more prey and objects: the Theban menhaden in the wake of curly god intoxicated, disturbing the contact with the deepest roots of Hellenic thought, his intellectual understanding, reasoning and, ultimately, its theatrical viability.
the tragedy is possible today? No, the answer is clear, disarmingly honest and construction of a well managed, rich in solutions and not just a simple virtuosity of a great actor.
In a dark picture, the stage collapses and extends through a depth of self-propelled punctuated by dynamic projection signs of violent, white pencil on black. The figures, produced masterfully by graffiti Alice Mangano and Nicola Console , accompany with quick strokes and suffered the entire course of a performance original idea and practice: time to support the action (the old Teiresias and Cadmus participating in the ritual of the new god ), now to explain the lumps mood of the protagonist of the story, the tyrannical Pentheus / Lo Cascio intended to be devoured by thiasos headed by his own mother, now to come alive with the mocking and colorful presence of critical per child (the brilliant Peter Rosa ) that arrogant face tolla is an attempt to penetrate a wisdom that intellectually, but Since it relates an inevitable part of the human soul, there is now inaccessible. Excellent example of Jiminy Cricket (which exhibited rhotacism suggests the art critic Philippe Daverio), emphasizes the infant, he comments, glosses the focal points of the story, ending, however, when announcing the revelation of the ultimate sense of tragedy, first blind (citation oedipal) and then coupled by blacks birds, not without some satisfaction for the viewer. The
Pentheus Lo Cascio stirs desperate scene in this obsessive mental space in which to reproduce the darkness gropes the tyrant, in an attempt, vain, to arrest, to counter the power of a god who will end up bland, intrigue and, finally, torn by her priestesses potted. Now riding a horse of wood, now trapped on an inclined table, wearing white dress, bulky armor suspended between Ariosto and Star Wars, the protagonist is shipwrecked in a wide range of solutions actor, polyphony, which expresses the transition the refusal dictatorial, with an explicit quote from Chaplin dictator, to inner yearning for acceptance up to present ambiguous travesti to observe the Bacchae in delirium. The gradual corruption of the granite facade is slipping, continuous and unstoppable array of psychological rejection disgusted, Freud docet is pregnant of morbid attraction of disturbance, and Lo Cascio properly illustrates the drift of the annihilating character of this monologue disguised innervated reminiscent of Kafka.
Faithful to the paradox, the show escapes the vision of the Bacchae: the final moment is deprived of sight, replaced by one of three movie-parody advertisement advertising that, mo 'Chorus, ease the tension with humor does not always effective , further shattering the expectation of the inevitable result in a failure: the tragic we're not allowed, there remains a bitter grin.
show that has the advantage of "trying" and that its limits programmatically complaint, Hunting realizes, however, only part of its design, though limited and conscious although reproduced, lyophilized, to declassified accident scenic irreproducible, even accidental contact with the tragedy should be impressed by the power of branding in a spectator and not leave with the feeling of having seen a beautiful setting and interesting, but "no blood". But it remains
alienated from this remarkable performance, an attempt to prove that it is impossible to identify with the Dionysian frenzy of public penthouse, but that is likely, however, of the viewer too numb, as if to annihilate the reaction in a distance ironic frozen. The theater can still, and must transform those who participate, even on this side of the fourth wall: outstanding result, but we can not cease to expect.
(February 24, 2010)
Viewed in Pontedera, was Theatre, February 7, 2010
Hunting from The Bacchae of Euripides, and of with Luigi Lo Cascio
Upcoming: Bologna, Duse, 26-28/2; Crema (Cr), 2-3/3, La Spezia, 5-6/3, Milan, Puccini, 9-21 / 3, Pavia, 24-25/3; Grosseto, 28 / 3
The rest of the poster: Nicola Console, Alice Mangano, Desideria Rayner, design, Andrea Rocca, original music; Mauro Forte, sound design, production innovation CSS Teatro Stabile del Friuli Venezia Giulia
Highs: courage and honesty
Defects : coldness, despite excellent test of an actor and creative visual solutions, irony, especially in the movies, somewhat strained
Cameo: in the second video, starring Lo Cascio friends are, and companions' Academy, Alessio Boni and Fabrizio Gifuni
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