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And to think that there was Giorgio Gaber

(from Judgement )
The good Maddalena Crippa shows the genius of the theater scene in the song. The actress tries to distance itself dall'inarrivabile model and does it better than others but not enough

To avoid misunderstanding, we reiterate what we said before: the theater is the kingdom of reinterpretation, the reinvention of the resurrection of the head, body and balance of power once sewn on to other bodies, other voices, other actors. What Gaber, in our opinion, was and still is great theater, original, urgent, and although tied hand in glove with the reality of the period in which it was conceived, yet able to speak to the audience.

This does not imply that the most recent revivals have hit the mark, not at all: think Giulio Casale, Blacks Marcorè artists who for one reason or another, have shattered the image of the first interpreter, failing, beyond skill and applause. The point, however, is not, as you might think trivial, Gaber which may be interpreted only by himself: the idea simplistic, unfair, and also in respect of an authentic writing, full of banks and kinks still to be explored fully. The same charge, moreover, was addressed to Dario For, only to realize that, even in the seventies, the texts of the future Nobel were set up every evening in languages \u200b\u200band locations around the world. For this reason, first of all, we are curious and well-disposed towards Maddalena Crippa, an actress of great stature and undoubted curriculum, which brings to the stage And to think that was the thought .

A woman in the role of G, nice idea: you want to see a physical difference so the net does not ensure a successful operation which saw a shipwreck popular male colleagues? The choice of the text, however, confirms personality: not a greatest hits as Marcorè or a show like the mythical chickens echoed by House, but a work of 1994, the first novel of the nineties by the duo-Luporini Gaber. Texts tricky, not easy, that led the Lombard cantattore wisely, taking advantage of that unmistakable voice full, intense, and the characteristic suppleness corvina embodiment of a crooked and perfect.

the middle of the show, a bitter and ironic reflection on the individual post-reflow , the enigma represented by a dishonorable back order and not in relation to total resignation d’una realtà ormai immutabile. Mi fa male il mondo , urlo di dolore tra ironia e frustrazione, refrain d’uno show cui si sovrappongono dubbi viperini ( Destra-Sinistra ), vecchi temi e una serie d’acute osservazioni sulle menzogne che ci raccontiamo. Paradossale e beffarda, l’utopica soluzione alle trappole della nostra cattiva coscienza coincide, per Gaber, con un egoismo "antico e sano", ma, per una volta, autentico.

Si inizia con La sedia da spostare : un fascio luminoso illumina dall’alto una scranna in legno e due voci identiche si fronteggiano dai lati opposti della scena. È Gaber, ma non è lui. Il timbro è femminile, la calata Lombard, phrases, please note by heart, are the same, but the times, the results are new, different. Here's the music: on the left hand plays a piano, live, on a record. Join the actress, microphone in hand, dressed in black, amphibians to the feet, hurts the world. Shake, crosses the stage several times, accompanied by three singers with the bodies in the shadows on the white background. The amalgam of sounds is unknown, the quickest time, too, you lose something.

The idea, confirmed during the performance, the actress has a contract with a steady hand to hand with the original model: Madeleine unmarked, dribbling melodies, adding sharp, changing on the score. He is right: it can not do Gaber, and for that we are grateful, regardless of the outcome. not bad, in fact, some blown up, when the modulation dying down, finding its own intensity. And if you save an actress in the monologues, though not fully convincing, the songs are the most critical: the use of the chorus is not bad, but a mixture between live and recorded phone call is, not enough, the song often inaccurate, in front of a model that more and more years pass is unsurpassed. The strategy, deliberately adopted, in the performance of waste accumulation and to work on gesture, if on the one hand, represents an effort encomiabile, dall’altro, lascia sin troppe perplessità.

Monologhi e brani musicali s’inseguono, con qualche anomalia rispetto al testo adottato: ecco Il dilemma , bella canzone da Anni affollati (1981), iniziata con un recitativo, poco dopo, Qualcuno era comunista , monologo del 1991, in un gioco di ricomposizione lecito, ma non provvisto di una sufficiente congruenza. E, infatti, manca quella Canzone della non appartenenza che della messinscena originale rappresenta la chiave, lo spiraglio, la timida soluzione proposta da Gaber. Le si preferisce, invece, L’attesa , sempre da Anni affollati , anch’essa proposed in the form of acting.

The show unfortunately does not work, does not take off, not for matters of order philological theoretically negligible, but because of lacking a coherent aesthetic which must be the cardinal principle of any staging. Bring back Gaber, has run now understood, is no joke: we need talent in singing, acting, and artistic authority that indescribable quality that seems stronger, and as yet not investigated, the late Gaberscik. And sorry to lose both, after all, a good actress, hero, for once, a show but no pimp, not cunning and, ultimately, too honest.

February 8, 2011

Reviewed Subject:
And to think that was the thought , Giorgio Gaber and Sandro Luporini with Maddalena Crippa, directed by Emanuela Giordano

The rest of the poster: Massimiliano Gagliardi, piano and arrangements; Calderale Chiara, Miriam Longo and Valentina Swiss singers, production Tieffe Milan Teatro Stabile of Innovation in collaboration with the Fondazione Giorgio Gaber
Upcoming: 8 / 3, Cesano Boscone (Mi) 12-13/3, Brescia, T. Association; 13-14/3, Savona, Social Chiabrera, 19-20/3. Jesi, Pergolesi
Radio / 1: that the public does not "take" the end of the show and the actress must, with sly wink, report viewers
Radio / 2: that the best parts are, in surprise, the two bis singing with a pot-pourri gaber a cappella truly enjoyable
And to think that was the thought in cd: two versions, one recorded Alfieri in Turin in 1994, el 'the other Regio di Parma at the end of 1995
Closed Lyric of not belonging : "It does not save us the idea of \u200b\u200bequality / or altruism or unnecessary pity / self-interest but old and healthy / those who do not even know / that does good to himself and to humanity "

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