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A perfect (and ruthless) machine

(from teatro.org )

It has become customary with some actors made famous by big and small screens, for reasons more or less sincere, more or unless stated, they decide to test the wood of the stage, "going back", as they say in these circumstances, the theater, "old love never faded." Not infrequently, it is ill-concealed fold, inglorious retreats, strategic setbacks in waiting for a new impetus to reassess their careers and finances: in these cases, reached the goal, the scene, seduced and abandoned, is regularly called by, for silver is elsewhere and there is no time to squander in such cases, the aesthetic results are reprehensible and dramatically apparent.

not always the key is that, fortunately, and we are delighted to be able to say at Nicoletta Braschi , actress discussed, if only for the dual role, often penalizing of first lady and one of our unique muse of Oscar-winning just discussed. It is, in fact, that the artist Cesena four years on the scene with shows at all easy, not at all trivial, picking up a fair success, suppose, very pleased. After two years of touring with The Grönholm Method of the Catalan Jordi Galceran Ferrer, here she is struggling with of Betrayal Harold Pinter : same scene mates, different director (before Cristina Pezzoli, Andrea Renzi hours ), different text.

Betrayal is a key example of dramaturgy pinteriana: minimal action, tank, characters nailed in dialogues that are tripped chatter, blasé, exposition human, too human , weaknesses, slip, mechanisms and reiterative, At the same time, killing surgical distillate misery behaviouristica Continuous line and ruthless overturning strength. And this history of horns, inflicted and suffered, hidden and declared, only seems bitter representation of a civilization from the social institutions in fatal dissolution: rather, it is a perfect stage machinery, machined, polished, too meticulously set criteria functional and rhetorical as to appear almost unbearable. It is not the English society, contemporary or western, the real, or only, objective poetic, as the device, all scenic, all dramatic, and human, the reconstruction failed, time to recover, the back cover a story, already in Oedipus Rex is alive and pulsating flesh of our great theater. With the public, all-knowing one and only witness of flaws of this pathetic trio enlarged upper middle class: her, him, the other and, in addition, some pictures never physically present, but returnees protagonists in the speeches of the trio.

The set of Lino Fiorito well-respected economics minutes of drama: two screens, knowingly twisted, rear projection home hour hours camouflage the limits of abstraction. The space is large, undefined, absurd in a quite metaphysical, even when the photographs that fill color paintings seem realistic, slow to fade in color patches of a certain suggestion. And the scene is the scene of clashes and encounters, always a double meaning, double bottom, the imbalance of information and truth, with captions Stationendrama dry thunderstorms that mark at the beginning of the reverse chronological framework of events. Each term has a round boxing in which blows are all to enjoy, interpret, understand, embodied in the everyday wasteland of vacuous words yet sticky. Nicoletta Braschi is comfortable with the unique texture of the lexicon Pinter: its recitation paratactic, dried in bringing the wording of the text, stands out the joke by giving it a deep ambivalence. She is beautiful, wrapped in clothes that show the shapes of Emma, \u200b\u200bas maliciously cattlemen, charming woman and pin main intrigue. Henry Ianniello, paying loving is Jerry, a successful literary agent, her lover and, especially, appears the best husband, Robert, editor "arrived", played by a dazzling Tony Laudadio , especially in sequences Venetian .

The time machine slides backwards, and every new stop is a betrayal of nature and weight is always different: the verbal fencing, loose or tight depending on the sequence, the truth unravels elastic and supple, intertwined lives ridiculous, no good taste or decency. It is the identity, the center of everything: memory, we and others, is that pile of rubble stolen, shabby, arranged (almost always) in bad faith, we build, which makes us obvious and unforgivable. Pinter portrays this fall, not moral but existential, in a merciless slow motion, an entomologist with the eyes. Sometimes we laugh, but bitter that the play is, we have said, human, too human . Play difficult, high risk: the text is a continuous deception, and for the interpreters, who have to calibrate wind, breath, the slightest sign gesture. Not always the orchestration meets the requirements: it reflects the rhythm, that at some point spreads, with a tendency to spread that puts at risk the centering. What is missing, it seems, the last blood supply, then scratched to rip the flesh to engrave in the soul of the spectators, however, this Betrayal remains enjoyable, strong in its own veracity, without falling and without tricks . Not cheap. Given the

16/02/2011 in Colle Di Val D'Elsa (SI) Theatre: Del Popolo

Entertainment
Betrayal , of Harold Pinter Alessandra Serra translation
with Nicoletta Braschi, Enrico Ianniello, Tony and Nicholas Laudadio
Marchitiello
director: Andrea Renzi
sets and costumes: Lino Fiorito lights
: Pasquale Mari
Sound Daghi Rondanini
production: Teatro Stabile Foundation turin - OTC Mr Casertano
Theatre (Photo: Giorgio Sottile)