Polaroid 600 P Fuji Film

not reviewed

Even in his latest show, 7-14-21-28 , the performer performs in spectacular maze created ad hoc by Flavia Mastrella. Their experiments on the language scene displace both the public criticism

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The review is not the ideal way to deal with the theater, and art in general, when they make language (and not the language ) its field of battle while undermining conventional forms and proposing new ones. This is the case Antonio Rezza and Flavia Mastrella: too elusive their speech, apparent immediacy of a cruel comedy that takes viewers on critical and difficult terrain of misrepresentation , pointing his finger and ignoring the moon.
and strabismus - touching naivete - of some chronicles on 7-14 - 21 - 28 , confirms how hard it is to attend the evolution of this emaciated body of an acrobat and word, and then quit in their brains to study and spremer looking for something clever to say.

theater is not ordinary, this union of visionary figurative and exasperated performativity nihilistic fury. theater is not ordinary text, director, author, but write a stage came to the theater and theater, as expressed in its making, innervated by the interaction of body and architecture and those words darting, elastic, all strains, tensions and gaps that the Mastrella years submit to the acrobatic actor. And if it is not an ordinary theater, comes short of the journalistic form elected, the news stretched the interpretation witty, educated intuition, when the installation cultural smug, confident in the magnificent and progressive communication. More suitable would be the studio - in his etymology of desire and love - not to understand, but only to hear, to cover the tracks of a speech fun (again nell'etimo) and fierce. We can not speak comfortably of those who died on the scene, let alone one can retire in order with a clear conscience.
Faced with the constant constraint actors in the scenic frames in the sequence of events two artists, there is a progression subtractive, both in terms of vision, for both work and eliminated on the dynamics of body and verbal Rezza performer. From an almost two-dimensional pictorial ( Pitecusa , 1995, and I , 1998), habitats prepared by Flavia acquire plastic depth : in 7 to 14 - 21 - 28 elements appear to contribute to a daily dialectic Volume triangular, in the depiction of character for an unexpected scene. Domina
verticality: the only actor flat trajectories and a madman. Not only that s'estenua Rezza, by himself, of his body dug, neurotic, lithe, and her face by Toto Cubist, a theater in the theater of unprecedented ruthlessness. Wind broken, torn, strained chest in the swings or changes in mocking mimicry of industrial chaos, dribbling expertly any temptation didactic.

No wire, although it is natural to look for: the actors are terrible traps ruthless solipsism of disasters (in) human comedy gag of recurrence, defibration language attrition of any plausible meaning. Evoke insecurity, pedophilia and religious funds to the show did not end or social nature, the scatological, viper stab at the scene of narration is not polemical attack (Also capital), but cruel and desperate protest of any instance in the affirmative, attack the very idea of \u200b\u200bnarrative as a metastasis of expression, not unlike the attacks on the figurative operated by Bacon. The battlefield is not, nor can it be, the company, but the existence, the temptation exists to put it Cioran.

Numerology, denounced the martial rhythm of a nursery rhyme of the title, is also extremely challenging, subtraction last : meaning, of logos , pedagogy. Space is arithmetic who became delirious dance of death track, hopscotch that every box keeps the sign of the earlier acts, even blasphemy that reveals its inner nature fun.

Laughter: aches and jaw for the insanity, the total massacre which undergoes Rezza, involving the companion scene, and a sacrificial victim, Ivan Bellavista, precious presence (de) hours in humanized animal now object.
Laughter, running the risk: the violent sobs of laughter erupted and tear, look over the abyss, physiological anarchy and unspeakable abyss of not knowing. It can not speak. Laughter, and the risk is to misunderstand the rice, converted into money social misunderstanding of the extreme rigor of the work of Rezza : "The comedian is cyanide. It is released into the body of the tragic, the cadaverizza and exhaustion grin in waiting ", the word of Carmelo Bene. Everything else is, or is likely to be less favorable review, that opinion leaders and chiacchiereccio. He laughs, but is expected to disappear.

Igor Vazzaz

May 5, 2010

Reviewed Subject:
7-14 - 21 - 28 Antonio Rezza and Flavia Mastrella

The rest of the poster: Massimo Camilli, assistant to the creation, Mary Shepherd, lighting design, stage Ivan Bellavista
Production: Theatre 91 - Piedmont Theatre Foundation Europe - RezzaMastrella
Upcoming: Rezza toured all the shows produced since 1995 ( Pitecusa , I , Fotofinish , Bahamut and the latter), the dates are updated on the site www.rezzamastrella.it
Viewed: in Florence, Teatro Puccini, March 20, 2010
Audience: less battered than usual
Quote: "What for you is a memorable evening for us is the norm "
DVD: Antonio Rezza and Flavia Mastrella, Democratic Optimism. 12 shorts in black + The past is black and my staff , Rome, Kiwido 2009, 19 €

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