Silent Reflux Mylanta

If Dona Flor has lost the passion

(from Judgement ) sensual
In Bahia, a woman is divided between a scoundrel husband, died, and a loving and boring live. The good news is that Amado's masterpiece to theater could make sparks. The bad news is: not in this show

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We have a certainty, having seen the stage version of Dona Flor and Her Two Husbands : Amado's masterpiece stands up to the big stage translation. Remarkable that such a conviction, the more strict than the preliminary questions, both tetragon result of a poorly made show. Clear: the transpositions are not only possible, but be encouraged, and there is to disturb Nekrosius to prove it. Necessary, however, is that the spirit of the model is well clots, filtration of s'impreziosisca in a different medium of expression and not merely a sterile proposition dell'inessenziale work adopted, its peel. pleasure, in fact, should multiply: the memory of the original invention may add enjoyment profitable, interpreting extensive playing of resonances that is the beauty of aesthetic enjoyment.

Amado's novel is a triumph of color and life, carnival and romantic representation of an infinite love for theater that has the explosion of music that is Salvador Bahia, Brazil button heart of Africa. Now, it can also be unthinkable that an Italian company brasilianizzi is a distortion, in order to seek a soul which is lacking, but this can not be resolved simply abdicate in a cornerstone work art determined. Bahia You can not do? Take Naples. But there is a sense of magic, mythology intrusive, there are sounds, colors and, above all, smells, scents from the kitchen as Flor, those of carnal desire. There is consistent replacement, equipotent, not the suspension of a cowardly choice severed.

The show: the beautiful idea of \u200b\u200bthe three giant screens as a scene, with endless possibilities of ideas. Good also the first picture, with legions of candles replicated on screen for the wake of Vadinho, rogue of a husband and yet adored by the protagonist. shame, though, that the potential visual and remains unspoken, with predictable iconic symbols, without expressive power, without genius or backbone. Good the music scene in the trio (guitar, cello, double bass), but the stellar distance romance with the climate, burning of samba and African rhythms.

Mourning Flor, honest woman grew up in respect and decency, it is real suffering of flesh and spirit: that irresistible whores Vadinho, betrayal, money squandering, disappointing on time, really loved her, in his way, and not v 'is questionable. Just as in any other way, loves her new husband, Theodore, pharmacist lethargic, yet lively attention of all sincere , in all respects to that flower that the previous marriage had, scrambled, leading to life when the ghost comes back from the first for the hot invocations of the widow, the matter becomes more complicated.

is sensual, Dona Flor, Creole formosa discovered by the appetites, yet measured, ill-contained in a discipline that can not stop thinking, desire, memory. Yet Caterina Murino is icy, never in part, the desire never torn and clotted continence self-inflicted. caricaturist, unjust, then the Theodore Paul Calabrese, trapped in effettacci which have nothing in common with the character : Amado makes us laugh pierced the pharmacist who wants his wife (but sparing those practices for which are affixed to "street women"), but respects him, makes him love, understanding: Theodore us, our projection of confidence. Instead, we look for the distortion inert, easy laughter, digestive, ignoring what is Teodoro dense, has a thickness, and the two-dimensionality of a farcical figure. Better Vadinho Max Malatesta, character easier, but never disturbing, never brash as such.

History should excite, disturb, put the viewer in anguish, trapped in two paradoxical and true love, in one embodiment overflowing: three scenes, Flor should kiss her mouth in both, and not just a picture of bourgeois interior. A sfangarla, the chorus of feminine friends Flor, net of any ribobolo not necessary, the hag Dona Rosita (Simonetta Cartia), a bit 'too young for the part. Little, too little to bring justice to a novel so deep and beautiful. missing the magic: the Bahia, syncretic, orisha between African and Christian mysticism, that of a sex irresistible and intoxicating gifts to the public that the smile and the belief that love, that's true, is something overwhelming and deformed, hardly suitable for a living set of categories and bourgeois. Too bad, because Dona Flor deserves a translation stage, almost cries out: the novel contains an irresistible nature and even a theatrical staging Fallata confirms it clearly. We hope to see you, tomorrow, do not ask for more.

February 4, 2011

Reviewed Subject:
Dona Flor and Her Two Husbands , Jorge Amado, directed by Emanuela Giordano

Coming on stage: until 6 / 2, Brescia, T. Social, 10-13/2, Monza, T. Manzoni, 15-27/2, Rome, T.Quirino-Vittorio Gassman, 28/2-2/3, Pavia, T. Fraschini; 3-6/3, Bolzano, T. Hall, 8-13/3, Bergamo, Donizetti T.; 14 / 3, Legnago (VR), T. Salieri, 15-17/3, Vigevano (Pavia), T. Cagnoni, 18-20/3, Lucca, T.del Giglio; 23-27/3, Messina, T. Vittorio Emanuele, 29-31/3, Fano (Pu), Fortuna T.della
The rest of the poster: Andrea N. Cecchini, scenes, Claudio Garofalo, visual installations, Juan Diego Puerta, choreography, Michael Vitullo, lights, with Claudia Gusmano, Serena Mattace Raso, Laura Rovetti, original music performed by Orchestra Bubbez (Massimo De Lorenzi, Ermanno Dodaro, Giovanna Famulari); Mario Chiocchio Production Company / Theatre Emmevu
Viewed: in Pistoia, Teatro Manzoni, 30 January 2011
The anathema of Stanislavsky: "I do not believe it," terrible word with which the Russian director haunted his actors . He was right: well are simulated orgasms, but manage to cheat
The anathema of Benjamin art, the essence is incommunicable, and what is communicated is not essential, this is the worm that should animate any translation, linguistic and expressive
On Language: Italian, sometimes it does not help, and as regards the French, but also applies to our language, George Brassens argued that it is unjustifiable that such a "sublime instrument of pleasure" was shown with improper names d ' vegetables or animals. Chip, pelatina in the original text in translation, lose all flesh, are caricatures without even the strength of the trivial
love for the characters: first rule of acting, unless you want to do caricatures. The Theodore Calabrese (actor we love and not just for the amazing mumbles in serial Boris, that character so funny, but with thick) Furio more reminiscent of the Greenfinch (speck willed and well-managed) that the pharmacist's novel
the movies: Dona Flor e seus dois maridos (Bruno Barreto, 1976), in the shoes of the protagonist a bright and sensual, Sonia Braga

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