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theatrical everything from a Machiavellian laugh

(from Judgement )
The company Ugo Chiti stages The Mandrake , black comedy of our sixteenth century. Rough humor and music to a story of ancestral horns and intrigue in which the word is the protagonist

L. Photography Bojola

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A comedy austere, sharp, solemn and tense as the string of a bow, geometric, stylized view of a sophisticated and ever free, as well consistent with the language of old-fashioned and modern, unmistakable, Ugo Chiti . Needless wasting time and breath in sguerguenze : Arca Azzurra has, for decades, one of the best reality of the Italian scene, almost old-fashioned company around, almost family, so peripheral resistance and proud, brings a world of theater, a idiom has always been the fruit of work deep and rigorous. And the results, not yesterday, you see: as this Mandragola perfect theatrical machine set up centuries ago by the wizards of Machiavelli viper, black comedy and harsh, while disenchanted philosophical drama about humanity, or rather on her inevitable misery.

masterpiece theater of our century is filtered with skill, head and feet soaked in chitiana poetics of the grotesque, as the ruthless code of rough humor, which offers no respite nor free, so is based on a cunning consciousness physiology and on a far worse regarding the alleged lack of confidence human morality. In a dark picture, dominated by dark colors and a disturbing backdrop of linearity, it gives a slope downward toward the audience, after which we find opposite the main entrance portal and obvious step of abstraction. the sides of the ramp, human figures sitting on blocks are red, the center, a solitary individual, feminine demon theater, coagulates in the nymphs and shepherds him to sing the ' topic. Explains the public players one by one, each time throwing to the person a long wooden stick, a rite of evocation stage, as if the passage of souls and bodies covered enliven otherwise motionless oblivion fixity of the text. That the early states.

The story is known, or should be: savory intertwining of sensual appetites, horns and balls, after which no value is saved to the dramatic surgery Machiavellian: Callimachus (presented by the author as mean lover) can lie with the beautiful and conscientious Lucrezia, wife of Nicias, decrepit old man with the ambition to play late. All thanks to the connivance of the servant Siro hairy, friend Ligure, in a corrupt brother, Timothy, and mother of the girl, substrates, unaware of the deception, although decisive in its implementation. The conclusion does not escape anyone: Lucrezia discovers the plot and decides to take the young man left as a secret lover, so punishing the idiocy of her husband and then engaging in a life of lust and deception. But it is in becoming flesh and blood of the verb ser actor Nicholas captures the depth of a well-deserved tongue earthy, organic of concreteness, in which the grafts unpublished signed by Chiti are thick and comfortable: the recitation of Arca Azzurra so fitting idiom, in contact with the hemorrhagic character yet able to create gaps between actor and character, shines in its never enough commended difference compared to national average of aseptic and bloodless linguistic standardization.

Dimitri Frost is a splendid Nicias, with that throaty voice at times, foolish old man ready to cheat themselves, as are praiseworthy, as usual, the monkish Massimo Salvianti in the shoes of Timothy and, not to mention all, the beautiful Lucia Socci in the most fascinating, edgy and luciferin, the prologue of that. Excellent selection of music in the alternation of medieval themes, as atavistic by digging into streams of buried emotions, and ominous sounds dissonant : modulation hit and consistent with the colors and rhythms of staging. Times movements and more accurate, allowing nothing to ribobolo superfluous, well calibrated in a setting antimimetica and thin.

Ride of the public good Teatro Dante di Campi Bisenzio, a complicity of strong language evident but not essential: ride, and if you really want to move a minimum relief to a show that runs along the boundary of ' inappuntabilità could laugh more, for the matter to be fierce and guffaw ever there is something comforting to Sfar. Chiti, not giving up on a dark humor and disillusioned, sometimes green, tannic, prefer to this network of drives, pettiness and deceit, u n unforgiving knot clotted, sad eiaculatio without enjoyment, after all, he's right Nicias, when, right in the topic, you ask what good is it worth all quest'uggia, this weary miserable resolved in what is, after all, is only a compartment "spit of pleasure."

February 10, 2011

Reviewed Subject:
Mandragola , Nicolò Machiavelli, directed by Ugo Chiti

The poster: Ugo Chiti, design space, adaptation and director, Julian Colzi, costumes, Marco Messeri, lights, and Vanni Cassori Jonathan Chiti, music, and Giuliana Rape, Andrea Costagli, Carmagnini Lorenzo, Giulia Rupi, Paul Ciotti, production Arca Azzurra Teatro
Coming on stage: 12 / 2, San Gavino (Vs) 13 / 2, Lanusei (Og) 17 / 2, Campiglia Marittima (Li), 26 / 2, Scansano (Gr), 6 / 3, Città della Pieve (Pg) 18 / 3, Portoferraio (Li)
The Mandrake: solanaceae violet or white flowers, whose roots indeed toxic, have been for centuries considered medicinal; nell'imbroglio, is the basis of the potion that would make fertile Lucrezia, however, resulting in the death of the first that the girl was lying with

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