The Trilogy of the family closes with a punch in the stomach Good
the first! Not perfect, mind you: Canicani , last act closes the trilogy of Family , needs a scissor kick here and there, a little 'running and the filing of any report excessive vulgarity (as is admitted by the same author, Aquilino, at the end of the representation). Last night at the theater Track 7 of Monza staged the world premiere of the show, to be followed by the afternoon and evening today. The audience applauded warmly, and seemed to have liked the performance stage of this text particularly intense Stefano De Luca has set up a close-knit group of young actors. And just over two hours with violence unleashed punches directly to the stomach, without giving breath to the spectators. Metaphors: Canicani is all down to Hell, then, unfortunately without the help and comfort of a benevolent guide. Only the most optimistic (or naive) can expect to see a light at the end of the tunnel and find the energy to go back to the purgatory of a "normal" life. Well, normal .... The ménage family that we see represented on the stage looks like too much of what the record (often the black ) and opinion polls to tell us .
The pater familias is the absolute master of the four walls closed in , but in turn is a slave of passive television. Glued to the chair rather entangled, has no force or longer feels the need to address. The wife-mother is a victim instead of the stereotypical "blonde with no brain, only interested in breaking into the entertainment world, appearing in the spotlight. Anna Ross demonstrates a strong stage presence, "employment" and dominating the stage with his moves, smiles and dizzy from the energy of despair that drives the main character he plays. Cabaret duets with his brother Lo, played by an effervescent Tommaso Banfi. Husband and wife is a tragicomedy that follows turns grotesque.
But when children are on the scene , the Canicani, the play plunges into the darker tones of the dark tragedy , in which the actions of the butcher from the clown-like smile are not intended to lighten the mood but rather to add the slash of sarcasm to the wound of the flesh. The song of the Restaurant Nothing distressing is the exasperation of The house of Blanche Dubois (It was a very nice house / no ceiling, no kitchen, / you could not get into it / because there was the floor .. .): the "puppies" are certainly hungry for food, but they are especially in need of affection. But only receive threats, harassment and violence.
A separate debate deserves urged the public by the director at the end of representation. I confess that I entertain some doubts the real usefulness of such initiatives, given the theater a rite, so something that shows itself, not that it "proves". In particular I was struck by the firm conviction of the author Salvadore, educational and training role of the theater, and more particularly of shows focusing on problematic issues such as those addressed in Canicani . Again I can only express my doubts.
I found very pertinent, and entirely uncontroversial, observation - application for a viewer who asked if there is the possibility of creating a theater "positive and proactive", showing, in practice, a possible way of redemption, without "limited" to report the reasons and the ways of the fall. After thinking, I will answer that should be overturned by the famous maxim by which Tolstoy's launch of Anna Karenina: "All happy families resemble one another, each unhappy family is unhappy in its own way." The theater can tell the pain, suffering and death because they are experiences common to all men, and the happiness and joy are "unspeakable" because it was too personal and therefore non-theatrical.
Saul Stucchi
CANICANI
Aquilino
drama directed by Stefano De Luca
with Enrico Ballardini, Tommaso Banfi, Matthew Beard, Martha Comerio, Carlo Ponti, Anna Ross and Fabio Zulli
Production LUPUSAGNUS
The pater familias is the absolute master of the four walls closed in , but in turn is a slave of passive television. Glued to the chair rather entangled, has no force or longer feels the need to address. The wife-mother is a victim instead of the stereotypical "blonde with no brain, only interested in breaking into the entertainment world, appearing in the spotlight. Anna Ross demonstrates a strong stage presence, "employment" and dominating the stage with his moves, smiles and dizzy from the energy of despair that drives the main character he plays. Cabaret duets with his brother Lo, played by an effervescent Tommaso Banfi. Husband and wife is a tragicomedy that follows turns grotesque.
But when children are on the scene , the Canicani, the play plunges into the darker tones of the dark tragedy , in which the actions of the butcher from the clown-like smile are not intended to lighten the mood but rather to add the slash of sarcasm to the wound of the flesh. The song of the Restaurant Nothing distressing is the exasperation of The house of Blanche Dubois (It was a very nice house / no ceiling, no kitchen, / you could not get into it / because there was the floor .. .): the "puppies" are certainly hungry for food, but they are especially in need of affection. But only receive threats, harassment and violence.
A separate debate deserves urged the public by the director at the end of representation. I confess that I entertain some doubts the real usefulness of such initiatives, given the theater a rite, so something that shows itself, not that it "proves". In particular I was struck by the firm conviction of the author Salvadore, educational and training role of the theater, and more particularly of shows focusing on problematic issues such as those addressed in Canicani . Again I can only express my doubts.
I found very pertinent, and entirely uncontroversial, observation - application for a viewer who asked if there is the possibility of creating a theater "positive and proactive", showing, in practice, a possible way of redemption, without "limited" to report the reasons and the ways of the fall. After thinking, I will answer that should be overturned by the famous maxim by which Tolstoy's launch of Anna Karenina: "All happy families resemble one another, each unhappy family is unhappy in its own way." The theater can tell the pain, suffering and death because they are experiences common to all men, and the happiness and joy are "unspeakable" because it was too personal and therefore non-theatrical.
Saul Stucchi
CANICANI
Aquilino
drama directed by Stefano De Luca
with Enrico Ballardini, Tommaso Banfi, Matthew Beard, Martha Comerio, Carlo Ponti, Anna Ross and Fabio Zulli
Production LUPUSAGNUS
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