Theatre , 2006 , of Fyodor Dostoevsky Length: 100 minutes
Genre: Drama
Directed by: Gabriele Lavia
Con: Gabriele Lavia, Pietro Biondi, Euridice Axen
Scenografia: Carmelo Giammello
Costumi: Andrea Viotti
Luci: Giovanni Santolamazza
Colonna Sonora: Andrea Nicolini
Adattamento: Gabriele Lavia
Compagnia: Teatro di Roma
It is a singular character the protagonist of "Notes From Underground," is to Dostojevskj is to Gabriele Lavia. Let displaced even more confused than before, unable to be able to frame it completely from one side or another. Del
"underground," it came from, that of the middle classes of the past - the location that generates social rebellions intimate secret - he is a worthy representative, at least for the face that shows the day, people around him and the judge. Brings with it conflict and instead contarietà, sadistic and cynical reflection concessions, like in a Pandora's box that is ready to open when the sun goes down - both in real-time context and in the innermost soul. It is therefore an ordinary, mediocre, insignificant but also feeds on his own suffering, of his being a misfit dowry and shows off a series of mental and verbal perversions of the first concessions incompatible with his status as a human person, of sadistic amusement at the expense of other people's minds - not guilty only to escape the cruel perhaps his game.
is an unusual character, we said, puzzled that, of course you feel sympathy for him from time to time, compassion, but we end up hating him, in his manner of doing and being, to feel pity even for its mediocrity and inability to be able to change out of that vicious circle of conflict and cruelty to which psychological and other subjects which you submit. Tightens the noose, pull the rope and then at the last minute gives a momentary grace, and then start the game on a next round of mixed feelings. His being subordinate to himself makes him pathetic at times, can not fail to make sense of what stirs the poisons in the body. Still, not too far from tradition, every time he leaves us pearls of wisdom that make you think. As long as there is love there is hope, he says, but then denied, then confirmed and then renegotiated, and then start all over. Not Believe it is unknown whether or not he or she may know that is true, and her unhappiness is caused by the very fact that he realizes the failure that forced him to not be able to change to enjoy this love, these emotions so intense and utopian to him.
sometimes says things that we would like to say, it does so rudely, maliciously, madly, and so we feel a sense of affinity, but are flashes in the darkness of a lost soul now no possibility of redemption, not because you want ... in fact opposed. It's a dog chasing its tail, but is aware of this, and then even more incomprehensible.
characters that gravitate around, Lisa and Apollon, suffer more or less aware, as appendages of its malaise, unarmed intentionally or unintentionally, forced to be affected by what he throws at them. The redemption quite false operation of the prostitute is forced so that the same protagonist laughs at himself, giving himself no way out of the pathetic. Lisa is at first incredulous and disillusioned, then enchanted by those words and his way of doing ... and then finally find even more incredulous and disappointed at the end. Apollon, conscious of his preferred victim status (but only because they are more accessible) the cruel whims of her master, you see almost fired only to be reinstated almost, almost deprived of his salary and then be paid almost ... in a constant game of highs and lows that it is precisely the mechanism of the dog chasing its tail in fact, that sometimes stops to catch his breath and then start again. He, too, in the end you will see little changed or will change its status as a single comma.
Even the protagonist finally finds himself forced to the same corner where he placed himself, with his same actions, always seeing the exact same failed and fallible character than before. After all, this is a story of missed opportunities, disillusionment and stagnation, as if the man's condition was hopeless, impossible to change, maybe just keen to get worse.
Gabriele Lavia proves very effective in bringing this character on stage, nell'istaurare a direct dialogue with the public, eliminating reconfirming the stage fiction. His way of acting in this case is over the top, of necessity, the tone is very conversational, connected to the spontaneity that has the character, his complete openness towards others - that is used here in a negative way, as exploited to hurt and rage, finding weaknesses and to ridicule and scorn. Able to report on the scene the character's internal crises, external monologues which show his insecurity beyond the arrogance that you use in judging others. One has the impression that should Lavia show a man who is evil and cynical because inept and mediocre, that is unable to be good and meek as perhaps his mood has prepared.
Brava also Euridice Axen, subdued at first then able to give the best in the scenes where stops to assume the role of the prostitute, almost changing personality and belonging, and then finally ricrollare limbo in the room of the brothel where he takes all his attributes with renewed vehemence and loss of innocence.
Good evidence also of Peter Biondi, that shows us the other victim of perverse game of Lavia, aware, however, able to handle it through its historicity and toughness of mind, unshakeable in a way and funny in his obsession to recite the psalms of the Bible in the face of all difficulties.
excellent set design, film, a stage divided into four different scenes, three of which are only used for the stage fiction itself, the stage, bathed in snow, she lends it to a contact between the actor and the character the public, with monologues that seem like dialogues in which the audience is silent, except for rare occasions - a kind of examination that Lavia ago to see if the message was heard, as if to emphasize what has just happened on stage.
lights play a crucial role, with the ability to recreate realistic atmospheres but also states of mind - the green spot that frames the main character when "transformed" into a Kafkaesque beetle to externalize its nature ... and maybe that's the kind of man he wants to show to the public.
A show so interesting, well acted and has built in rhythm in the dialogue, but also in terms of scenic representation. Remain as impressed by the opening words of Lavia, those of the scene that opens the work and that mark the progress of the story, dropping the last illusion of a possible redemption: the snow that falls from the sky, the white thing to which might think, is dirty, black, like lost innocence through awareness of the condition of modern man.
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