Theatre , 2006 , of Reiner Werner Fassbinder Length: 110 minutes
Genre: Drama
Directed by Antonio Latella
By: Laura Marinoni, Silvia Ajello, Cynthia Spano, Sabrina Jorio, Stefania Troise, Barbara Schröer and facilitators of shadows and Massimo Arbarello Sebastiano Di Bella
Sets and costumes: Annelisa Zaccheria
Company: T host theater Stabile Umbria, Teatro Stabile di Torino in collaboration with the Théâtre National Populaire TNP Villeurbanne - Lyon
From the beginning, even before the curtain rise, this work reveals his heart showing what will be its center of gravity: it is dominated by the gargantuan women's absolute protagonist in a story which man is only mentioned - in an absolutely negative. It 's a giant totem pole, a statue from the basic feminine traits, slightly resembling the counterpart in the work of Petra, Karin, naked - naked as must be the truth and the evidence that will be shown. But still little is understood until the beginning of the staging, one of the best I've seen so far. From the beginning, the director puts into practice his way of representing a scene exploiting the creative imagination of those present, through the stresses that seem to the sophisticated invitations. We watch the scene long nightmare of Petra, to essentially mold film, despite its theatricality - seem duties titles - where we are given a clear idea of \u200b\u200bdizzying tumult hotels inside the mind of the protagonist. And then the phone call, the hysterical phone that will destroy the black magic of the nightmare, bringing light to dark in the morning shock Petra. A sophisticated foreshadowing that takes its cue from the film, as indeed one would expect from a script that just moves from the world of celluloid in his footsteps, despite his work first Fassbinder ports in teatro (1971) che sul grande schermo (1972).
E continua sempre su un ottimo livello, questa storia, attraverso il microcosmo di tre donne, tutte e tre intrappolate all'interno di un legame, che è impossibile da riconoscere come quello che è: una rete sottile, che stringe le sue maglie fino alla fine, travolgendo le sicurezze, le speranze, ogni sogno di felicità residuo, per lasciare tutto soffocare nell'amara, cruda realtà del tradimento delle illusioni e dell'amore. Tutt'attorno a loro c'è invece il resto di quest'universo femminile: l'amica pettegola e frivola, fastidiosa per necessità di stereotipo; la figlia, innocente e, come tale, tagliente nelle sue osservazioni; la madre, onnipresente starting point of any labor of children to adults, especially in the mother / daughter, a duality often difficult and a source of discomfort and suffering.
Petra, a successful fashion designer, has left the tougher life, or rather, is left to corrupt the soul by bad that his life has reserved. A story with a man who has left deep scars, the incentive to become cynical and disillusioned to every kind of love affair, but eventually discover that he in fact made only the most vulnerable - that his was only a barrier hard but at the same time, fragile facade. His being dismissive and deeply unfair against his home and collaborator, the taciturn Marlene, makes it even more odious in our eyes, unable to understand the hearts of others and be understanding towards those who are dependent upon him. But Petra is also a woman disappointed by life, not only deluded by it. This is shown with its expertly navigate through the sufficiency of the empty speeches with her gossipy friend - just who is perfectly aware that there is nothing behind this kind of everyday life.
The arrival of Karin, a beautiful and ambitious girl from the position certainly not as high as his, disrupts the lives of Petra. The result is an impossible love, lost youth that will flourish, and with it the equally forgotten illusions that promise what can not never keep, or the ever sought bliss absolute, unattainable chimera. Petra
sinking more and more, the degradation of this report is intended to make her suffer anything like this before. A report this, love and hate, highlighted by a comparison of dialogue-final, where she insult Karin, his ruthless careerism, his grimly using it for their own purposes - and then renew his words of love and all his unconditional love. But Petra knows that there can be no happy ending in this story - at least the story that he wanted her - as evidenced also in mourning his late, un'Ecuba as of today, a substantial difference in color after the unfolding a story on a stage set and costumes by completely white, blinding in their show without veils the light of a history sentimale raw. The reality is cut skillfully thanks to these spectacular devices that apply specifically to the psychological well-built theater. This play of color and personality is mainly due to the capacity of director, which highlights once again the difference between Marlene and the other protagonists, always dressed simply in black compared with white prevailing.
Marlene, as well as being externally diverse, so is within. He never talks, need a pack that detaches from it all, and makes a silent witness of the whole affair in his tragico consumarsi. Sarà lei, con i suoi piccoli gesti (come preparare il caffè, mettere della buona musica per svegliare la sua datrice di lavoro, scrivere una lettera), a creare una continuità tra tutte le situazioni, spettatrice come noi di un qualcosa di inevitabile. Sarà anche lei a rappresentare l'ultima negazione dello spettacolo: un voler essere vicina oltre che nel lavoro anche nel cuore a Petra - lei che, sola, sembra capace di capirla nell'intimo. E proprio Marlene alla fine saprà sopravvivere con la sua integrità, che verrà ripagata da un inaspettato gesto di Petra, che sembra, in qualche modo, infrangere la morsa del destino cupo in cui, sia lei che la protagonista, sembrano intrappolate.
Il coinvolgimento remains high, especially until the exciting climax, when the colossal statue of a woman-fetish is toppled. And then these same people that she had repeatedly clinging, as a prey to insecurity, now demolish the symbol of oppression, illusion, of false worship. The idol falls, and so, in a very dramatic scene backed by a sound violent, the story ends.
this excellent show, where we witness the staging of a story psychologically deep, surrounded by a very clever and original theatrical setting: with a white cloth are projected to be the masters of the shadows hidden behind the same. The play of light is such that creare uno sfondo dinamico che segue la vicenda in maniera perfetta, attraverso una magica creazione di figure e situazioni che rendono la fantasia dello spettatore parte attiva della storia. Memorabile il gioco di ombre violento e vertiginoso all'inizio, nella scena d'apertura (quella dell'incubo di Petra). Altri tocchi di classe sono da riscontrare nel modo in cui, attraverso questo sistema, viene rappresentata la vicenda "fuori scena": Marlene che prepara il caffè, che scrive una lettera in un vertiginoso pigiare di tasti di vecchia macchina da scrivere; ancora Marlene che modifica un vestito o lo fa indossare a Karin; o la pioggia, che scende su una vetrata, in un invernale cornice che sostiene il triste racconto della madre di Petra... There are many examples to mention the excellent work which is spectacular put on by the director and his staff. also very apt choice of music. He is concerned, for example, the "Sunday Morning" by the Velvet Underground that Marlene does listen to Petra, upon awakening, as if to wash away the shadows of the nightmare through the velvety sound of those notes, if made. Even the plaintiffs have proven themselves, first of all the Marinoni, an excellent interpreter of Petra, through all its facets, able to stand the scene without any problems, statuesque in her acting as much as the statue that dominates half of the stage. Brava also starred Marlene, who, without no expression except his own body and its mode of action, provided a great strength and resolve.
E continua sempre su un ottimo livello, questa storia, attraverso il microcosmo di tre donne, tutte e tre intrappolate all'interno di un legame, che è impossibile da riconoscere come quello che è: una rete sottile, che stringe le sue maglie fino alla fine, travolgendo le sicurezze, le speranze, ogni sogno di felicità residuo, per lasciare tutto soffocare nell'amara, cruda realtà del tradimento delle illusioni e dell'amore. Tutt'attorno a loro c'è invece il resto di quest'universo femminile: l'amica pettegola e frivola, fastidiosa per necessità di stereotipo; la figlia, innocente e, come tale, tagliente nelle sue osservazioni; la madre, onnipresente starting point of any labor of children to adults, especially in the mother / daughter, a duality often difficult and a source of discomfort and suffering.
Petra, a successful fashion designer, has left the tougher life, or rather, is left to corrupt the soul by bad that his life has reserved. A story with a man who has left deep scars, the incentive to become cynical and disillusioned to every kind of love affair, but eventually discover that he in fact made only the most vulnerable - that his was only a barrier hard but at the same time, fragile facade. His being dismissive and deeply unfair against his home and collaborator, the taciturn Marlene, makes it even more odious in our eyes, unable to understand the hearts of others and be understanding towards those who are dependent upon him. But Petra is also a woman disappointed by life, not only deluded by it. This is shown with its expertly navigate through the sufficiency of the empty speeches with her gossipy friend - just who is perfectly aware that there is nothing behind this kind of everyday life.
The arrival of Karin, a beautiful and ambitious girl from the position certainly not as high as his, disrupts the lives of Petra. The result is an impossible love, lost youth that will flourish, and with it the equally forgotten illusions that promise what can not never keep, or the ever sought bliss absolute, unattainable chimera. Petra
sinking more and more, the degradation of this report is intended to make her suffer anything like this before. A report this, love and hate, highlighted by a comparison of dialogue-final, where she insult Karin, his ruthless careerism, his grimly using it for their own purposes - and then renew his words of love and all his unconditional love. But Petra knows that there can be no happy ending in this story - at least the story that he wanted her - as evidenced also in mourning his late, un'Ecuba as of today, a substantial difference in color after the unfolding a story on a stage set and costumes by completely white, blinding in their show without veils the light of a history sentimale raw. The reality is cut skillfully thanks to these spectacular devices that apply specifically to the psychological well-built theater. This play of color and personality is mainly due to the capacity of director, which highlights once again the difference between Marlene and the other protagonists, always dressed simply in black compared with white prevailing.
Marlene, as well as being externally diverse, so is within. He never talks, need a pack that detaches from it all, and makes a silent witness of the whole affair in his tragico consumarsi. Sarà lei, con i suoi piccoli gesti (come preparare il caffè, mettere della buona musica per svegliare la sua datrice di lavoro, scrivere una lettera), a creare una continuità tra tutte le situazioni, spettatrice come noi di un qualcosa di inevitabile. Sarà anche lei a rappresentare l'ultima negazione dello spettacolo: un voler essere vicina oltre che nel lavoro anche nel cuore a Petra - lei che, sola, sembra capace di capirla nell'intimo. E proprio Marlene alla fine saprà sopravvivere con la sua integrità, che verrà ripagata da un inaspettato gesto di Petra, che sembra, in qualche modo, infrangere la morsa del destino cupo in cui, sia lei che la protagonista, sembrano intrappolate.
Il coinvolgimento remains high, especially until the exciting climax, when the colossal statue of a woman-fetish is toppled. And then these same people that she had repeatedly clinging, as a prey to insecurity, now demolish the symbol of oppression, illusion, of false worship. The idol falls, and so, in a very dramatic scene backed by a sound violent, the story ends.
this excellent show, where we witness the staging of a story psychologically deep, surrounded by a very clever and original theatrical setting: with a white cloth are projected to be the masters of the shadows hidden behind the same. The play of light is such that creare uno sfondo dinamico che segue la vicenda in maniera perfetta, attraverso una magica creazione di figure e situazioni che rendono la fantasia dello spettatore parte attiva della storia. Memorabile il gioco di ombre violento e vertiginoso all'inizio, nella scena d'apertura (quella dell'incubo di Petra). Altri tocchi di classe sono da riscontrare nel modo in cui, attraverso questo sistema, viene rappresentata la vicenda "fuori scena": Marlene che prepara il caffè, che scrive una lettera in un vertiginoso pigiare di tasti di vecchia macchina da scrivere; ancora Marlene che modifica un vestito o lo fa indossare a Karin; o la pioggia, che scende su una vetrata, in un invernale cornice che sostiene il triste racconto della madre di Petra... There are many examples to mention the excellent work which is spectacular put on by the director and his staff. also very apt choice of music. He is concerned, for example, the "Sunday Morning" by the Velvet Underground that Marlene does listen to Petra, upon awakening, as if to wash away the shadows of the nightmare through the velvety sound of those notes, if made. Even the plaintiffs have proven themselves, first of all the Marinoni, an excellent interpreter of Petra, through all its facets, able to stand the scene without any problems, statuesque in her acting as much as the statue that dominates half of the stage. Brava also starred Marlene, who, without no expression except his own body and its mode of action, provided a great strength and resolve.
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