Theatre, 2006, Arthur Miller Director: Marco Sciaccaluga
By: Eros Pagni, Orietta Notari, Gianluca Gobbi, Ugo Maria Morosi, Orietta Notari, Aldo Otto, Barbara Moselli, Fiorenza Pieri, Stefania Pascali
designer: Valeria Manari
Teatro Stabile di Genova
We are in the early '50s. Willy Loman is a salesman, a man-made man in America in the Twenties and Thirties, following the American way of life and working into old age to come true. It has a docile and faithful wife, Linda, and two sons, who are all for him, Biff and Happy. Willy is an old man, missing the final installment to pay off the mortgage, but Willy is a man besieged by doubts and bitterness. The work is not suitable for a man of his age and is more than all underpaid, Happy is a hopeless womanizer, with a perspective of life as average employee without many pretensions, although he does everything to seem more important, Biff, the son that has always loved most, is in disarray, for occasional use around the homeless, without a future.
For this, Loman, sinking more and more often in the memories of the past, so deeply that they are unable to distinguish objective reality from the metaphysics of memories, and let it go at that time when his career was on the rise, when he and his sons were some of the brightest promises for him.
The confrontation with Biff, who brings him back to reality in a violent and brutal, placing it in front of the truth, and dismissal from work, Loman will face a situation that was not prepared for: the rude awakening from the American dream and fall of all illusions.
Paradoxically, Willy once again choose to follow his dreams, to think about a future that can never be, that with his death and its collection of the life insurance of $ 20,000 from the family, will represent the mocking epitaph of a typical common son of a capitalist world and enslaved the ruthless law of economics and progress inconsiderate. The fall of the illusions for him will be the end of life itself, which loses all sense but one that must give back to those who remain alive - if it can succeed.
"Death of a Salesman" by Arthur Miller, is a merciless dissection of the American dream analysis, fragmented in its entirety and put on display to the public, who can thus test the consistency and the charming but vanishing Office cruel illusion. Loman worked a lifetime to be forgotten, following a path laid out by a dream, a vision seen through a meeting with a colleague in his youth which was brought immense respect and to whom the funeral, after all his acquaintances were involved, remember and honor. Loman for that was the model of man who wanted to be, that he wanted to follow at all costs - a figure that success was not possible to deny, that you could not ignore, that would be remembered for years to come.
The collapse of the certainties of old age, more and more pressing debts, and the ingratitude of those who once honored that the seller was, this undermines its wishful thinking, that its steep climb to the pinnacle of society, through unsafe work , the uncertainty of tomorrow, the time passes inexorably, without giving any result. Fatigue is not paid, the game non vale la candela: come una beffa giunge l'ultima rata del mutuo della casa da pagare, una casa che come vien detto "diverrà nostra, sì, ma resterà subito dopo vuota".
Attraversano la fine del sogno degli elementi fondamentali che poi ne diverranno parte integrante: i suoi due figli, ed in particolare Biff. Il testo di Arthur Miller, infatti, non è solamente un'evidente critica contro il sistema di vita che ci siamo creati in quest'epoca moderna, ma anche una sottile denuncia familiare e sociale, che pone l'accento sull'importanza dell'essere genitore e del comprenderne il peso. Loman proietta sui suoi due figli le sue aspettative, il suo inseguimento di quel sogno inarrivabile di successo e di fama, appesantendoli not a burden to them. Especially Biff, is mythologized by his father to the point to be awarded that may not have, which is far from the pros. His son, in his memories as a child, looks like a guy with no vision, no leadership, in disarray, which would need to be taken to the road with his policy and loving patience. But this does not happen and, indeed, he is beset by constant illusions that his father built for him. Biff, on the other hand, sees his father as a strong man, a role model: this is the castle of illusions is to fall when he discovers his father, in Boston, with a lover in a hotel. Biff suddenly realizes that life is cruel and unjust, that perhaps there little to be believed and few things are worth being pursued with tenacity. Just then, Loman destroys the life of his son, depriving him of his own figure of driving, but he did not realize it until, in the future, after yet another failure of Biff in being able to find a serious and build a future, will come from the same place with the child back to the wall: Biff proclaims himself an incompetent, lacking even the smallest part of quality that the father gives the son also of an era and a traitor in the world recession, whose future is anything but certain.
I remember then return to oppress Loman, like an avalanche, permeating into reality objective, transforming it into a confusing patchwork that leaves only one certainty: what we have lost will never return and life, which revolved around a first pivot that now is as broken, can never turn it once was.
Loman, for all the work, go back and forth between past and present, slipping between two different time lines seamlessly. The scenes of the past merge with those of the present, subtly and gently. The main theme, as already mentioned, is the loss and disillusionment. Loman is always talking to his dead brother, who became a millionaire after the discovery of diamond deposits in Africa. Ben, his brother, gli aveva chiesto di venire con lui, ma Willy aveva rifiutato, cieco nella sua corsa verso il suo sogno illusorio. Anche nel presente, quando il suo unico amico Howard gli offre un lavoro, Loman, umiliato e frustrato sia per questa offerta che per l'aver perso il lavoro da poco, rifiuta sdegnosamente. E' l'ultimo atto di cecità di un uomo che ormai non vuole più rimontare, che sa di essere giunto al capolinea, di stare aspettando quell'ultimo treno che, lampeggiando con le sue luci nella notte, lo porterà via da quella grigia vita che ormai era la sua realtà... una realtà dove i sogni non esistono più.
L'opera messa in scena dalla compagnia del teatro di Genova è molto ben realizzata. La scenografia si presta ottimamente al dramma di Willy Loman, con il suo grigio opprimente e il suo essere "circondante", dovuto alla forma a semicerchio. Le porte sullo sfondo rappresentano forse le mille possibilità della vita e i mille modi di potersele negare, nel loro continuo aprirsi e chiudersi mostrando altre parti della scenografia. Il palco, con una grande sezione mobile circolare, rende la situazione più viva, laddove sarebbe stata scenograficamente forse un pò statica.
Gli attori sono tutti degni del palco, soprattutto Eros Pagni (Willy Loman) e Gianluca Gobbi (Biff Loman), rispettivamente padre e figlio in scena. Pagni, da attore consumato, imposta un Loman grigio e spento, che si ravviva solamente quando s'illude that things can change, that "the Loman brothers" (as he calls his children, magnifying) can finally change the world and the destiny of their lives, taking advantage of those hidden qualities that may not even exist.
Remarkable Gobbi, depicting the doubts and uncertainties of a young man who could very well be born today, unemployed, unmotivated and in constant search of itself, certainly not helped by an irreconcilable conflict with his father, who attributes the majority of the evils suffered and its current gray situation. Also good
Orietta Notari, in the betrayed wife who endures in silence - a situation all too familiar - which runs with her husband on his way to sunset, while maintaining the side until the end without asking anything nor ask for anything.
The work, already merits endogenous to the original script, is very exciting, especially in scenes of heightened tension between the characters, like when Biff was young (in the memories of his father) learns Loman senior with a lover. One can sense what's going to happen, but despite all the emotion is strong in assisting at the time of fracture of the balance between father and son and the birth of that relationship of love / hate relationship which thereafter dominate the lives of both. It 's also the culmination of the work, in which everything is explained, the personal dramas that envelop the vision of a new consciousness psiche dei protagonisti.
Da notare alcune scelte, come il palco semovente, che rende bene l'idea del continuo spostarsi proprio di chi fa il mestiere del commesso viaggiatore, e - a corollario di questo - l'onnipresenza delle valigie che Loman all'inizio dell'opera lascia stancamente cadere sul suolo casalingo, di ritorno dal suo ultimo viaggio. Diverranno, verso la fine, addirittura parte della lapide sotto al quale Loman riposerà, in un ironico e quantomai appropriato parallelismo, un'ultima immagine che darà molto da riflettere.
Sicuramente, un'opera da vedere in tutta la sua interezza e da godere, nel suo pur lungo e lento svolgimento.
Album su web:
Links:
Gianluca Gobbi
Interview with Eros Pagni
By: Eros Pagni, Orietta Notari, Gianluca Gobbi, Ugo Maria Morosi, Orietta Notari, Aldo Otto, Barbara Moselli, Fiorenza Pieri, Stefania Pascali
designer: Valeria Manari
Teatro Stabile di Genova
We are in the early '50s. Willy Loman is a salesman, a man-made man in America in the Twenties and Thirties, following the American way of life and working into old age to come true. It has a docile and faithful wife, Linda, and two sons, who are all for him, Biff and Happy. Willy is an old man, missing the final installment to pay off the mortgage, but Willy is a man besieged by doubts and bitterness. The work is not suitable for a man of his age and is more than all underpaid, Happy is a hopeless womanizer, with a perspective of life as average employee without many pretensions, although he does everything to seem more important, Biff, the son that has always loved most, is in disarray, for occasional use around the homeless, without a future.
For this, Loman, sinking more and more often in the memories of the past, so deeply that they are unable to distinguish objective reality from the metaphysics of memories, and let it go at that time when his career was on the rise, when he and his sons were some of the brightest promises for him.
The confrontation with Biff, who brings him back to reality in a violent and brutal, placing it in front of the truth, and dismissal from work, Loman will face a situation that was not prepared for: the rude awakening from the American dream and fall of all illusions.
Paradoxically, Willy once again choose to follow his dreams, to think about a future that can never be, that with his death and its collection of the life insurance of $ 20,000 from the family, will represent the mocking epitaph of a typical common son of a capitalist world and enslaved the ruthless law of economics and progress inconsiderate. The fall of the illusions for him will be the end of life itself, which loses all sense but one that must give back to those who remain alive - if it can succeed.
"Death of a Salesman" by Arthur Miller, is a merciless dissection of the American dream analysis, fragmented in its entirety and put on display to the public, who can thus test the consistency and the charming but vanishing Office cruel illusion. Loman worked a lifetime to be forgotten, following a path laid out by a dream, a vision seen through a meeting with a colleague in his youth which was brought immense respect and to whom the funeral, after all his acquaintances were involved, remember and honor. Loman for that was the model of man who wanted to be, that he wanted to follow at all costs - a figure that success was not possible to deny, that you could not ignore, that would be remembered for years to come.
The collapse of the certainties of old age, more and more pressing debts, and the ingratitude of those who once honored that the seller was, this undermines its wishful thinking, that its steep climb to the pinnacle of society, through unsafe work , the uncertainty of tomorrow, the time passes inexorably, without giving any result. Fatigue is not paid, the game non vale la candela: come una beffa giunge l'ultima rata del mutuo della casa da pagare, una casa che come vien detto "diverrà nostra, sì, ma resterà subito dopo vuota".
Attraversano la fine del sogno degli elementi fondamentali che poi ne diverranno parte integrante: i suoi due figli, ed in particolare Biff. Il testo di Arthur Miller, infatti, non è solamente un'evidente critica contro il sistema di vita che ci siamo creati in quest'epoca moderna, ma anche una sottile denuncia familiare e sociale, che pone l'accento sull'importanza dell'essere genitore e del comprenderne il peso. Loman proietta sui suoi due figli le sue aspettative, il suo inseguimento di quel sogno inarrivabile di successo e di fama, appesantendoli not a burden to them. Especially Biff, is mythologized by his father to the point to be awarded that may not have, which is far from the pros. His son, in his memories as a child, looks like a guy with no vision, no leadership, in disarray, which would need to be taken to the road with his policy and loving patience. But this does not happen and, indeed, he is beset by constant illusions that his father built for him. Biff, on the other hand, sees his father as a strong man, a role model: this is the castle of illusions is to fall when he discovers his father, in Boston, with a lover in a hotel. Biff suddenly realizes that life is cruel and unjust, that perhaps there little to be believed and few things are worth being pursued with tenacity. Just then, Loman destroys the life of his son, depriving him of his own figure of driving, but he did not realize it until, in the future, after yet another failure of Biff in being able to find a serious and build a future, will come from the same place with the child back to the wall: Biff proclaims himself an incompetent, lacking even the smallest part of quality that the father gives the son also of an era and a traitor in the world recession, whose future is anything but certain.
I remember then return to oppress Loman, like an avalanche, permeating into reality objective, transforming it into a confusing patchwork that leaves only one certainty: what we have lost will never return and life, which revolved around a first pivot that now is as broken, can never turn it once was.
Loman, for all the work, go back and forth between past and present, slipping between two different time lines seamlessly. The scenes of the past merge with those of the present, subtly and gently. The main theme, as already mentioned, is the loss and disillusionment. Loman is always talking to his dead brother, who became a millionaire after the discovery of diamond deposits in Africa. Ben, his brother, gli aveva chiesto di venire con lui, ma Willy aveva rifiutato, cieco nella sua corsa verso il suo sogno illusorio. Anche nel presente, quando il suo unico amico Howard gli offre un lavoro, Loman, umiliato e frustrato sia per questa offerta che per l'aver perso il lavoro da poco, rifiuta sdegnosamente. E' l'ultimo atto di cecità di un uomo che ormai non vuole più rimontare, che sa di essere giunto al capolinea, di stare aspettando quell'ultimo treno che, lampeggiando con le sue luci nella notte, lo porterà via da quella grigia vita che ormai era la sua realtà... una realtà dove i sogni non esistono più.
L'opera messa in scena dalla compagnia del teatro di Genova è molto ben realizzata. La scenografia si presta ottimamente al dramma di Willy Loman, con il suo grigio opprimente e il suo essere "circondante", dovuto alla forma a semicerchio. Le porte sullo sfondo rappresentano forse le mille possibilità della vita e i mille modi di potersele negare, nel loro continuo aprirsi e chiudersi mostrando altre parti della scenografia. Il palco, con una grande sezione mobile circolare, rende la situazione più viva, laddove sarebbe stata scenograficamente forse un pò statica.
Gli attori sono tutti degni del palco, soprattutto Eros Pagni (Willy Loman) e Gianluca Gobbi (Biff Loman), rispettivamente padre e figlio in scena. Pagni, da attore consumato, imposta un Loman grigio e spento, che si ravviva solamente quando s'illude that things can change, that "the Loman brothers" (as he calls his children, magnifying) can finally change the world and the destiny of their lives, taking advantage of those hidden qualities that may not even exist.
Remarkable Gobbi, depicting the doubts and uncertainties of a young man who could very well be born today, unemployed, unmotivated and in constant search of itself, certainly not helped by an irreconcilable conflict with his father, who attributes the majority of the evils suffered and its current gray situation. Also good
Orietta Notari, in the betrayed wife who endures in silence - a situation all too familiar - which runs with her husband on his way to sunset, while maintaining the side until the end without asking anything nor ask for anything.
The work, already merits endogenous to the original script, is very exciting, especially in scenes of heightened tension between the characters, like when Biff was young (in the memories of his father) learns Loman senior with a lover. One can sense what's going to happen, but despite all the emotion is strong in assisting at the time of fracture of the balance between father and son and the birth of that relationship of love / hate relationship which thereafter dominate the lives of both. It 's also the culmination of the work, in which everything is explained, the personal dramas that envelop the vision of a new consciousness psiche dei protagonisti.
Da notare alcune scelte, come il palco semovente, che rende bene l'idea del continuo spostarsi proprio di chi fa il mestiere del commesso viaggiatore, e - a corollario di questo - l'onnipresenza delle valigie che Loman all'inizio dell'opera lascia stancamente cadere sul suolo casalingo, di ritorno dal suo ultimo viaggio. Diverranno, verso la fine, addirittura parte della lapide sotto al quale Loman riposerà, in un ironico e quantomai appropriato parallelismo, un'ultima immagine che darà molto da riflettere.
Sicuramente, un'opera da vedere in tutta la sua interezza e da godere, nel suo pur lungo e lento svolgimento.
Album su web:
 |
| Death of a Salesman |
Links:
Gianluca Gobbi
Interview with Eros Pagni
