The first room of the impact of theater groups is the presentation of the work in the year, the theme, history, reading suggestions are to guide the viewer. Here are the presentations of the work conducted in our auditorium.
THE SUICIDAL
The work, composed in 1928 by Russian Nikolai Erdman, was "the most extraordinary of satire flourished after the Revolution, in the twenties and thirties, and for this reason, in the Soviet Union has been systematically denied permission representation.
The reduction and adaptation that we made ourselves, but are intended to decontextualise opera, set in a different position from that of the Soviet regime, closer to us in time, space and problems.
Pozzeca Simone, who is unemployed, could become the victim to be sacrificed to narrow interests of a bunch of opportunists, a "dead ideology", a flag-vaunted defense in cases of trivial or dubious nobility. The game ends and the nightmare for the drama verging dangerously intertwined with reality, but when everything is ready and set, the man with his fears, his insecurities and weaknesses, find the energy to oppose and rebel. This black comedy satire from
, played on the edge of the grotesque and the paradox, it takes the tone of protest against those who trample human dignity and, despite the title of mourning, resolves into a hymn to life, often tragic, seemingly untenable, but worth living, especially if built with his own hands, with his head and ... head-lived.
ORLANDINI
Orlandina The text produced by students of the theater workshop, "The Cre-actors," as 1991 - '92 could be called a light-hearted modern interpretation of 'Orlando Furioso , subject however to clarify that the work of 'Ariosto was nothing but a pretext, a track followed with great freedom, a scheme to fill situations, issues and current characters.
most emblematic episodes of the poem have been properly updated: the "Castello di Atlante" - a metaphor of life as a continuous research in breathless run after vain illusions to win the longed-for object of desire - is its modern equivalent in the "Atlas of the Moon Park," where dreams are for sale behind you to lose the humanity of 2000: the beauty, youth, strength, love, happiness , speed; myths to show its inconsistency and danger.
within the same framework are in place, through rapid notations, situations in transcribing playful key current issues: the Mafia racketeering, drugs, delinquency, unemployment, racism.
To the moon, where Astolfrna goes - or think to go - to retrieve the wisdom of Orlandina is instead placed all that we, men of 2000, we lost.
ONCE UPON A TIME
Once Upon a Time is an adaptation, a reworking of the film by Francesco Rosi, 1967 edited by Professor Teresa Valente.
The text of the cinematographic work has been rearranged several times: many scenes were deleted to make room for other pictures and characters, however, in keeping with the spirit of the work of Rosi, and were included ballets and songs that make him, through language different situations narrated in the film.
A 'work entitled "Once Upon a Time" is not a fairy tale, even if the story is not placed in a permanent, but in the '600, space does not remain vague and undefined as it usually happens in fairy tales: the environment is that of the Kingdom of Naples submitted to English rule.
Once Upon a Time is a tale of love and friendship, power and oppression, poverty, courage and fear, faith and superstition, fantasy and reality.
The protagonists, often antagonistic, act and interact guided by their philosophy of life: "I always do what I want," said the prince, but the story points to check "whether" and "how" it is possible.
With its proud, brave and tenacious, with his determination to capopopolo, Isabella, a humble commoner, is opposed to arrogance and oppression: protest against those who trample human dignity and urges others to respond to common people - as she used to write "one hundred bites a bean", as she forced to eat " with only a dumpling, but willing, to fear, to worship at the feet of the prince, thus losing its sense of human dignity.
'E' character that makes us the fate of us, "said Isabella, and the tale ends ... to give her reason.
TRAMP
The comedy "Poodle", composed in 1996 by Student Theatre Workshop "The cre-actors," is set in a studio where the director Antoine de la film is about to start filming a musical.
E 'in this context that places the events - tragic substance, but playful and grotesquely comic
in the text and its staging - of characters united by the issue of labor redundancies, unemployment, exploitation, recruitment, on the recommendation, ambiguous satisfaction to the demands of a sexual nature or the alleged bribes.
The theme of the work is the story of four homeless people that go to a movie studio to try to recover a winning card, remained poor in the clothing of one of them, sold the film crew by another bum.
Forced to disguise himself as not to attract attention, should be at the game when they are mistaken for other characters. And
'This is another theme developed in the work: the relationship reality-fiction, given not only to the homeless, but also the grandmother of Maria Antonia who, lost in the world of celluloid, in front of scenes of violence, sex and intrigue - the only things that appeal to the public - as noted by the director - a prisoner of her tragic dilemma, continues to ask: "But these are to do all'apposta? They really ... or is it another movie theater?"
BERTOLDO A COURT
Massimo Durst Bertoldo's work in court is a review of the events of the sixteenth Bertoldo, which repeats the figure of the peasant cunning in a new key: no more rude corruptible, who became director court jester and the tyrant, died of indigestion at his table, but consistent and courageous man, who chose to starve rather than trade with luxury goodies and their own dignity and freedom.
E 'prisoner to court, but servo, and refuses to be blackmailed, because, as claimed by "the profession of man is to live without fear!"
In our adaptation of the text Durst to have been "translated" into a language "generally" the beats of the Southern popular characters, new characters were created to give greater dynamism to the work, while many dialogues and responses have been turned into songs.
SAME ... AND 'DIFFERENT!
The play develops a double set of problems: first, the juvenile delinquency, the dangerous influences of friendship, the fragility of adolescence, and secondly the importance of education and culture as tools of empowerment, and the charm of poetry. A young fishmonger
Southern underdog culture, at the junction between two choices - you have joined a bunch of thugs and experience of interpreting the role of a young educated and brilliant - through an arduous training course, finds its way and decides to "hold" the temptation of a life without limits and boundaries proposed by the pack, gaining a new identity and working to become truly educated the young and brilliant which was to "pretend" to be, "exist" in society without being a "different."
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