Inner conflicts and existential discomfort, unanswered questions and search for truth, or only a possible way to understand the reality that surrounds us. In the first two national teams, in these weeks On stage at the Biondo Theater in Palermothere are themes and atmospheres that resonate, thanks to the strength of the dramaturgical word. A complex relationship and never truly resolved with the father and, inevitably, with those roots to be recognized and recovering. And then the epic of a life, to be crossed thanks to a dense story, which combines memories and dreams, anxieties and fears, successes and failures.
«The dark evil», a novel by Giuseppe Bertopublished in 1964 by Rizzoli after being refused and winner several times within a week of the Viareggio and Campiello prizes, tells the autobiographical story of a writer in crisis marked by guilt for the death of his father, through a new way and Very personal.
A way that, In the scenic adaptation curated and directed by the director Giuseppe Dipasquale, he arrives for the first time in the theater, first at all at the Biondo – where it will be staged until 9 and then replicate, from 14 to 23 February, at the Verga di Catania – which produces it together with the Stabile of Catania and to Marche Theater.
To play Berto and his profound inner torment is Alessio Vassallo, at his side the Messina actor Ninni Bruschettaalso a beloved face of TV and cinema, in the dual role of the psychoanalyst and the father of Bepi, shoulder and guidance of an existence sometimes without direction, and then Cesare Biondolillo, Lucia Fossi, Luca Iacono, Viviana Lombardo, Consuelo Lupo, Geneva Pisani, to give body and voice to the multiple characters who fresco the painful existence of Bepi.
The rewriting retains the strongly literary flavor of the text, entrusted to the acting of Vassallo that is around a scene made of cubes that become sessions, tables and a thousand other objects, also illuminated by the reverberation of large transparent plastic curtains – the scenes of Antonio Fiorentino , the costumes of Dora Argento -, to cross personal affairs and together pages of history, thanks to the grimaldello of psychoanalysis. On the one hand, in fact, the dialogue with the psychoanalyst, a key figure to investigate a malaise strongly rooted in the past and in that relationship, never truly understood and resolved with the father, on the other the memories of the past which, like dreamlike visions, make up the Pages of a painful existence, for a narrative that also feeds the accurate music of Germano Mazzocchetti and the choreographic movements of Rebecca Murgi.
From the Venetian province to great Rome, and return to find the father, at least on the point of death, and finally in the deep south, where those roots resonate strong: in the text, as the part of the return is intense on the scene, Bepi seeks refuge in Calabria, in Capo Vaticano – that Berto house still today a space of culture that celebrates the name of the Veneto writer – a place “from where you can look at Sicily, at night the other coast is a very long expanse of bulbs with red and white signals », A mirage to observe to from which to let himself be lulled.
A gray basement, two men intent on deceiving a strange expectation, one reading, the other exploring a space that seems not very hospitable. At the Strehler room instead “Il Calapranzi”, in the new set -up directed by Roberto Rustioni, staged at the Biondo, which produces it, until February 9. In the translation of Alessandra Serra, with the scenes of Valentina Console, the noir atmospheres, between humor, nonsense and suspense, designed by Harold Pinter in her text, written in 1957, represented for the first time in London in 1960, relive in the interpretation by Dario Aita (Ben) and Giuseppe Scoditti (Gus).
Two killers confined to a squalid and asphyxiated space, await instructions on their next assignment and in the meantime they receive strange “ordinations” through a elevation, Calapranzi precisely. Baited after joke the characters of the two protagonists, the more resolute and decisive the first, fearful and restless the other, in a very faithful setting to the text of Pinter, who plays on the unspoken, on the silences that open glimpses in anxieties and in the Fears of the two young people, who are then those who also cross the present time.
Slowly there is no more room for those small initial laughs, as if shortly, in the space of an hour, that rendering of the accounts, inevitable, which arrives without shocks, a metaphor of that discomfort that surrounds them should be consumed.