It is the angry scream of Elettrait is the collapsed house of the atruds – the broken thalamus, the ruins in which a creeping life persists, half inside, half outside, already underground, where the dead are more than the living, and in uninterrupted dialogue with them – to welcome us, for this 60. Cycle of the classic representations of the ADA, the meritorious National Institute of the ancient drama, at the Greek Theater of Syracuse.
The without peace is electricMenade of revenge, the figure of a real estate yet full of frenzy, to open this time (in the beautiful translation of Giorgio Iranò, who combines power and essentiality) the sacred space in which every year the unmissable appointment with the oldest classics is renewed which, inevitably, speak to us of us.
And the Palermo Roberto Andòmultifaceted artist of the word and of the scene – his latest novel, “The crocodile of Palermo” (the ship of Teseo) was in the patrol of the witch proposed, his latest films, “strangeness” and “the blunder”, very acclaimed by the public -,, former artistic director of the 2017 SEE seasonbegins in the ancient cavea by cooking on another debutant among these stones, the actress Sonia Bergamasco, the tags of the clips of the Sophocles of Sophocles (the costumes are by Daniela Cernigliaro), whose hubs and the lands face denounce the perennial mourning for the murdered father, Agamemnon.
“Pretractive in his thirst for revenge,” said the philosopher Massimo Cacciari in the lectio who on Sunday inaugurated the cycle – parallel and convergent – of dialogues in the ear of Dionisio (because, let’s not forget, the investigation is not “only” theater but a wide cultural project in its kind). A revenge that the actress modulates between anger and grudgeappearing, to us modern spectators who avidly drink the psychology of the characters (almost we were the gods of the past, who feared human feelings …), heroine of impenetrable and solipsistic despair: the effectiveness of the direction of Andò lies in regulating with subtle firmness this ancient-modern dialectic in the yield of the gigantic character sophocles- Strait, a psychology but rather a largely dramatic function (that “necessary to do” of which Cacciari spoke).
Elettra is almost always on stage, the beautiful scene of Gianni Carluccio: The facade of the Micho Palace of the Atrids, shaken and broken to the foundations by the crimes, becomes an oblique esplanade on which the action takes place, on which the “domestic exile” of Elettra is shown, which transgresses starting from its restoring outside the palace, challenging the prohibitions of the hated Egisto, lover of the mother and usurper of the throne. She is there, torn and angrywhile the Muto choir (the always talented students of the Spee Academy, led by Simonetta Cartia, with Paola De Crescenzo and Giada Loruso, who interloquate with rigorous affection and human wisdom with the protagonist) is the female tide – a single body that fills the scene, wave, amniotic, or the beat, obsessive, shaking the hair (moon movements) – in this tragedy. In which the maternal is abjurator and dishonor, or moved function, tackle, otherwise claimed (it was electric to act as a mother to his brother Oreste, to save him from the massacre).
An all -female confrontation is one of the peaks of the show: the one between Elettra and the dry clitnenestra, contemptuous of a great Anna Bonaiuto – queen assisted in the battered throne without losing a little bit of imperial – the “non -mother mother”, murderer and unfaithful, who says a very hard thing: “Being a mother is a frightening thing. As much as they hurt you, you can’t hate your children ». Except then, immediately after, to rejoice at the news (false) of the death of Oreste. Yet they resemble each other, those women linked by a knot of blood, hard and opposite, each calcified in its own obsession and fury, which each calls “Dike” (justice). Instead they are completely dissimilar Elettra and her sister Crisotemi (the good Silvia Ajelli), who has chosen not to show the pain and thirst for revenge, and to coexist with the “domestic enemy”: a “bourgeois” moderation incompatible with the “organé” of Elettra.
The most moving moment is the recognition between Elettra and Oreste (an incisive and intense Roberto Latini), who tears applause and attenuated-slightly-the claustrophobic grip of the pain of the protagonist, who can even feel in that immense and open space and who does not melt even after revenge (justice?) is made, Oreste shows himself with his hands bloody, from the windows-wines the scream of cliffs and the same. which was awarded an acute register that screeches, as well as the red porport of his Pastrano) has been annihilated.
There is no peace, for Elettra, not even among the chords of the tail piano that Bergamo herself sounds – or Dissona (in the evocative figure of the music of Giovanni Sollima) – With Strozzate notes that ascend to Melody only at the end. When yes, everything is accomplished but not necessarily the justice that acquires: rather a cancellation, a void in which to curl up in a fetal position after the umpteenth fulfillment of those terrible things (“Deinà”) that humans are made to each other, without peace.
The cast is completed by the pedagogue (the effective and clear “deception weaver” Danilo Nigrelli), and Rosario Tedesco (Pilade).
After the long applause to the very faded before (over 4500 spectators) he replies, alternating with “Oedipus a Colono”, until June 6. Then on tour in Pompeii 11, 12 and 13 July.