There are the colors of the Strait, that particular changing light that only the inhabitants of “Scylla and Charybdis” know well, there is, in the chromatic reference, something that works as an archiving code for our memories and, as if that wasn’t enough, there is the flavour, salty and sour, of the atmospheres that are still returned to us by Stefano D’Arrigo’s timeless masterpiece, “Horcynus Orca”. A contemporary epic which even today is avant-garde (proof of this is its still very recent foreign translations), and which just last year celebrated 50 years since its birth and which, also for this reason, has functioned as a lockpick in the artistic research of the Scenari Visibili theater company. From Lamezia Terme, where it is based in its own independent space, the TIP Teatro Biblioteca, the theater group is proposing – since it premiered at the Spazio Teatro in Reggio – the new production «Di tutti i colori».
There have already been many enthusiastic critical comments for the show which, having reached Trento, now arrives directly in Messina. The appointment is for tomorrow, at 6.30 pm at the Nuovo Teatro Scaletta in Scaletta Zanclea, guests of the “Abitare il tempo” exhibition curated by Maurizio Puglisi and his Nutrimenti Terrestri.
There is also something else, it was said, because the figure and the measures that Scenari Visibili tries to adopt are above all those of a constant tension with the most pressing current events. This is how Horcynus has given rise to suggestions that mix interculturality and some reflections on the present time, on solitudes, on the “collective forgetfulness” for which it is increasingly difficult to find a remedy: for example, the other source of inspiration was the book «Japan in colours» by Laura Imai Messina (Einaudi, 2023) and, again, fundamental in the research were the writings and thoughts of the late Osvaldo Pieroni, sociologist Macerata who left a great legacy at the University of Calabria (his «Tra Scilla e Cariddi», Rubbettino, 2000, deserves a contemporary rereading). On stage, the actor Dario Natale to whom we owe much of the writing, engaged in the acute and touching interpretation of several characters, among which Saro stands out, “u pellesquadra” (to return to D’Arrigo) with his very personal drama of memory. The dramaturgical support is by Subhaga Gaetano Failla and Domenico Benedetto D’Agostino and the show is also enriched by the soundscapes composed by Alessandro Rizzo.