Simple, linear. A plot thin, but otherwise, to hold a work reduced to a minimum but still full of ideas, situations, full of emotions, feelings and communication with the public.
"What is this Magic Flute?" Asks Sergio Escobar, director of the Piccolo Teatro di Milano.
"Opera? Certainly not. Musical theater? Maybe. Theater? Certainly. "
simply intended as a" force of light to get straight to the heart of emotions to restore meaning to the words and notes. "A" see the world through the eyes of a child and the responsibilities of an adult. "
" How much work in removing " continua Sergio Escobar, “per raggiungere quell’essenzialità che coincide con la bellezza assoluta. Quanto è necessario restituire “senso” al teatro, un senso che si traduca nella capacità di restituire la centralità dell’uomo, di riscattarlo dalla solitudine cui lo condanna una rappresentazione morta, gelida di uno schermo che duplica, nasconde la realtà, sottraendole la vita.”
Anche la scenografia rispecchia questi concetti: il palco vuoto è unicamente arricchito dagli attori e da una serie di canne di bambù, installate su piedistalli in ferro.
Queste aste venivano “modellate”, direttamente in scena, dagli attori a seconda delle situazioni that were created.
The light is also reduced to a minimum, in tones that reflect the feelings much of the work, what the characters felt at that moment.
many magazines and cut from the original, this Magic Flute "by" Peter Brook, still retains a lyrical part, the foundation of the original, reducing it to piano and voice and projecting it longer in the key stage, with a setting that leaves completely the epic feature of classical works.
The colorful and warm French language, mother tongue of the company, then creates a kind of dissonance with the trills in German.
After an initial introduction and key to the plot of the story, is introduced gradually and in a masterly way, a certain irony, especially in bloom Papageno, which lifts the light "lethargy" of the earlier scenes.
From here on is a kind of escalation of wealth, a spectacle that takes more lives, is complicated, is more serious but at the same time, more light and pleasant, with bits of comedy and ironic humor.
The setting, the dialogues and the ease with which the whole performance was carried out, certainly makes it easier for the viewer an understanding of the whole, a vision and sliding smoothly slowing down in the final. The falling of the bamboo poles: it is the pinnacle.
Moments of stillness, as if to fix the image in your mind and then rolling back the label of the show from the beginning.
actors loose, with coordinated movements, constant, almost meandering pop up auctions, arranging them in rows side.
Close the fifth, darkness falls.
few seconds and turn on the lights in the room, it's still clear the memory of the scene, color, warmth and simplicity by which marriage can lead to a smile, a beautiful conclusion to a play.
"There is only one significant difference between cinema and theater, "says Peter Brook in his book," The cinema shows screen images of the past. Because this is what makes our mind with itself throughout the course of life, the cinema seems intimately true. [...]
Theatre for its part, is emerging in the present. This is what can make it more real than the normal Stream of consciousness. [...] The theater is the arena in which a comparison may be made alive. "
" What is going to work adjusting the Schikaneder libretto and music? "David Sanson asked in an interview before the onset representation.
“Liberamente!” rispondeva sicuro Peter Brook. “[…] l’immagine che ci viene dal passato e l’aspettativa che pesa sull’opera (lirica tradizionale) condizionano fortemente il tutto. L’idea di questo Flauto è far si che gli attori procedano in modo naturale, vivo e sentito, senza l’imposizione di proiezioni. […] Cominciamo a lavorare senza alcun elemento scenico, partendo dalla musica e domandandoci come riuscire a trasmetterla senza subire il peso, il risvolto solenne di una grande opera, […] con questa grande intuizione,ossia che nella musica di Mozart non si tratta di nascondere o di attualizzare, ma di far apparire…”
These are the reflections of the great director, who then continued in an interview by Art, at the debut of a magic flute, in November 2010: "Today we try to explain everything, to clarify everything, and yet the strength of what we call poetry, the energy of what we call music, is that they go beyond that limit, because they start at that moment beyond which rational explanation can not proceed. "
" What is culture, what is the theater? "says Sergio Escobar. "The theater does not" need "is civilization, is shared humanity.
The theater of Peter Brook this. "
Tobia Alberti
PRODUCTION RESERVED ©
