In the translation and adaptation of Valerio and Fausto Paravidino Binasco, ROMEO AND JULIET of William Shakespeare on Monday, February 14 (coincidentally, Valentine's Day!) debuted in the first national Teatro Eliseo in Rome with Riccardo Scamarcio and Deniz Ozdogan for directed by Valerio Binasco . Today was held the press conference and Fattitaliani was present.
am always impressed - said Riccardo Scamarcio - analyze the relationship between Romeo and Mercutio, as they were conceived and written these characters. And I asked myself exactly in the middle.
In what sense? Romeo is the dream that is warning of something much stronger sense of a mystical mystery that works on humans, on himself. Instead, Mercutio suggests that after all the dreams are made of nothing. So on the one hand, the human capacity to be the center of the universe and therefore individualism and the other the ability to believe in something unknown, more powerful than himself. I'm right in the middle of these characters, but the fact that a show can go and touch this dilemma seems to me incredible.
So it is your Romeo?
It 's a guy capable of enchanted as a child, and opens with smiles of pure but at the same time with black soul, with a strong propensity to destroy. It 's a character too, fought, that part totally in love with Juliet and then is ready to do anything to her, even in the first part would already be ready to commit suicide. It 's a double that Romeo is capable of surprising and at the same time inclined to destroy ... Mercutio lives in the present and everything is now, it's an individualist, it is usually the favorite character from the intellectuals who defend the individual and the power of words. I am interested in those intellectuals that somehow does not ignore and accept the presence of a mystery: the mystic is certain, though it is uncertain. And I'm sure that there is a mystery, indeed I am afraid that there is, I suspect, something that eludes us and we still are not there, and then Romeo is ready to say that God, the mystery there and follow his feelings. Romeo and Mercutio with the condition of men are thinking.
How do you remember your first time at the theater?
E 'was my first approach to acting: I did a play in dialect, "Poverty and Nobility" of shoes, I was a Eugene Marquis that appears two or three times, a traumatic experience, but There I learned to love the theater, the silence behind the scenes at a time before going on stage.
What do you like to see theater as a spectator?
I'm not a regular visitor to theaters in Paris I saw an incredible spectacle of Peter Brook; Binasco is a director who follow, Paravidino is a director who follows ...
What other "Romeo" you referenced?
there has not been possible to consider any other Romeo.
Compared to being an actor in the cinema what changes to the theater?
I realized one thing: a theater in the research phase of the character is a time when you do not talk, you talk, do not act, you're done, so there is a kind of annihilation of your ego who wants to protect themselves from this unknown world that is inclined to do to find out the things that you do. To be able to do the scene and find things that are unknown to you, you have to put aside the ego in the creative energy is no more to whom you depend. The items do not depend on you, you who depend on words. This I find truly therapeutic transference especially for people like me who has an ego overflowing. I felt a little 'sliced \u200b\u200binto pieces and this experience has bunched up.
What does "Romeo and Juliet" is a show still relevant?
This show is currently on the condition of provincial life, with some episodes of current events that we read in the newspapers. Italy is a country full of contradictions at the bottom, a country where religious institutions have created financial and subversive: a country with a deep sense of anarchy, with very little concept of the state. The Church was invented in Italy, the banks have invented the Italians and the Mafia as well. From this analysis, we understand that a country is really crazy, so it is full of artists, and the concept of state is a failed concept, the concept of organized civil society and has failed, so there is a rule of law. John Zambito.
TEATRO ELISEO
14 February to 13 March 2011
Riccardo Scamarcio - Deniz Ozdogan
ROMEO AND JULIET
of William Shakespeare
translation and adaptation of Fausto Paravidino and Valerio Binasco
with Zavatteri Antonio, Filippo Dini, Fabrizio Contri
Andrea Di Casa, Lisa Galantini, Simone July
Gianmaria Martini , Giampiero Rappa,
Nicole Robello, Roberto Turchetti, Fulvio Pepe
and Milvia Marigliano
scenes Carlo De Marino
costumes Sandra Cardini
lights Pasquale Mari
original music Arturo Annecchino
associate director Nicole Robello
director Valerio Binasco
production
New Eliseo Theatre / Company Gank
in collaboration with Teatro Gloriababbi
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