Hipógrifo violento

The rebellious horse is a mythological animal similar to Pegasus half horse half bird, the same one that in Orlando Furioso will take Astolfo to the moon. The violence and power of his momentum are limitless, descending down a mountain. And above Rosaura who bursts onto the scene. Violent hipógrifo,/who runs even with the wind,/where, flameless ray,/bird without range, /fish without scale,/and brute without instinct/natural, to the confused labyrinth/of these rocks you desnude/you unravel, you you rush and break up?

What remains of lightning if its flame is taken away from it, or of a bird without feathers and colors? And what about fish if you deprive it of scales? or the beast without its instincts? Its disharmony is reflected in realities, chaos is the incipit of this drama. As well as diving without brakes and wings, down a cliff regardless of one's weight and the impossibility of flight. As if to challenge divine power. As if to anticipate the challenge of the protagonist Sigismondo prisoner in the Tower, the final boundary of this crazy race. Sigismund is also, like the hippogriff, half man and half beast ready, once free, to dive unbridled into the real world.

Violent hypógrifo: we left the accent in Castilian, to indicate already in the sound of the first word-voice the dynamic intention, the leap, the tear, the jolt, the existential gallop of the interpreter/character. Rosaura, having dismounted from her horse, will then speak with the multiple voices of the other than herself - Prince Sigismund - in an attempt to recompose a poetic fresco that can contain the chaos of the world “of being an enigma I offer myself,/because I am not what I seem/nor do I seem what I am.

The relationship between our research on the works of Calderón and the biography of the interpreter is very important. Baroque theatre is generally considered a theatre of allegorical identities: One represents All, the parable of Man holds true for the whole of Humanity. On the contrary, in our reading of Calderón the function of negative or ambiguously positive heroes - such as Sigismodo, Rosaura, Clarino, Fenix, Fernando - enhances the weakness, vulnerability and disturbances of those figures, transforming them into disturbed and disturbing subjects.

Francesco Pititto, who takes care of the dramaturgy, has given shape to a personality of 'boxes', of tiles, a chessboard figure, whose presence manifests itself as a mosaic of moods, passions and contrasting impulses. Through these character oscillations we gave psychic body to our Hypógrifo, in search of a scenic biography that placed existential failure in the foreground, the unstable identity of the subject in our time.