The fruitful artistic collaboration between Lenz Fondazione and Paul Wirkus, a Polish electronic music composer, continues for the final paragraph of the triptych inspired by the Hyperion, Friedrich Hölderlin's famous novel in epistolary form, an early work.
The show has been presented at many international festivals including: Festival Natura Dèi Teatri (2003), TIS Festival of Social Interactions in Bologna (2003), ETI Teatro il Vascello in Rome (2004).
“The madman who reasons backwards, turns the masks upside down, discerns the secret thread in the plot, the inexplicable play of echoes in the melody wins the fairy tale; he moves with ecstatic precision through the labyrinth of formulas, numbers, antiphons, and rituals common to the Gospels, fairy tales, and poetry. He believes this as the saint, to the walk on the waters, to the walls crossed by a burning spirit. He believes, like the poet, in the word: he therefore creates with it, he draws concrete wonders from it. Et in Deo meo transgrediar murum.”
This is what Cristina Campo writes in “The Unforgivables”. The writings of the Field are diamonds scattered on the paths of the pure word. The fairy tale is the search for the word, the word creates life, the word is body. The word imposes respect, fear, memory. The word revives the past. Even the silent word speaks. Silence rings. The void is full/full of signs. The word makes dreams live. The word is always with us, it accompanies us. Like the shadow. The fairy tale is a shadow. In the shadows lies the anti-matter, the anti-body, the anti-word. The little girl with the little red hood drags the shadows of her fears, her desires, her difference. The shadows are little wolves of man attracted by the smell of Beauty. Inexperienced wolves dressed in red led by the gray old wolf. Curiosity, research, hunting unknown prey: these instincts move them. The shadow turns red because red is the color of heat. The imaginary is burning fire, the image is its tongue of flame. The red shadows pursue, pursue the ambitious goal of becoming themselves body, matter, word. They implode the little girl dressed in red by swallowing her in her belly, in the bottomless pit. They spit her back into the world transformed into a creature to their own measure. Little Red Riding Hood is now the shadow of her own self, half woman and half wolf, half moon and full actress.
Intention.
Combinations of fear and violence in the red child's crooked path. Food disturbance and sex in the forest dominated by the gray wolf. Sacrifice of both to keep faith with the law and Christian table. Fear of infant death and terror of adulterated life trap the hooded woman in her blush. Hood that veils the modesty of feeling the passion of cake, masked. The seemingly doomed little girl is curious to swallow what food can no longer give. She renounces duty and alone in the darkness of black is ready to die, just to touch what hides the great of eyes, ears, hands, mouth. The red omen of blood is fulfilled in the hungry leap, in the preyed body, in the bottom of the desired wolf.
Obtaining.
In broken and separated addition surfaces, the chromatic surfaces are evolutionary mechanics of the fairy tale scene. The set is black occlusion, it's moral blindness, it's the black side of the human record. Connected by nature to the other side, the red, access of dramatic artery, compensating exteriority that rises in the center to pronounce the cut of the acute-angle field. Identical in hairy absoluteness, the dark and light are recognized as plasters of the living and the dead. The light creeps into the darkness and reveals the fleece of every stanza. The path sprinkles the white sequence, with narrative desolations, visual colorblindness of the red kingdom. Suspended in black are the plastered mummies of sheep and lambs piled up in the mortuary for which the little girl is destined. Solitary are shown the pizza of Son of God-Mother, which tastes of bread and blood, and the cake prepared as a benefactor of the genetic colonnade. The Father God-Old Mother is refreshed by the bumps of sour foam rubber dripping with artificial chantilly, inedible food of eternity.
Rotkäppchen's musical development is entrusted to the piano and the incessant loop of a basso continuo that regulates the rhythmic rhythm of the entire fairy tale. The progression of the dramatic scenes is always preceded by the melodic variation of the piano theme which contrasts, in the form of an interlude, with the electro-rock sound of the entrance of the Hunters and the shadowy, almost trip-hop-like sound of Little Red Riding Hood obsessively pursued by the foreign body of her own shadow. Above all, the pressing narration of the mother tongue in the mother's voice reigns, rhythmically sovereign, as if to reiterate the all-female genealogy of the fairy-tale Grandma-Mom-Grandchild lineage. The male of the Wolves and Grandma-Wolf is left with the only grace of a plucked dance pursued by the rectory, but well recognized, a shadow of repeated grave sounds.
from Rotkäppchen by Fratelli Grimm
traduction | dramaturgy | direction || Francesco Pititto
scenography | costumes | visual elements || Maria Federica Maestri
music || Adriano Engelbrecht | Andrea Azzali
voice off || Annegret Engelbrecht
performer || Adriano Engelbrecht | Giuseppe Imprezzabile | Sara Monferdini | Matteo Ramponi | Alessandro Sciarroni
light design || Rocco Giansante
production || Lenz Rifrazioni
première || Teatro Duse, Festival Teatro delle Interazioni Sociali, Bologna, 2003
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