THE ORESTEA # 2 LATTE

The tragedies that make up the’Oresteia they represent a single family history divided into three episodes, whose roots lie in the mythical tradition of ancient Greece: the murder of Agamemnon and his slave-lover Cassandra by his wife Clytemnestra (#1 Nests), the revenge of his son Orestes who, with the complicity of his sister Elettra, kills his mother (#2 Latte), the persecution of the matricide by the Erinyes and his final acquittal by the Areopagus tribunal (#3 Pupil).

By implanting his own poetic signs on classical tragedy, Lenz confines the saga of the Atrides to the aesthetic disproportion of the psychic pathology of the protagonists, taking the iconology of excess and violence as the object of scenic investigation. In this contemporary rereading of the tragic they confront each other, in an essential need for linguistic fusion, the historical actors and the sensitive actors of the Lenz ensemble.

The neo-mythological landscape inhabited by the Family is a place of sentimental awe and ethical dissonance, in which the opposition between honor and love, obedience and disobedience, subordination and superiority can only find resolution in a degenerative act.

Forced into mechanical hereditary conjunctions, in forced genetic conjugations father, mother and children are determined by irreconcilable psycho-moral systems and inevitably destined to an irreducible chain of destructive consequences: Agamemnon sacrifices his daughter Iphigenia to obtain the power and benevolence of the gods; Clytemnestra kills her husband guilty of the murder of her daughter and together with him the innocent Cassandra, his slave and lover; children – Orestes and Electra – to avenge their father's murder they kill their mother.

Returned to his parents' home after moving away from his mother – lived an orphaned childhood, humiliated and mocked – he is convinced by Sister Elettra to set up, in revolt against maternal power, an anti-authoritarian children's collective, intolerant, antagonist. The performance of extreme acts such as the destruction of the House and the killing of the Mother will transform the child into a delirious and furious adult.

In the Latte, the second episode taken from The Choephores, the scenic installation prepares – symmetrically to the nest/bed inhabited by the mother Clytemnestra, some ordinary and active elements of domestic physics, an artificially nutritious table – flooded by the black milk of hatred inspired by Death fugue by Paul Celan and the liquid vortices of Anish Kapoor- and a den/cradle in which Orestes, he will hide to escape the fury of the Erinyes.

Interpreters of Oresteia #2 Latte I'm Sandra Soncini, in the role of Clytemnestra and Barbara Voghera, in the role of Orestes, sensitive actress already interpreter of Hamlet and of Lenz's major creations since the end of the nineties. Together with them Lara Bonvini in the role of sister Elettra and Valentina Barbarini as Ifigenia and Chorus.

THE ORESTEA # 2 LATTE
from the Choephores of Aeschylus
Dramaturgy | Francesco Pititto
Installation, regia, costumes | Maria Federica Masters
Musica | Lillevan
Interpreters | Valentina Barbarini, Lara Bonvini, Sandra Soncini, Barbara Voghera
Treatment | Elena Sorbi
Organization | Ilaria Stocchi
Press office, communication, promotion | Michele Pascarella
Production | Loredana Scianna
Technical care | Alice Scartapacchio
Assistants | Elisabetta Zanardi, Marco Cavellini
Media video| Doruntina Film
Production Lenz Foundation
duration | 50’

In an extreme vision, through the poetics of excess, dark desires become visible, dreamlike […] big theater. Very long, powerful, the applause.

Valeria Ottolenghi, Journal of Parma

The myth that objectifies human action. Reflect its social resonance, decoding it culturally.

Emilio Nigro, Hystrio