Bestie di scena emma dante

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Scene beasts

bestie di scena emma dante

A Genova Bestie di scena di Emma Dante

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Scene beasts Bestie di scena , conceived and directed by Emma Dante, is a drama hosted by the Piccolo Teatro Strehler of Milan until 19 th March that, in a bit more than one hour, succeeds on provoke the most diverse reactions on the audience. The humanity fleeing with no way out — as the same Emma Dante describes the role of her actors — is a source of big turmoil or exaltation that, however, does not exclude a certain anxiety. Since its entrance in the theatre, the audience finds actors already on the stage focused on a number of exercises requiring energy and concentration. Still, rhythm and accuracy of their movements and the coordination of the group let you intend that it is something more than simple relaxation exercises. Through a progressive blackening, the light dies only when all the actors are finally, dramatically, naked in front of the plurality of peering eyes. No word has been said until this moment, no word — crucial, meaningful, explicatory — will be said in the following hour. It is clear, then, that the show has started before than dark did.

By Emma Dante. Directed by Emma Dante. May 20 , For a Dante scholar, Bestie di scena was a fascinatingly self-referential play in which clear echoes of past productions emerged through gestures and props, giving them a new metatheatrical dimension. Yet, at the heart of Bestie di scena was a continuation of Dante's investigation of the relationship between actors and audiences. A postdramatic, physical tour de force, this seventy-five-minute performance had no plot, no dialogue, and no conventional characters, set, or costumes. While it toyed with spellbinding lighting and a variety of diegetic sounds, the play used no prerecorded music beyond a few bars from the Platters' Only You.

No, stay on the ticket office. Yes close the box office. For a long time now Emma Dante's language has been made up of dialects, gestures, and accents. It is a southern language, trivial and popular, which the Sicilian director ennobled with metaphors and pushed to its limits within surrealist situations. Words, bodies, and rhythms which highlight, not without imagination, the brutality of the human comedy and which stand up to remind us of the social and political engagement of a community, whether a family or the community of the theatre. With Bestie di scena , Emma Dante continues her quest for honesty.


Over sixteen thousand spectators crowded the auditorium over the course of last season, celebrating the extraordinary success of a play - the first production by the Piccolo Teatro to be directed by Emma Dante - of an exceptional severity. The large stage of the Teatro Strehler thus sees the return of the procession of primitive and fragile creatures from a fleeing community, a silent patrol taking its first uncertain steps, with no way to escape, but which imagines, illudes, fights, and vibrates, undefended, with life. They are illuminated under the gaze of the director and writer , a woman of theatre, who shapes the living body of the person who takes to the stage, to the point of possession.





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