“I’m thinking of preparing a recital of Pasolini’s poems and I also found the title, ‘Parole di son’, I really want to call it that way”. This is what Gabriele Lavia announces, who arrived in Mahdia on the Tunisian coast, to participate tomorrow evening in the Roman amphitheater of El Jem in the ‘Fortissimo Festival’, where he will propose a theatrical-musical show, entitled ‘The music writer’, with the poems by Pier Paolo Pasolini recited together with actress Federica Di Martino, interspersed with pieces composed by Chopin, Bach, Mozart and Beethoven and performed by the string quintet of the Calabrian Philharmonic Orchestra directed by Filippo Arlia, who is also the artistic director of the ‘Fortissimo Festival’. “We chose Pasolini’s poems that seemed to us best suited to the occasion and maybe even those we liked best – Lavia explains – They are not very easy poems, because they refer to a way of conceiving poetry that, crossing the twentieth century, becomes more complex; even if Pasolini has an ‘sour’ poetics, just think of the verse ‘it is difficult to say with the words of a son who I resemble so little when speaking of his mother … They are wonderful poems, because Pasolini was a great poet. the opportunity and the good fortune to meet him personally, twice. The first time was when at the National Academy of Dramatic Art ‘Silvio D’Amico’, which I was attending as a student, our history teacher introduced him to class. Giorgio Bassani theater “. Then, Lavia continues,” Pasolini called me because he wanted to do a job at the Teatro Stabile in Turin and he proposed it to me saying ‘I would like you, but I have no money, you should come without receiving a lira’ and I I replied ‘I would be happy to work with you, but then what do I tell my landlord? That I am working with Pasolini but do not take a lira? This is my job, not my pastime: it is my job, I am not rich in family and you, who should be on the left, should understand these things’ … And so everything vanished. Then, we all cried when he was brutally killed. “Gabriele Lavia then extends the discourse to the world of theater:” Theater is only from memory: there are my colleagues who read, but they are nonsense – says the actor and director – to say is always an ‘I’ that speaks, there is always a basic betrayal in the etymological sense, because it transfers from another, from an abstraction. Even if I recite Shakespeare, he wrote the text, another translated it and I ‘betray’ him by reciting it, fidelity to the text does not exist, it cannot exist, it has no meaning. The same word ‘hypocrite’ with which the actor was defined means ‘hidden under’ and the actors were called so because they had ‘something put on’ the face, the mask that was called ‘prosopon’ from which drama theater or theater of that being that is hidden under “. Theater of which, he assures,” the greatest I have ever seen act was Turi Ferro: he was not good, he was a giant! This is why I will never be able to recite Luigi Pirandello’s ‘Il cap a rattle’ in Catania, I can’t do it where he did it, he was an actor ‘of flesh’, that is, present ‘near-body’, close to the flesh of the spectators “: As for the directors, Lavia proposes his very particular theory: “Generally, a show is always worse than a director imagined it, but luckily in the end no one notices it …”. (By the correspondent Enzo Bonaiuto)
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