Waiting to inaugurate the 'Citadel Theatre', in Franco Parenti, Milan are put on stage shows for lovers of culture, literature, music and art. Until February 10 Marco Baliani interprets Night of the Fireflies, based on da testi di Leonardo Sciasci a e brani di Pier Paolo Pasolini , il cui fascino perverso consiste nell'incredibile attualità di quanto pensato, detto e scritto oltre trent'anni fa. L'atto unico è adattato da Roberto Andò , che usa le parole dei due grandi scrittore del Novecento come testimonianza di realtà piccole ma universali e di un tempo che vorremmo scomparso ma che ancora riaffiora nell'oggi. Oltre a Marco Baliani nella veste di affabulatore c'è un patetico, malinconico e straordinario Coco Leonardi con cinque bambini che danno vita al testo. Ci dice di più Marco Baliani.
Sai che chi ha visto il debutto di questo spettacolo lo giudica emozionante and very intense?
I really enjoyed. We were full of fears, should this proposal, almost a monologue, it would be received well. The literature has difficulty being understood and there is not a play but his books. But you feel the thought is there, behind the words.
As has been thought of? Roberto went
knew Sciascia, who was his teacher and Pasolini was the first to write a preface to the first book published Sciascia, when he was a stranger. Both were from suburban areas, although one was in the south and the other in the north, but something unites them as they both start provinces unknown Italy.
And both become famous! But it is true that they were friends, but not quite?
routes real them together. They met but not understood, as with the issue of homosexuality, that Sciascia was difficult to accept. Dramatically Italy that no longer exists, now seems mired in the dark. Yet certain things happened thirty years ago in an Italy which is not improved. We wanted to stage the school teacher who says that the school disgusted him, that there is no sense to teach kids who are hungry, as in his book. Or when he has difficulty in understanding death.
This mixed texts and Sciascia Pasolini?
were intellectuals who could speak out about politics, Moro and things that today are not longer refers to maintaining a civil tone! Today, the private becomes gravure, then it was cause for reflection. The intellectuals had few friends in thickness, as Gadda, Calvino, Pasolini, Sciascia. Who is today?
Well, there is little to be happy then?
I'm not happy at all. It seems to live in a country where the coordinates have lost the sense of the state, typical of the pessimism of Sciascia and coincides with the present. I believe that theater is only able to compete with thoughts of this kind.
Well, however, are only few people benefit from them. The theater is limited to an elite?
This has always been the extent and the magnitude of the theater. Pasolini also said that the theater should be speaking, can not be done for all, otherwise it becomes rhetorical. But perhaps Pasolini reminded that theater is done for the enlightened bourgeoisie that goes to the theater, though not quite so clear. Certainly not to a television audience.
So only a few?
But an actor who calls people out, that we must assume an ethical responsibility and I feel I have to give a signal. The theater can also make you laugh or make fun, God forbid, failed, however, seems to be a sense of ethics that works for the polis. We lost a little 'this, which reflects society, after all. But, as Sciascia, one must not lose the will. You must bring the stone up the hill even though you know that will not make it. If no one does more, you lose hope.
Children who work with you to understand what happens on stage?
Children are different, varying in age from 8 to 12 years and we have told them who they were and Pasolini, Sciascia and the meaning of many words, as 'compliance'. They understood perfectly what it means to the school once, even if it seems that the past 100 years, not 30 and 40. There are questions about Moro, for esenpio. What does 'heresy', as Pasolini died. It 's a beautiful form of pedagogy, even if they can not understand everything.
will follow on tour?
In every theater in each city will have 5 children and every other time we will see. For now we will be only in Milan and Rome, their favorite cities. Sciascia thought that was the moral capital Milan and Rome had many friends when he was deputy of the Radical Party. Next season we will be on tour in Catania, Turin and elsewhere, and every time we're going to redo the entire show with new children. There are independent variables and it's nice that. In Rome will be the biggest kids and suburbs, more like the boys to Pasolini. They create different looks, even the spaces will be different. We will do so at the Teatro India from March 26 to April 27.
How come there are no female characters?
Paoslini Sciascia was gay and has always been tied to a Sicilian virility and strong moral rules, but both knew that we had to write the code as a civil right. So, they were different from each other but united them writing and women were not indispensable. Sciascia loved Stendhal, in which the female figures are marginal. Finally, the faults of what is happening in the world are men, and he was interested in the blame.
How did you choose the songs for use on stage?
The credit is mainly went to Roberto, I have just joined and I have worked in part. We have chosen fragments from the Writings Corsair and also texts and Roberto Sciascia has assembled everything.
Prepare else?
from March 2, from 21 in April, and then test debut in Prato with a new show feature by Curzio Malaparte , skin, where there is talk of old things that are tragically today. Describes what appears today in Naples, today announced the Europe and dangers. Malaparte has seen in advance with clarity, captivity, acidity of the disaster that opened after the Second World War. He had understood, unlike Edward secondo il quale 'Ha da passà 'na nuttata', che la nottata non passa più.
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