'Players' arrives at the Piccolo Teatro Studio, and remained there until May 27 with a national debut that celebrates only in this construction. Paolo Rossi is not just performer and director but also develop the drama, with three disabled friends, a novel written by Fyodor Dostoevsky in the nineteenth century, 'Players'. How did this happen? It is perhaps dug up a comic to the dramatic text Russian author? O Paolino Rossi throwing away his comic verve? None of this: just our little eroe ha voluto ispirarsi liberamente all’autore russo per raccontare i problemi di tanti individui alle prese con il vizio del gioco, come anche dei lavoratori precari e di quella società che sfrutta i deboli attraverso il ricatto del vil danaro. Lo spettacolo, applauditissimo, è stato apprezzato da un pubblico divertito e compiaciuto per aver assistito a un esercizio di intelligenza teatrale. Alla fine, Paolo accetta con grande cortesia di rispondermi. Lo trovo smagrito e molto più in forma di qualche tempo fa. I suoi celebri occhioni azzurri spiccano sul volto tondo e furbetto, ora ingentilito dai capelli folti e grigi.
Quanto avete lavorato su questo spettacolo, considerando che siete in tantissimi, credo circa a fortnight in addition to the technical scene?
We did a workshop last June and worked a month, but suddenly everything. We were preparing a study to take the Mittelfest Trieste (which was held in Cividale del Friuli in the summer, ed) . Then we did other improvisations in January, a meeting of six days. Finally, the canonical three weeks we worked on this issue.
Why did you choose to use a text by Dostoyevsky?
But it was the least, ask for something to do with the context of Central Europe. Then I always liked this book, but it was necessary to have so many people on stage and we wanted to a minimum of possibilities. Here we have been incurred (by the production Agis MittelFest 2006, in collaboration with Bonawentura Miela Theatre, the Piccolo Teatro di Milano-Teatro d'Europa and the Casino of Venice, ed) and you have to contextualize the events in a set of situations.
you referring to the practical possibility of producing a show so complex?
course, and that otherwise I could never do. Indeed, already so I think that eventually will lose ...
not consider a tour company to bring this elsewhere?
No, no! You see, the state does not recognize me, no subsidies because says he does not do theater, but cabaret. So ... That's fine.
certainly, without seeing the show Happy Family by Alessandro Genovesi, who has a totally different subject, many of your characters as its interrupt the show to make requests to the director, then returned in part, as you do the same, at will. Think this is a moment of mental wires that connect?
Well, for that matter, even Pirandello had written stuff like that! But it's true, there are stories that are in the air, the good ones in particular. It is no coincidence that arise shows that deal with topics or ways of expression that are found in others. I've already seen and done in the past.
Recalling the days when you worked with the circus tent, you nostalgic for those days? The same way?
Those times are gone. We are all grown, I, them. It 'was a bygone era.
means that now I dedicate this page to the theater, after Moliere or Shakespeare in comic version? Here
change, there is a change from my past. Why is there a story, unlike all my other shows: the first was a walk as in Kowalski or paintings, as it 'evil empire' or a cloth, as in Moliere. Here is a story with its beginning, the development and, after 10 or 15 minutes, people try to understand what is the code. Recognizes the characters and become attached to the story, which has enormous relevance to other social problems. It has a lot to do with the chance of the trade. Every time I do a show on the craft.
're already thinking about something for the future?
No. I'll do something in the summer, alone. Will be of happenings. Those things are done in summer and then allow you to do these things here, later.
You have projects with the TV?
Ma .. Now I end up 'Che tempo che fa' with Fazio. No, but because with the TV you do not know who to ask. I'd like to do theater on television, I think we made some good variations, in a non-traditional but popular. But I do not know who to ask. Go TV is like going to speak in a Russian submarine dropped.
How you live your life?
So problematic. An actor has two houses, anyway: in a theater and one in the family. And this is not easy, since the actors were mixed with humans. Why, for survival, the extended family there in the theater by Moliere down, I think. Since we've been mixed up is hard to find a balanced personal life.
That you try?
Eh, I've made three attempts of the family.
I mean, to give up the theater?
No, no! Whoever gets closest to me know that the theater should not be touched.
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