Soćetas Raffaello Sanzio


la veemente esteriorità

della morte di un mollusco

di Romeo Castellucci

Orazio Paolo Tonti

regia Romeo Castellucci

ritmo drammatico Chiara Guidi

melodia Claudia Castellucci

tecnici macchinisti Alberto Giorgetti, Flavio Urbirj

materie Allegra Corbo

energie Stephan Duve

direttore tecnico Pierre Houben

cura Gilda Biasini, Cosetta Nicolini

produzione Societas Raffaello Sanzio, Wiener Fest Woch

in collaborazione con il Teatro Comunale Bonci di Cesena

When it first appeared in 1997, this work did not represent a return to the order of the great tradition for the Socìetas Raffaello Sanzio, but a journey into the underworld of language to reach, so to speak, the "enemy camp" the text par excellence of this tradition, Shakespeare's HAMLET So "Amleto ", as a cross-road In which to think about the myth of an actor The first approach lies In the asperity of the great nordic saga which encompasses "Amlodi" -this the name in icelandic mythology -as a cosmological shaman, lord of time, who first creates then destroys Then Saxo Grammaticus's "Amleth" (XII Century), which In the Illrd Book of his "Gesta Danorum" set the characters which are closest to those we see in the shakespearen "Hamlet", as topos In universal drama Following him, the Danish Prince, we realize that we must -paradoxically- eclipse the literary fact which symptomatically corresponds to the Court of Denmark, which will lie in ruins because of Amleto We feel provoked and affected as he does, when faced with the scandalous murder of his father; like a snail when it is touched we are affected more perhaps by the scandal of a destiny too heavy to bear; which forcefully interrogates the conscience, rather than by the spur of revenge for the murder committed We are more affected by a living incestuous mother than by the father's murder (it is Interesting to note, for this purpose, how the theme of Incest IS unvaried throughout the complex and ancient mythology of Amleto). The actor is scandalized (from "scàndalon ", hitch) more by the stage than by the absence of the poet as Amleto is more by the disgraceful behaviour of his mother; than by his fathers violent absence The actor playing "Amleto" is however and in any case Orazio, the Prince's friend who survives, the joust of death In the Castle of Elsinore, to whom Amleto, on his death, entrusts "with the occurrents, more and less, which have sollecited... The rest is silence (Dies)" (From Shakespeare's "Hamlet") Orazio -therefore the actor -will act a melancholy Amleto who has armed himself with memory An arm which an adolescent ineptitude where destiny and character are fused, causes to vehemently fall back upon itself with the drama which may be seen

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