Il Grande Inquisitore

Da I Fratelli Karamazov

di Fėdor M.Dostoevskij

traduzione di Agostino Villa

personaggi e interpreti

Karamazov Fėdor Pavlovič                                    CORRADO PANI

Karamazov Dmitrij Fėdorvič, Mitja                         MASSIMO POPOLIZIO

Karamazov Ivan Fėdorvič                                      GIOVANNI CRIPPA

Karamazov Aleksej Fėdorvič, Alėša                       DANIELE SALVO

Smerdjakov Pavel                                                  RICCARDO BINI

Makarov Michail Makarovič                                  MASSIMILIANO SBARSI

Un agente                                                             PIERLUIGI CICCHETTI

Rakitin Michail 0sipovič, Rakitka                            PIERFRANCESCO FAVINO

Kutuzov Grigorij Vasil'evic                                     STEFANO LESCOVELLI

Kuttuzova Marfa Ignat'evna                                   MONICA MIGNOLLI

Padre Zosima, lo starec                                         ANTONIO PIOVANELLI

Padre Paisij                                                           LUIGI SARAVO

Padre Iosif                                                            NICOLA SCORZA

Un monaco                                                           GIANLUCA GUIDOTTI

Snegirėv Nikolaj Il'ič                                              STEFANO LESCOVELLI

Snegirėva Arina Petrovna                                      GABRIELLA ZAMPARINI

Snegirėva Varvara Nikolaevna                               MANUELA  MANDRACCHIA

Snegirėva Nina Nikolaevna                                    FRANCESCA FAVA

Snegirėv ll'ja, Il'juša                                               NICOLA BORTOLOTTI

Krasoktin Nikolaj, Kolja                                         FRANCESCO GAGLIARDI

Il Grande Inquisitore                                              MASSIMO DE FRANCOVICH

Lui                                                                       VALENTINO VILLA

Chochlakova Katerina Osipovna                             PAOLA BACCI

Svetlova Agrafena Aleksandrovna, Grušen'ka          VIOLA PORNARO

Fedosia Markovna, Fenja                                        PATRIZIA SACCHI

Perchotin Pėtr ll'ic                                                  PIERLUIGI CICCHETTI

Samsonov Kuz'ma Kuz'mic                                     GIAN PAOLO PODDIGHE

Il guardaboschi                                                       MASSIMO POGGIO

Gorstkin, Bracco                                                    MASSIMILIANO SBARSI

Un cocchiere                                                         EMILIANO BRONZINO

Un passante, un garzone di Samsonov                     GIANLUCA GUIDOTTI

e con

Calogero Azzaretto, Fabio Bettini, Mario Capanna, Adriano Cerantola, Giovanni D'Astore, Marzia Di Roma, Valter Midolo, Cesare Pilotto, Ofelia Porretti, Roberto Spaziani


costumi di GABRIELE MAYER,


musiche a cura di PAOLO TERNI


Produzione Teatro di Roma

Conversando con Ronconi

 «In the "theatrical" version of The Brothers Karamazov, each scene has a precise stylistic identity -created by a wide rage of expressive techniques from the naturalistic to the expressionistic which is also reflected, sequence by sequence, in the content which takes precedence over form. With regard to the overall structure, the discontinuity is mirrored in the breakdown of the play into three parts: Lovers of Luxury, The Grand Inquisitor and A Judicial Error. 'This season we are only presenting the first two parts, which cover the events in the novel up to the parricide and the departure of Dimitrij for Mokroe while Aläsa decides to obey the starec and leave the convent. The third and final part, which begins with Mitja's arrival in, Mokroe, will be staged next season. The inordinate length of the play, coupled with the discontinuity of the story - which also characterises the longer scenes to a lesser extent, with their division into sequences being delineated by "Caesuras", -made it necessary to build the characters in a different way. The "montage" structure in fact deprives the Karamazov characters of atypically theatrical continuity. Moreover, a persona will often appear on stage in one sequence, and only reappear after a long period. The graduality of the narrative logic also means that each scene must "stand alone" to some degree. To achieve this it was necessary, instead of presenting the "evolution" of the character, to on communicating the "complete" character, scene by scene, according to the specific feeling of each sequence. In other words, the actor is not called upon to communicate the character's "transformation," but the different aspects of the character expressed in the various contexts."

Luca Ronconi, an excerpt from a conversation with Sandro Micheli (taken from the programme of the Brothers Karamazov produced by the Teatro di Roma)

La trama

When the fate of the Karamazov brothers is apparently sealed by the sentencing of Dimitrij to hard labour for parricide, the useless confession made by Ivan in an attempt to save his brother, and Smerdiakov's suicide, Doestoyevsky introduces into the novel the poem of the Grand Inquisitor.
The diabolical, mean-spirited Ivan tells Aläsa, who finally becomes a "confessor" and counsellor in virtue of his sanctity, the story of the second coming of Christ and the Spanish Inquisitor who condemns Him for heresy. In condemning Christ, the
Grand Inquisitor uses his power and authority, to prevent the human race from going astray by acting of its own free will and living according to the law of love. By preventing freedom and love, in fact, he guarantees the peace and salvation of Man, because human beings are not equipped to deal with the responsibility of freedom and, if Christ were allowed to take up his mission again, he would only bring about their destruction. Christ responds to this rationale with a kiss, and accepts imprisonment.

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