Inda, Coefore-Eumenidi: in Syracuse the tragedy becomes a musical

SYRACUSE – O Davide Livermore he is a genius, or he should be banned from directing anywhere theater greco survivor. Why the Coefore-Eumenid that puts on stage from the 3 to 31 July in the ancient cavea of Syracuse, for the season 56 dell’Inda, they were all but one tragedy classical. Although accustomed for decades to “modernization” of representations, al public Syracusan up to now, the setting up of a musical with the text of Aeschylus. The current director of the National Theater of Genoa, that “In his brilliant and eclectic career he has also worked as set designer, costume designer, lighting designer, dancer, screenwriter, actor and teacher, as well as performing as singer“. After so much artistic wandering, he reached the last two chapters ofOrestea, with the intention of proposing it in full next year, adding the first episode of theAgamemnon. For the 2021meanwhile, he presented himself in front of the thousand-year-old tribunes dug in Temenite hill with a piece in costume 1930s. Forcing an exceptional cast to play in sequins and sequins, the immortal philosophical reflections ofAeschilean work. He did not spare even the movie quotes, from Sergio Leone, a Quentin Tarantino, a Stanley Kubrick.

Pistolettate in replay and Clytemnestra presented as an ante-litteram Brooke.

Giuseppe Sartori (Oreste) and Laura Marinoni (Clitennestra).
cover: the Erinni (Maria Laila Fernandez, Marcello Gravina, Turi Moricca).

There was also a massacre in pistol of royal guards, repeated in replay a couple of times. And just like in a film, an omnipresent one column sonora accompanied all the passages of the story. Laura Marinoni is a column of the theater italiano and frankly it is not clear why to waste it talent, with director’s notes that they have revisited Clytemnestra in a kind of Brooke ante litteram, with the aggravating circumstance of the performance alcoholism. Yet the role lent itself to rereading modern of a victim who turned into uxoricide. It had been taken in bride by a violent one like Agamemnon, who had killed her first husband and child. A re who did not hesitate to sacrifice the daughter he had with her, Ifigenia, to propitiate victory a Troy. During the decade of absence of the spouse she reconstructs herself as a woman with the young man Egisto, from childhood in turn traumatic, having been born fromincest between a father-grandfather and a mother-sister. When the monarch micenea he comes home with another one behind him princess taken by force, the Trojan Cassandra, the murder of the brutal consort is revenge and liberation at the same time.

The tragic force of Aeschylus weakens and the modern reinterpretation of the themes has failed.

Giancarlo Judica Cordiglia (Apollo).

The trilogy aeschilea, written in 458 BC, does not dwell at all on the female point of view. A modern reinterpretation gave the opportunity to highlight it, given that the themes of MeeToo they were already in history. It would have given more sense to the forcing of a tragedy, daughter of times when it was believed that the child it was entirely contained in the seme male, and the woman was just the ground to plant it to make it grow. Athena (Olivia Weather in Manescalchi) will be explicit in this sense at the end of the cycle with Eumenid, when he acquits the matricide because he has not shed any family blood. Coefore starts with Oreste (Giuseppe Sartori) who returns to avenge his father by killing his adulterous mother, supported by his sister Electra (Anna Della Rose). Clytemnestra shows him the naked breasts that nursed him, but the sense of honor is stronger than the Freudian bond. The keepers of avenging justice hunt down the matricide, in the third and last act of the Orestea. They are ancient dee, depositories of the archaic read tribal that must be preserved by the “civilization“. But it is precisely with this that they collide, and lose, when a court of citizens Athenians he only takes the right to condemn. Athens acquits the murderer, making the prevail reason of state since the accused guarantees the perpetual one alliance military of Argo, precious for a city with imperialist politics competing with Sparta.

Light tones and setting for a Freudian drama, ends with Bowie in chorus.

Scenography with a collapsed bridge for Coefore-Eumenidi.

To detach from a staging philological and modernizing the Orestea, there were many interpretations. However, none lent themselves to the formula of musical. Nor the conclusion of the show, with dramatic topical images flowing over the big screen globe, has found a convincing parallelism with contemporaneity. Fra Clytemnestra reduced to aalcoholic, Egisto (Stefano Santospago) presented a psychopathic whoreman, Apollo (Giancarlo Judica Cordiglia) who dresses and speaks like a Gaga, the Erinyes (Maria Laila Fernandez, Marcello Gravina, Turi Moricca) transformed into vamp androgine, Oreste-Sartori alone cannot bring out the inner tragedy. He is a son torn between the social needs of honor, filial feelings and the sense of guilt of matricide: yet all this labor is entrusted only to the letter of the text, not to the vis dramatic. At the end of the show he even sings we can be heroes, just for one day followed in chorus by the other performers. On the notes of David Bowie the photos of the ponte Morandi, of the attack on Capable, of Peppino Kneaded. And to follow, the bare-chested half-lengths of the performers, photographed one by one in black and white.

Broadway-style tragedy-show, a sure hit with the general public.


For those who have never seen one tragedy Greek and he wants to get closer for the first time, nor does he look for the pathos of representation in symbiosis with the millennial cavea of ​​Syracuse, the Coefore-Eumenid of Livermore they are an excellent show. Elegant dresses from Cotton club, sparkling vintage sedan, piano e barley played live, one column sonora impeccable to accompany the whole performance, “light” interpretation despite the drama of the contents, carefully curated lights. And finally, the perfect idea of ​​the globe-screen a led, which lent a touch of otherworldly spectacularity to the scenography minimalist. Out of a theater greco, where the strong personality of the container should force the content to harmonize, the eclectic director’s staging is certainly worth the time and the price of the ticket. In the closed of Genoa building, who co-produced it, will certainly be appreciated in all its potential. TO Broadway it would even be a great success.

The critic, the critic and the common viewer.

Stefania Visalli.

THE NOTE: The writer is not a critic theatrical, it’s just a chronicler that tells what he sees, filtered by his modest culture and discreet experience. What is expressed can rather be assimilated to the opinion of the viewer common. As much of the one who approaches tragedies for the first time, as of the one who since childhood attended them at the Greek theater, such as the journalist and most of the public Syracusan. No claim, therefore, to judge depth and professionalism of the protagonists of this season ofNational Institute of Ancient Drama. If anything, we can consider the contribution offered to readers, more or less laymen, to get an idea. With the hope that the curiosity push the reader to go anyway, if only to agree or disagree with these lines. There culture is always great investment, of time and money, even that which does not meet the personal concept of “bello“. Because in any case it helps to form it, or confirm it, or modify it. And in any case we always go out richer and more educated of how one entered.

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