.webp){kind=logo}
L’ODORE ASSORDANTE DEL BIANCO
The austere, washed-out walls of a room in St. Paul's asylum. How can a great painter live in a place where there is no color but white? It is 1889 and Vincent's only wish is to get out from those walls, his first hope resting in the unexpected visit of his brother Theo who had to take four trains and even a cart to visit him to ...
Through the unpredictable metaphor of Vincent Van Gogh's temporary isolation in an asylum, starring from Alessandro Preziosi, Khora.teatro's show in co-production with Teatro Stabile d'Abruzzo, which features staging by Alessandro Maggi is a kind of psychological thriller around the theme of artistic creativity that leaves the viewer with bated breath from beginning to end.
The text winner of the Tondelli Prize to Riccione Teatro 2005 for the "...limpid, taut writing of rare dramatic immediacy, capable of returning the torment of the characters with fierce expressive immediacy" signed from Stefano Massini with its dry but richly poetic dramaturgy, offers considerable opportunities for reflection on the relationship between the arts and the role of the artist in contemporary society.
Suspension, lability, boundary. Massini's limpid, exquisitely intrinsic and sharp writing, in its galloping narrative tension, evidently offers the possibility of a real investigation into those places, bumpy and mobile, internal subjects of difficult identification, placed in the complex mechanism of the human mind. The tight dialogue between Van Gogh and his brother, Theo, offers not only an objective wide-angle lens on the artist's human story, but rather reveals a submerged stage of it.
The performance is open counterpoint to the pressing dialogic match. Subtextual. Latent. Van Gogh, subjugated and fortuitously bent by his own brain dynamic lets himself live already present to his disorder. It is in an asylum room that he appears to us. In the devastating neutrality of a void. And thus, it is in the fact that his despair is revealed and investigated. His reasoned attempt to escape the immutability of time, the absence of color to which he is constrained, to that perennial rattling of which he is a conscious victim, inside as well as outside the granitic "white castle," and above all the constant doubt about the exact location and consistency of reality. The tangent that follows the staging thus remains suspended between the sense of reality and its exact opposite. In a rift in which the sole logic of synesthesia dominates, in which each sense is plausibly the container of other senses, modulating infinite variables, Van Gogh is both signifier and signified of himself. The emotional gap he undergoes and from to which he is hopelessly dependent, represents cause and effect of his own artistic creation, no longer disassociated from the singularity of his existence and obliging him to to walk an isolated path in which the only fixed point remains the plausibility of an infinite series of possible universes in which every tangibility can represent the opposite of what it is.
Alexander Maggi
By **Stefano Massini **
directed by Alessandro Maggi
with **Alessandro Preziosi **
scenes and costumes Marta Crisolini Malatesta
lighting design Valerio Tiberi and Andrea Burgaretta
music Giacomo Vezzani
artistic supervision Alessandro Preziosi
production Khora.teatro, TSA - Teatro Stabile D'Abruzzo
in co-production with Napoli Teatro Festival
in collaboration with Spoleto 60 Festival
Neapolitan, born in 1973, graduated in Law, attended the Accademia dei Filodrammatici. Since 1998, he has participated in Antonio Calenda´s Hamleto_, Corrado D´Elia´s _Cyrano_, to Le ultime at _di to.I. _di Tommaso Mattei, Antonio Calenda´s _Agamennone, Coefore and Eumenides_, to Datemi tre caravelle! and Il ponte by Carmelo Pennisi and Massimiliano Durante, and Armando Pugliese´sHamlet. Since 2012 he has performed and directed Cyrano de Bergerac, Cyrano on the Moon and Moliere's Don Giovanni to considerable public and critical acclaim. For television she stars in the series: Vivere, Elisa di Rivombrosa, for which she won a Telegatto, Il Capitano by Vittorio Sindoni, Il commissario De Luca by Antonio Frazzi, S. Agostino by Cristian Dougay, Amore e vendetta by Raffaele Mertes, Il giudice Sossi and _Edda Ciano e il comunista _by Graziano Diana, _Don Diana _by Antonio Frazzi, _La Bella e la bestia _by Fabrizio Costa, Tango per la libertà _by Alberto Negrin. Since 2004 in cinema she has played Vaniglia e cioccolato_by Ciro Ippolito, I Viceré _by Roberto Faenza, La masseria delle allodole _by Paolo and Vittorio Taviani, Il sangue dei vinti _ by Michele Soavi, Mine vaganti _by Ferzan Ozpetek, _Maschi vs femmine _by Fausto Brizzi, Il volto di un'altra _ by Pappi Corsicato, Passione Sinistra _by Marco Ponti. In 2016 he played the role of Mercutio in W. Shakespeare's Romeo and Juliet directed from Andrea Baracco for L'Estate Teatrale Veronese and Filippo Brunelleschi in the international TV series I Medici.
His professional activity in theater began in 1992, with some of the most important Italian Stable Theaters, first as an actor, then as assistant director, and finally as director. In 1997 he is called from Luigi Squarzina in the cast of La guerra, by Carlo Goldoni. In 1999 he takes part to La dodicesima notte, by William Shakespeare, directed by Egisto Marcucci. In 2000 he undertook a collaboration with Benno Besson, for _L'amore delle tre melarance _di C. Gozzi for the Venice Biennale and Il cerchio di gesso del Caucaso by B. Brecht with the Teatro Stabile di Genova. In 2006, after directing Casanova and the episode of M.M., he collaborated on The Merchant of Venice, by W. Shakespeare, with Eros Pagni, at the Teatro Romano of Verona. In 2007 he is with Lluis Pasqual for La famiglia dell´antiquario, by Carlo Goldoni, for the Venice Biennale. The 2007-2008 season also sees him engaged in John Ford´s Too Bad She´s a Slut and Carlo Goldoni´s L´impimpario delle Smirne, with the Teatro Stabile del Veneto, for the Venice Biennale. He then produced the play 33 times Michelangelo, for the FMR Art'è Foundation. In the same year he is director of Processo to(lla) Madonna, or the restlessness of icons. In the 2009-2010 season he directs Andromache by Euripides, for the 62nd Cycle of Classical Plays at the Teatro Olimpico in Vicenza. In the 2010-2011 season, he brings to the stage Antonio Ghislanzoni's La Storia dell'avvenire, Eric-Emmanuel Schmitt's Piccoli crimini coniugali and, for the XLVII Cycle of Classical Plays at the Greek Theater in Syracuse, _Le nuvole _by Aristophanes. In the 2011-2012 season he directs L'Illusione teatrale, by Pierre Corneille brings to the stage, for Napoliteatrofestival, Igiene dell'assassino by Amélie Nothomb, with Eros Pagni. In the 2014 season he directs, premiere, Peggy Guggenheim - Woman in the Mirror by Lanie Robertson, for Napoliteatrofestival 2014 edition. In the opening of the 2014-2015 season he curates the artistic supervision of Molière's Don Giovanni, starring Alessandro Preziosi. For the 2015-2016 season, he curates the artistic supervision of Mario's The Great War at the Manzoni Theater in Milan. In the current season, a premiere produced from Teatro Stabile di Napoli-Teatro Nazionale, he directs Ritorno to Pompei by Amélie Nothomb. He has collaborated with numerous structures of national and international scope. from years, he has dedicated himself to training in the field of theater, acting, and communication techniques at public and private institutions, with teaching activities for children and adults. Author, has adapted for the theater: Andromache by Euripides, translation by Monica Centanni (2009); _Small Marital Crimes _by E.Schmitt, also editing the translation (2011); _Hygiene of the Murderer _by Amélie Nothomb (2012); The Madwoman of Chaillot by Jean Giraudoux (2015); Return to Pompeii by Amélie Nothomb (2016).
He was born to Florence in 1975. In 2015, in the aftermath of the huge success of his _Lehman Trilogy _directed from Luca Ronconi, he was appointed artistic advisor to the Piccolo Teatro di Milano / Teatro d´Europa. By him Einaudi published Lehman Trilogy and 7 minutes, both in the Theater Collection, and A quadrilogy. _The Deafening Smell of White. Trial to God. Memoirs of the Executioner. The End of Shavuoth _(Ubulibri, 2017). Translated into 17 languages and widely performed on stages all over the world, from the Old Continent to the United States, Massini has won two Ubu prizes, including one for the complexity of his opera drama. His most famous works include Donna non rieducabile, Credoinunsol-odio, Balkan Burger, Lo schifo.