The Macaluso sisters between life and death in the tetralogy of the Sicilian family The essay aims to provide a dramaturgical and performative analysis of Le sorelle Macaluso, the fourth piece of the "Trilogy of the Sicilian family" by Emma Dante, that give to the classical pattern of tetralogy some contemporary values, such as the alternation or contamination of laughter and crying, and that confirms the tragicomical register as a distinctive feature of Emma Dante and her renewed, but recognizable, ensemble. It is possible, in fact, to find here again actors and cofounders together with new recruits, enabled to tire out without losing control of their body and soul thanks to the relentless yet loving training of the crew chief. It is therefore shown how certain references to revolutionary artists of the twentieth-century scene (Kantor or Pina Bausch, above all) are to be scaled down in the light of a metamorphic and psychophysical concreteness which has its roots in the original culture of Emma Dante, and reemerge through signs of astounding and peculiar effectiveness, through the evocation of a theatrical world in which the primordial confidence between living and dead stands out.
Le sorelle Macaluso tra la vita e la morte nella tetralogia della famiglia siciliana Il saggio si fonda sull’analisi drammaturgica e performativa di Le sorelle Macaluso, quarto tassello della «Trilogia della famiglia siciliana», per cui la tetralogia del mondo classico assume le valenze contemporanee d’una alternanza o contaminazione di riso e di pianto, confermando il tragicomico come tratto distintivo del teatro della Dante e del suo rinnovato, ma anche riconoscibile, ensemble. È possibile, infatti, ritrovarvi attori co-autori fondativi assieme alle reclute, che la formazione implacabile eppure amorosa della capo ciurma rende capaci di sfinirsi senza perdere in scena il controllo del proprio corpo come delle emozioni. Si mostra, quindi, come certi riferimenti ad autori e registi rivoluzionari del panorama internazionale novecentesco e odierno (Kantor o il Tanztheater della Bausch) siano da ridimensionare alla luce d’una concretezza metamorfica e psicofisica che affonda le radici nella cultura originaria dell’artista siciliana, riemergendo attraverso segni che, attraverso l’evocazione d’un mondo teatrale in cui risalta la confidenza atavica fra vivi e morti, raggiungono effetti di straordinaria e peculiare originalità.
Le sorelle Macaluso tra la vita e la morte nella tetralogia della famiglia siciliana
Anna Barsotti
2017-01-01
Abstract
The Macaluso sisters between life and death in the tetralogy of the Sicilian family The essay aims to provide a dramaturgical and performative analysis of Le sorelle Macaluso, the fourth piece of the "Trilogy of the Sicilian family" by Emma Dante, that give to the classical pattern of tetralogy some contemporary values, such as the alternation or contamination of laughter and crying, and that confirms the tragicomical register as a distinctive feature of Emma Dante and her renewed, but recognizable, ensemble. It is possible, in fact, to find here again actors and cofounders together with new recruits, enabled to tire out without losing control of their body and soul thanks to the relentless yet loving training of the crew chief. It is therefore shown how certain references to revolutionary artists of the twentieth-century scene (Kantor or Pina Bausch, above all) are to be scaled down in the light of a metamorphic and psychophysical concreteness which has its roots in the original culture of Emma Dante, and reemerge through signs of astounding and peculiar effectiveness, through the evocation of a theatrical world in which the primordial confidence between living and dead stands out.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
