Da venerdì 30 novembre alle ore 21.00 (fino al 2 dicembre ore 18.00) al teatro Sannazaro, per la linea contemporaneo ricerca, sarà in scena lo spettacolo “Miseria&Nobiltà” per la regia di Michele Sinisi con Diletta Acquaviva, Stefano Braschi, Gianni D’addario, Bruno Ricci, Giulia Eugeni, Francesca Gabucci, Ciro Masella, Stefania Medri Giuditta Mingucci, Donato Paternoster, Michele Sinisi Tratto dal testo di Eduardo Scarpetta e reso celebre dal film del ‘54 di Mattoli con Totò, Miseria&Nobiltà è uno dei classici della tradizione napoletana e italiana. Reinterpreting once again a true myth of modernity, Michele Sinisi tells us a typically Italian story, capable of being current and authentic both on and off the scene. The story, now well-known, is that of a poor penniless man who, forced to live by his wits to barely scrape together a crust of bread, gives life to a dense web of dialogic inventiveness and situations that represent the pinnacle of Italian acting and the best that the history of theatre (particularly Neapolitan theatre) has produced in keeping the audience glued to their seats: The scribe Felice Sciosciammocca and his friend Pasquale are two poor wretches who live from day to day. Without a penny in their pockets and hungry, the two friends and their families are hired by the young Marquis Eugenio to pretend to be his noble relatives at the house of his future father-in-law, a wealthy cook, with the aim of obtaining his consent to the marriage. Plot twists and misunderstandings will make things more complicated and nothing will go according to plan. In Sinisi's staging, Scarpetta's farce frees itself from the Neapolitan dialect and, using different dialects, plays on representing reality and fiction by leveraging the suggestions evoked by this text. The deliberately sparse and dark scene of the first part with its characters in tracksuits, worn t-shirts and leggings, leaves room for the surprise of the staging of the second half, conceived by the set designer Federico Biancalani with only apparent pomp, where a chandelier that at first glance seems sumptuous is later revealed to be made of spoons and ladles. Like a pop song whose chorus could be repeated in unison by the entire audience, the dialogues and scenes of Miseria&Nobiltà are a true social glue, the repetition of a collective ritual that unites and entertains. This happens without forgetting the legacy of cinema and the expressive power that it conveys, the large white screen that appears on the scene is the most effective proof of this. It adheres to the original, yes, but by continually betraying it, in a continuous game of theatrical scores. Miseria&Nobiltà returns to that 1888 text only by rediscovering itself as a ritual in today's world with an extraordinary team of actors who take over the stage.
Article published on November 26, 2018 - 12:04
