Friday, February 21st, at 21 pm, the Sannazaro theater presents the show Molière/ The Misanthrope. The show is a new production by TPE – Teatro Piemonte Europa created together with Teatro Carcano – Centro d'Arte contemporanea and Luganoinscena, in collaboration with Intesa Sanpaolo. The show will be repeated until Sunday, February 23rd.
Molière's text has been completely translated and rewritten through the Italian version and adaptation made by Fabrizio Sinisi and Malosti himself. On stage Malosti plays the role of the protagonist Alceste. Alongside him is a very talented company: Anna Della Rosa is Célimène, Sara Bertelà Arsinoè, Edoardo Ribatto Oronte, Roberta Lanave Eliante, Paolo Giangrasso Filinto, Matteo Baiardi Clitandro, Marcello Spinetta Acaste.
The Misanthrope is today a text totally «in the present», violent, powerful, disturbing. A tragic comedy, tinged with an unstable and dangerous form of humor, which carries within itself, just beneath the comic surface, the living wounds and the very high price it cost its author: in it emerge the neuroses, the betrayals, the pains of a character capable of transforming all his own discomfort and anger into a formidable philosophical, existential and political machine, which questions and destroys everything he encounters on his path. But this masterpiece is at the same time also the drama of a being inadequate to reality, the hallucinatory tragedy of a ridiculous man, who clashes with a complex and very modern feminine, represented like a prism by the three female figures present in the text, a sort of mysterious trinity.
MOLIÈRE / THE MISANTHROPE
a show by Valter Malosti
Italian version and adaptation Fabrizio Sinisi and Valter Malosti
New TPE production – Teatro Piemonte Europa created together with Teatro Carcano – Contemporary Art Center and Luganoinscena, in collaboration with Intesa Sanpaolo
to
Alceste Walter Malosti
Celimene Anna Della Rosa
Arsinoe Sara Bertelà
Oronte Edward Ribatto
Eliante Roberta Lanave
Filinto Paolo Giangrasso
Clitandro Matthew Baiardi
Acaste Marcello Spinetta
Scenes Gregorio Zurla
lights Francesco Dell'Elba
song by Bruno De Franceschi
on double bass: Furio Di Castri
Show duration: 1h 30'
Show times Friday and Saturday at 21.00 pm Sunday at 18.00 pm
Ticket price Stalls tickets €20 Boxes €15
Box office hours: Monday to Saturday from 10.00 to 20.00
Teatro Sannazaro, via Chiaia, 157 www.teatrosannazaro.it info@teatrosannazaro.it
The monkey, the symbolic image of the show, was created specifically for Molière / The Misanthrope by the artist Simone Fugazzotto.
The Contemporary Misanthrope According to Valter Malosti
“There is the unhappy person whom we can define as abstract. He is unhappy and that is it. There is the most unhappy person, who hates himself. Finally, there is the absolutely unhappy person, who hates himself immediately and indirectly the other. This person is the misanthrope. However, we have not considered enough the misanthrope who unites in himself the unhappy and the most unhappy. Let us ask ourselves what his purpose is. If misanthropy has one, it is this: to make the unhappy the most unhappy. Because the unhappy one is, the more unhappy one becomes.”
(Manlio Sgalambro, On Misanthropy, Adelphi, Milan, 2012).
I hate the theater body and soul
and I hate it to death
for me it's the most disgusting thing there is
but that's exactly why I dedicated myself to it
I hate the theater
and everything that has to do with the theatre
and I dedicated myself to it
She dedicated herself to it out of love
I got into it out of hatred.
(Thomas Bernhard, Claus Peymann buys a pair of trousers and comes to eat with me, Ubulibri, Milan, 1990)
In 1666 Molière made his debut with his Misanthrope: a bitter and philosophical comedy, anomalous and prophetic, according to many his masterpiece – «a classic of the twentieth century», writes Cesare Garboli, «written three centuries ago».
A border comedy, which catches Molière at the moment of making himself the King's jester: in fact, the great author in the same year as The Misanthrope collaborates intensely at the Saint-Germain parties, and from that moment on he will work more and more to organize the royal entertainments. Molière, as Fausta Garavini acutely writes, "abandons his intimate self to his character", perhaps the most autobiographical, if we also think about the relationship of servitude or subservience towards Louis XIV. "Alceste cannot live in the world and flees into the desert; Molière must survive and turns himself in prison, he declares himself defeated. But at the same time he declares, in his failure, the insurmountable and subversive force of his rebellion".
Valter Malosti, after the great success of his reinterpretation of The School for Wives, returns to tackle Molière, and he does so by proposing a completely new Misanthrope. Malosti's Alceste is a philosopher, a black buffoon, a mad extremist of thought, who also takes on the most intimate and heartbreaking resonances of Molière's drama, without renouncing the subtle comic line, the farcical fire that innervates the protagonist. Alongside him, in the part of an unprecedented Célimène, Anna Della Rosa, one of the most talented actresses of her generation, also admired in the cinema in the Oscar-winning film The Great Beauty by Paolo Sorrentino, together with a cast of the highest level: Sara Bertelà, Edoardo Ribatto, Roberta Lanave, Paolo Giangrasso, among others. Because The Misanthrope is also a text of great chorality, which is rewritten on stage with the actors and therefore requires actors of great finesse, also to bring out the chiaroscuro of Molière's writing.
In constructing the language of this new Misanthrope together with the director, the young author Fabrizio Sinisi engages with some of the great authors of the twentieth century, especially Thomas Bernhard. The classic text is here put into reaction with another great Molière masterpiece: that Don Giovanni of which the Misanthrope becomes the inverted and complementary table, the imaginary prologue of dissolution: Alceste and Don Giovanni become the two faces of a total and desperate struggle against the hypocrisy and compromise on which civilization is built. The show is therefore proposed as a lucid essay on desire and the impossibility of fulfilling it, on the conflict between man and woman, man and society, man and the cosmos. The relationship between Alceste and Célimène therefore becomes a very violent contest, a showdown whose stake is – to quote Lacan himself – the Truth as “that which always resists intelligence”.
Ph. Tommaso La Pera
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