The Porta Miano Landscape Garden of the Museum and Royal Wood of Capodimonte in Naples will host, for the world premiere on Saturday, June 25th at 9:00 pm, Prima della notte ovvero Chi mi ha ucciso nel 2022, a concert-show by and featuring Tato Russo, dance by Carlotta Bruni, Lucrezia Serafini, Doriana Barbato, and directed by Livio Galassi, as part of the Campania Teatro Festival 2022.
The production, presented by TTR – Il Teatro di Tato Russo, features choreography by Aurelio Gatti, sets by Peppe Zarbo, costumes by Giusi Giustino, music by Zeno Craig, video designer Maurizio Sansone, and light designer Roger La Fontaine.
"Tato Russo – it is stated in a note – returns to the love of his audience, proposing a recital of his poems, immersing hands and mind in the ocean of his verses, loving, scornful, delicate, harsh, calm, restless, conciliatory, polemical and rebellious, with all the contradictions of complex souls”.
Director, playwright, poet, musician, actor, a multifaceted talent on the national dramatic scene, Tato Russo celebrates his 52 years of theatre and his 75 years of life with a concert-show with an evocative title.
"Through a very original reading of poems chosen from the collections published so far, the installation aims to be, at the same time, a confession and an exemplification of his sometimes angry poetics, which someone has defined as Malapoesia, but which makes him a poet with unusual expressive canons and an artist with a very personal style.” is still highlighted.
The show goes beyond the usual poetry concert format and becomes, in the intentions of the promoters, “a real theatrical piece, with a gripping plot, and that spectacular style that is typical of Tato Russo's theatrical poetics".
It is a sort of documentary film about the life and poetic art of the master, a journey on the wings of euthanasia and regret for not having understood anything about the life of pain that was given to us. Through music, poetry, theater, painting, the hated narrative, the spectator will be magnetized by many emotions.
The note concludes: “Other combinations of other poems of his would have drawn different paths, labyrinths with other outlets, perhaps illuminated by constructive rebirth, challenge, revenge. Having saved the dramaturgy with a metaphysical thriller plot, the theatricality of the representation remains to be saved.
And here, then, are three bodies, neutral ectoplasms that wander on stage, mute or groaning echoes, now moved to clarify what is hermetic, now to make hermetic what seems clear, ghosts that, despite their material vagueness, strengthen the evanescence of the verses with theatricality”.
EDITORIAL TEAM
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