Antonello De Rosa brings Annibale Ruccello to the stage at the Auditorium of the Social Center of Salerno

On Thursday 4th January at 21.00pm at the Auditorium of the Salerno Social Centre, an “unscheduled” performance by Antonello De Rosa will bring to the stage an intense study on a text by Annibale Ruccello, taken from “Mamma…piccole tragedie minimali”.

For over 20 years, De Rosa has been bringing this show to the stage, which he called Traccia di Mamma. It was July 26, 2001 when he presented his show to the public in Florence, since that day there have been many dates and many successes and awards received throughout Italy, including the critics' award at the prestigious Festival "Le Voci dell 'Anima" in Rimini. Antonello De Rosa is without a shadow of a doubt the greatest exponent of the "ruccelliana" current, the one who more than anyone else has dedicated his life to the study of the great playwright who died prematurely, Annibale Ruccello. On stage, with him, the students-actors of two classes of his theater laboratory-operating for over 21 years in Salerno and beyond.

The slow and relentless torment of a woman lost in the labyrinth of her clouded mind, a woman adrift, crushed by madness and memory, by often dazzling memories, by the pain of an absurd and cursed loss, tired by a role and a vocation, by a hallucination that she believes to be true and real and in which she continually loses herself. Antonello De Rosa's women, like Ruccello's, consume themselves in silence, executioners and victims, light and darkness, dragging themselves along narrow and dark and melancholically long streets, without horizons, ignoring the dawn, the sunsets, the sea.

In an essential scenography, through a clever play of lights, Ruccello's word comes to life, savored and returned with new strength, lived in its brutal sweetness and in its soft crudeness. And we hear the voices of women, of a woman who embodies all the others, in the painful lines of only two of the four monologues planned, mixed, confused, immersed in a network of symbols and signs, which become a real glue between the image and the word, between the gesture and the meaning. The result is a restructured, alternated, recomposed text, Maria di Carmela- ovvero piccolo delirio manicomiale merges with Il mal di denti- ovvero madre e figlie e la telefonota e è un solo anima che si confesiamo e un solo respiro che si raccontano. A madwoman who believes she is the Madonna and a mother who discovers with horror her daughter's pregnancy.

The madness that pushes the woman into a tunic that is a straitjacket and into a straitjacket that is a tunic, amidst the glitter of sacred vestments, is certainly scandalous, but what makes this figure disturbing is her unyielding hostility to hypocrisy. The story is played out entirely on the plot of affinities and contrasts: Adriana's motherhood and that of the madwoman in the asylum are born from an insatiable and avid hunger for love, but are rejected and trampled upon by those who live religion as a wearily reiterated superstition; the woman who repudiates her daughter, to the point of forcing her to commit suicide, reveals with unprecedented ferocity the dark side of being a mother, the inability to forgive, to others and to oneself. All that remains is an inextricable tangle of sacrilegious rage and irreverent madness, over which the image of a Madonna-Doll relentlessly dominates, whose thankless task is to be adored by a humanity that makes a mockery of love.

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