In Sala Assoli the dedication of love to Enzo Moscato continues with Co'Stell'Azioni.
We love Enzo continues: from Friday 19 January at 20.30:XNUMX pm, in Sala Assoli the review dedicated to the scenic language of Enzo Moscato continues. In this second stage, which falls a few days after the author's painful passing, Cristina Donadio, an actress who embodied his scenic poetry on several occasions, will bring Co'Stell'Azioni to the stage, together with Vincenza Modica and Enza Di Blasio.
The show, first performed by Moscato between Christmas and New Year's Eve 1995/1996—inspired by the installation of Mimmo Paladino's enchanted, white Montagna di sale in Piazza Plebiscito—will meet and overlap with another work by the author, On the Order and Disorder of the Ex-Public Macello, a poetic theatrical reflection dedicated to the most carnal and intimate political upheaval ever to strike Naples: the Jacobin Revolution of 1799. Repeats Saturday, January 20, at 20.30:21 pm and Sunday, January 18.00, at 18:14 pm. Ticket price: full price €2; reduced price €24. We Love Enzo promo card: XNUMX We Love Enzo shows for €XNUMX.
For information and reservations: 345 467 9142 – assoli@casadelcontemporaneo.it
"Freely translated from the poetic work of the erratic Jean Cocteau, with the contribution of an imaginative Italo-Neapolitan idiom, cold and at the same time fiery, passionate and lyrically threatening, the text narrates or de-narrates the difficult border between the living and the dead, the word and its negation, freedom and imprisonment, as well as the need to cross it. – explains the author. Thus tracing a rugged and elliptical path between expressive pairs of opposites: anarchy and rigor, sense and nonsense, dis-order and a desperate appeal to its opposite. Perhaps to achieve—or perhaps to deceive—an authentic gaze into the soul. Not an inscrutable and obscure thing in itself—as philosophers have always said—but, if anything, a point of intersection, a concrete and true relationship, between the inside and the outside of ourselves, magically trans-dreamed/disfigured within each other.
In addition to Co'Stell'Azioni, and almost as if born within it, Cristina Donadio, Vincenza Modica and Enza Di Blasio will also stage On the Order and Disorder of the Ex-Public Abattoir: Enzo loved transgressions, transitions, coming and going from elsewhere, and here too, there's a coming and going from one lyricism to another, that of Co'Stell'Azioni and On the Order and the Disorder of the Ex-Public Macello. As we did with Enzo, we will be sentinel souls, and these souls will lead the way to the world of the dead, which suddenly bursts into the world of the living. But who are these dead? They are the martyrs of the 1799 revolution, they are the souls who tell fragments of that history: Enzo's theater is made of fragments, sketches, and we will bring the sketches of that revolution to the stage, interpreted in a feminine way. With fragments also taken from the radio version we made for Radio 3, which also features Enzo's voice and, above all, the chorus, because On the Order and the Disorder of the Ex-Public Macello is a text sung, recited, expressed in a thousand ways. Once again, bringing Moscato's texts to the stage. It will be a journey: Enzo taught us to travel through words, both written and spoken. And now we're in the open sea, looking at the constellations, with Enzo, who is a constellation and therefore is there...".
"The sense of continuation of We love Enzo is in the very idea of theatre, because theatre is that thing that continues to live beyond events. – continues Cristina Donadio. Enzo's passing is merely a change, and as he himself said, change and absence are nothing but poetry; therefore, now, Enzo is his poetic, political, ethical, and existential thought. And his thought cannot be interrupted. Hence the need to continue, without taking anything away from the joy inherent in this project. We love Enzo is a way to express all the love, gratitude, recognition, and happiness of being able to appropriate Moscato's lyrics. This was last year, and this continues to be this year. Right now, of course, we need to stay inside and reflect on the significance of this absence, but experiencing it on stage, for me, has an even deeper meaning.
EDITORIAL TEAM
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