In Sala Assoli 'ADE – A.lcesti Di E.uripide' by Fabio Pisano

After two previous performances, Fabio Pisano's work ADE – A.lcesti Di E.uripide returns from 5 to 7 April to Sala Assoli (Friday and Saturday at 20.30 pm; Sunday at 18.00 pm), in a restored and (perhaps) definitive version.

On stage, Raffaele Ausiello, Francesca Borriero, Roberto Ingenito; accompanied by the sound suggestions of Francis Santagata; the costumes are of Rosario Martone; the scenes of Luigi Ferrigno. The lights of Fabio Pisano e Alexander Salzano. Assistant Director Francesco Luongo. Liberaimago Production.

Inspired by a myth also told in Plato's Symposium, Alcestis, the oldest of Euripides' tragedies that have reached us, stages a love story whose protagonists are the king of Thessaly Admetus and his wife Alcestis: at the center, the eros of the young wife, who challenges death, sacrificing herself in place of her husband. In Pisano's project, the starting point is the indefiniteness of the genre: what is Alcestis, a tragedy? A drama, later defined as prosatirical? A sort of fairy tale with a happy ending? It is from this difficulty of definition that the pretext for upsetting Euripides' text arises, to provoke it, drying the epic relationships between the protagonists in the rays of time, and presenting, today, inside the box of the bourgeois drama, what remains of a day of mourning. What emerges is no longer the tragic dimension, but the drama of small things.

Ticket price for the shows: full price 18 euros; reduced price 14 euros.
For information and reservations: 345 467 9142 – assoli@casadelcontemporaneo.it

Admetus obtains from Apollo the possibility of escaping death, on the condition that another sacrifices himself in his place: those who give their lives for him are not his old parents, nor his trusted friends, but his young wife, who with the extreme gift of herself attests to the strength of a passion capable of going beyond death. Fabio Pisano's rewriting determines a new language, whose frame is an ancient chorus, which does not belong, or perhaps belongs too much, to the thoughts of a husband, a wife, a father, a friend, returning a lukewarm HADES

“Both from an aesthetic and ethical point of view, I perceive a growing distancing from the genre, in favour of drama. – explains Fabio Pisano. Today we are no longer able to internalize tragedies but we give them the name of "drama"; I believe, however, that this is not a simple formal error, but a deliberate desire to avoid the consequences that a tragedy, if recognized and named as such, brings with it. And so it is that the dramas of small things prevail, those small daily traumas that, however, mark and drag consequences over time; those small traumas so dear to the bourgeois drama that has "devoured", almost to the point of its disappearance, the tragedy.

ADE tries to do this, tries to put in front of a tragedy, the small dramas that the protagonists live or have lived, those who remain alive, while Alcestis is still there, exposed, as a warning or who knows perhaps, a trophy. Finally the chorus; the chorus or the voice of the people (as Euripides himself intends it in this tragedy); the chorus that assists, comments, praises the tragic gesture; the chorus the only trace, now increasingly faded, of a tragedy".

“The third crossing, planned in Sala Assoli, was the result of a long work of residence and reflection, starting from the aesthetics – continues Pisano. We will work only around the case, a funereal object and at the same time an exhibition of a body that no longer represents only the tragedy, but is a viaticum for every single, small drama. The costumes have been reworked, pursuing the goal of “discretion”, of “minimal”, working on the eternal and fascinating contrast between black and white. The lights by Cesare Accetta, in their wonderful and characterizing chiaroscuro will be adapted to the space: The new installation in Sala Assoli represents an opportunity to be able to work and think around the concept of stage space, no longer a determined rectangle, but an open place, full of escape routes, which can surround the spectator, giving him different points of view and no longer conventional positions”.