Nella Tempesta: scarica rassegna stampa

Nella Tempesta Prima assoluta 24-­‐27 maggio 2013 FestivalTransAmériques, Montrèal debutto europeo 20-­‐21 giugno 2013 Festival delle Colline Torinesi, Torino 26-­‐27 luglio 2013 Festival Drodesera, Dro 4 agosto 2013 La Biennale di Venezia -­‐ Festival Internazionale del Teatro, Venezia 20 settembre 2013 Festival di Terni 26-­‐27 ottobre 2013 Tenuta dello Scompiglio, Vorno 9-­‐10 novembre 2013 Teatro degli Atti, Rimini 20-­‐23 novembre 2013 Festival Mettre en Scène -­‐ Théâtre National de Bretagne, Rennes (F) 27-­‐28 novembre 2013 Le Lieu Unique, Nantes (F) 3 -­‐ 4 dicembre 2013 Festival Reims Scènes d'Europe -­‐ la Comédie de Reims (F) 23 gennaio 2014 Teatro Camploy, Verona 25 gennaio 2014 Teatro Astra, Vicenza 29-­‐30 gennaio 2014 Teatro Pubblico, Casalecchio di Reno -­‐ Bologna 10-­‐14 marzo 2014 Théâtre Paris Villette -­‐ Parc de La Villette, Parigi (F) 18-­‐19 marzo 2014 Festival VIA -­‐ Le Manège, Maubeuge (F) 25 marzo 2014 Hippodrome, Douai (F) 27-­‐28 marzo 2014 Vooruit, Gent (B) 3-­‐5 aprile 2014 Teatro Valle Occupato, Roma 9 aprile 2014 Teatro Diego Fabbri, Forlì 11 aprile 2014 Teatro al Parco, Parma 30 maggio 2014 rassegna Teatro Oltre, Teatro Rossini, Pesaro 18 luglio 2014 Santarcangelo •14 Festival 7-­‐9 ottobre 2014 Théâtre 140, Bruxelles (B) 17 gennaio 2015 Festival les Vagamondes -­‐ La Filature, Mulhouse (F) 20 gennaio 2015 Teatro Stabile del Veneto -­‐ Teatro Verdi, Padova 27 -­‐28 febbraio 2015 Teatro Cantieri Florida, Firenze 26 – 27 marzo 2015 Oslo Internasjonale Teaterfestival, Black Box Theatre, Oslo (No) 10 aprile 2015 Teatro Era, Pontedera 21 gennaio ‘15
15 dicembre ‘14
theaterpizzazz.com
14 dicembre ‘14
Nella Tempesta at La MaMa – Political
Drama At Its Finest.
By Marcina Zaccaria
Conceived and directed by Daniela Nicolo and Enrico Casagrande, Motus Theatre Company
presents Nella Tempesta, a brutal drama at La MaMa.
Nella Tempesta is the 3rd and final installment of the Tempest trilogy at La MaMa. Like
Shakespeare’s The Tempest, Nella Tempesta involves Prospero, the Duke of Milan, and Ariel.
The story and characters provide a great jumping off point for an experimental theater piece that
chips away at excess in order to expose a greater debate about power, control, and freedom.
Motus Theatre Company presented Alexis, A Greek Tragedy in January, 2012. With Nella Tempesta, the company presents rigorous theater that is unafraid of the larger inquiry into dynamics of
power and people. Calling out and screaming for justice is the mainstay of this drama. The actors
and crew are from many parts of Italy, including Ravenna, Livorno, Milan, and Rome. That blend
of sensibilities brings a complex debate to the stage. Motus also draws from experimental theater
legend, Judith Malina’s, concepts during the show.
This truly international piece has a signature style. Quick, jolty runs across are typical of the
dynamic movement patterns, with the actors dashing in and out of the light. Huge shadows are
projected on the back wall. The white stage creates a strong canvas on which the actors explore
power dynamics using enlarged images and a sense of scale.
Motus is unafraid of presenting images that speak to heart of the matter. Their discourse- although deconstructed- is not too difficult to follow, and they remind the audience about suffering, risk,
and human frailty. Booming classical music sometimes keeps the tensions high, while still bringing out the core meaning from the story. Political themes, social activism, and innovative choreography are the greatest strengths of the production. At one point in the play, a woman in a spectacled, purple jumpsuit explains the nature of power, and who she is when she embodies it.
It’s refreshing to see this kind of play at La MaMa. Plays like Nella Tempesta provide exactly the
kind of theater experience that keeps La MaMa so relevant. The piece has lighter moments, as
well. Motus uses blankets in a transformative way throughout the production. Blankets become
large capes for clothing and forts for shelter for the characters. They are also used for stunt. At
one point, the actors pile blankets high, in order to climb to greater heights and jump off. The
scruffy actors look like members of the American cast of television show, Survivor, stranded on an
island and unable to find new ground on which to land.
At the end of the show, one of the actors takes a tree limb and seems to walk out of the theater to
the subway, traveling though time. It is an effective moment of experimental theater. At the end of
the piece, the actors place the blankets in formation, like a distress call, asking “Is this my
Island?” Meanwhile, on the back wall, footage is projected from a protest in Rome in 2013. It is a
smart political gesture, and the footage from Italy sheds light on global immigration and the nature
of homeland.
17- 23 dicembre ‘14
18 dicembre ‘14
Motus, "tempesta"
a teatro
DI FRANCESCA GENTILE
NEW YORK. Non potevano arrivare a New York in un momento migliore, ovvero perfettamente in
linea con lo spirito de loro lavoro teatrale. I Motus, in scena all'Ellen Stewart Theatre fino a domenica
21 dicembre, sono piombati con tutta la loro forza e irriverenza, in una Grande Mela attaversata dalle
proteste per il caso Garner, contro la brutalità della polizia e il razzismo.
I newyorchesi hanno creato una tempesta nelle strade, mentre il gruppo italiano portava in palcoscenico lo spettacolo "Nella Tempesta".
Potrebbe sembrare un gioco di parole, ma non lo è: il grido "politico" dei Motus, davvero è impregnato
del più autentico impegno morale, è un grido che chiede giustizia e attenzione, così come hanno
chiesto i dimostranti nelle piazze d'America. E il loro messaggio di battaglia i Motus lo affidano simbolicamente alla voce ancora incisiva di Judith Malina che irrompe a metà della piéce: "Non bisogna
cercare di difendersi dalle tempeste, ma scatenarle!", dice la fondatrice del Living Theatre, sulle
barricate come se il tempo non fosse mai passato.
Gli autori e registi Daniela Nicolò e Enrico Casagrande si ispirano alla Tempesta di Shakespeare e al
testo, meno conosciuto, Una Tempesta di Aimé Césaire, adattamento del testo shakesperiano secondo una visione postcoloniale.
In un gioco di incastri e "spezzettamento" del testo, Ariel e Calibano, i servitori di Prospero, diventano
gli immigrati illegali nelle città italiane, i "sans papiers" delle banlieue francesi, i nuovi "servi" in cerca
di un riscatto e di riconoscimento. Sul corpo angoloso e androgino di Silvia Calderoni (magnifica Ariel),
leggiamo, come se fosse un "testo-corpo", il disagio di questa epoca presente. Ariel si sottrae e fugge
dall'occhio di Prospero (rappresentato con una luce che attraversa la scena) chiedendo di essere
liberata.
Si rotola sul pavimento, si contorce, cammina senza una meta, urla affinché questo errare abbia una
fine e una finalità. "Se non mi guardi, non grido", dice, perchè l'invisibilità è la vera condanna delle
vittime delle tempeste attuali.
Sulla parete sfilano infine le immagini di cronaca dei barconi che approdano a Lampedusa, c'è chi
riesce a sbarcare e ci sono le vittime. Sono questi i Calibano e le Ariel della porta accanto, che gridano
(ma li sentiamo?) per avere dei diritti.
Lo spettacolo, applauditissimo dal pubblico, è un prezioso appuntamento con una forma di teatro
andata in "disuso": il teatro dell'impegno e della denuncia che ha visto illustri protagonisti anche in
Italia.
Il viaggio politico e anche poetico dei Motus si conclude con la conquista dello spazio, "questa è la mia
isola", e con una domanda rivolta al pubblico "è questa terra mia?". Lotta per una riappropriazione
della vita o anche solo per poter esistere.
Bravi tutti gli interpreti, dalla già citata Silvia Calderoni, a Glen Caci, Ilenya Caleo, Fortunato Leccese e
Paola Stella Minni.
15 dicembre ‘14
Nella Tempesta
Conceived and Directed by Daniela Nicolo and Enrico Casagrande
Produced by Motus Theatre Company
Off Broadway, New play
Runs through 12.21.14
La MaMa's Ellen Stewart Theatre, 66 East 4th Street
by Keith Paul Medelis
A scene from Nella Tempesta. Photo by Tiziana Tomasulo
BOTTOM LINE: A mind expanding new production from Italy’s Motus Theatre Company that masterfully illuminates contemporary political and climate change issues alongside text borrowed from
Shakespeare.
I’d like to take this opportunity to offer some thoughts on how to view a production that so confuses
and overwhelms you, you aren’t sure what to make of it. In some ways, these are the productions that a
non-theater-going regular fears most. It’s all in Italian, after you’re seated you begin to realize there’s
been a camera filming you in the lobby that’s now being live streamed to us all, and we’re met with
overwhelming strobe lights to send the mind into instant frenzy.
I sit with pen poised, looking to jot down something for this review. Instead nothing comes. You can’t
take your eyes away from anything. And the advice would be just that. Allow yourself to have the
production wash over you, be afraid of it, laugh at it, and keep it with you for as long as it lasts. Which,
for me, is harrowingly present as I ride the train home, get underneath a blanket, and type this very
review. Nella Tempesta is a stunning piece of work that will leave you “even more confused as before” to
borrow text directly from some of the final supertitle moments. It proudly declares itself a pretty
“fucked up” version of The Tempest making no apologies for its overt propaganda, fractured text, and
intentional messiness.
Who does this earth belong to? That is the question we are drawn to. With politics I’m barely familiar
with, Motus inspires its Tempest with the struggles of migrants fleeing from low-lying countries currently being engulfed with water from climate change. It seems a great deal of conflict in their home
country of Italy. And an issue this production has forced me to readily examine, as the matter can only
get worse.
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Theatre is easy Theasy.com
15 dicembre ‘14
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It’s hard to single out any one performer as particularly exceptional as they all perform with such
commitment and power to both a role and a message. (It’s even harder to do so as they aren’t
identified by character in the program.) And it’s the crafting of what’s dubbed in the program as a
“moving-head” lighting instrument that’s truly stunning. This production is almost devoid of any
scenic elements and seems to be lit almost entirely by this one single light source that could easily
become a gimmick. Instead, it follows Ariel as if to search for him through invisibility, it showers a
glittery costume with light reminiscent of stars, and pelts us with powerful strobes that distort and
disrupt our vision of events. The design here is credited to Alessio Spirli who deserves some kind
of award for coolness.
What’s perhaps the most chilling and effective moment awaits us at the very end. A collection of
donated blankets has been assembled to form the words “This island is mine” to borrow from
Caliban’s words earlier in the play. To which things become masterfully rearranged to “This land is
mine?” A question mark of great importance. Is it? Who has the power here? Isn’t the earth all of
ours? Don’t we have an equal opportunity to protect it? Nay, a responsibility? And instead of
looking to Prospero’s final “charms are overthrown” monologue, Motus borrows from Miranda’s
“How beauteous mankind is! O brave new world / That has such people in’t!” It’s easy in this kind of
work to feel hopeless, overwhelmed and saturated with problems. Instead we’re left with tremendous hope that we are capable of, us, the beauteous mankind.
www.newyortheater.me
20 dicembre ‘14
Nella Tempesta at LaMaMa: Blankets as
Breathtaking Art (and Shakespeare Too)
They begin with a blanket – manipulated like a puppet by the actor it cloaks, it comes alive,
undulating in a fierce wind.
They end with blankets, formed to ask the question: Is this land mine?
In-between, the Italy-based Motus theater company’s avant-garde interpretation of
Shakespeare’s The Tempest offers…other blankets.
The audience at LaMaMa donated some of the blankets. Judith Malina of the Living Theater gave
one. We hear her recorded voice at one point during the show: “….everything is stopped and in a
way that’s worse than a tempest in which there is much movement and anxiousness and anxiety and
ideas.”
This is the third production of “The Tempest” at LaMaMa this season, and it is richly inventive and
visually arresting. It mixes in snippets of Shakespeare with text by a Shakespeare-inspired play by
Aime Cesaire — mostly spoken in Italian, with English subtitles. Prospero is portrayed by a spotlight,
sometimes a blinding light, sometimes a dizzying strobe light, casting terrifying shadows. There are
videos of a protest march in Rome for the rights of African immigrants, and a protest march in New
York for the rights of African-American men. There are reminiscences by members of the company:
Gleni Caci recalls memories of the people’s revolt in his native Albania when he was 10 years old,
and how he bought a Michael Jackson cassette with a picture of a statue of Michael Jackson
“shirtless, his arm raised….His fist clenched….was Michael Jackson a communist?”
“No,” says company colleague Silvia Calderoni, “it’s the cover of Bad.”
But it’s the blankets that make this show so breathtaking. The blankets comfort, and buffet and
transport us.
StageVoices.com
22 dicembre ‘14
MOTUS THEATRE COMPANY: ‘NELLA TEMPESTA’ (‘THE
TEMPEST’) - REVIEW FROM NEW YORK
“I’m not a prose actor,” one of the charged, young dancers tells us, in an aside, in Nella
Tempesta, a physicalized meditation on Shakespeare’s The Tempest (the happening
was presented at La Mama, from December 11-21). The leading character, no longer
the banished Prospero, is Ariel, waiting, in despair, for freedom. Shakespeare’s language is largely gone, too. Alternatively, we hear, in voiceover, “the storm . . . is the people.
. . . The people are the storm. . . . Thoughts are power. It’s the people that are the
storm. They can explode at any time.” Should The Living Theater come to mind-during this 80-minute program of blinding strobe lights, camcorders recording us,
committed youth action, interviews given by refugees, and blanket collections for the
homeless and dispossessed—viewers will be happy to know that Judith Malina’s blanket is on hand. We also hear her disembodied voice: “I think we are in a holding
pattern. It’s too static. It has to blow up.” Whatever happened to American theatre of
political action anyway? Why are there too many fake retreads on the downtown
theatre scene? I wish I could hold up Motus Theatre Company as an antidote. Unfortunately, the troupe is from Padua, Italy. Perhaps the most unusual Christmas spectacular going—with a foul-mouthed Miranda and an Ariel of indeterminate sex--the play's
anarchy can sometimes remind of Fellini. Another young actor sums up the zeitgeist:
“Let’s occupy everything.
When are you coming back, Motus?!
!"#!$%&'()!!*"+
!
!
!!!!!
!"!#$%&'()*+
Motus - Nella tempesta
!
!
di Renata Savo
!!!!!
Dal Living Theatre al presente,
passando per Shakespeare,
i Motus stimolano una
riflesione sul potere del teatro
e sulla sua possibilità di
avviare le trasformazioni.
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!
Puisque le théâtre est inséparable de la vie, les comédiens de Motus expérimentent leurs rôles de
personnage comme leur propre trajectoire personnelle. Ce sont des êtres qui se cherchent en
même temps qu'ils cherchent un théâtre qui provoquerait des tempêtes, pour que ses vagues
déferlent sur les spectateurs et hors des théâtres. Glen et Silvia se présentent sur scène, dans l'ici et
le maintenant, comme des esclaves, l'un obsédé par le passé, l'autre par le futur. Pour eux s'agit-il
de faire le choix de partir ou de rester, et celui de l'indépendance. L'action, l'engagement, se passe
sur scène et hors scène, à l'image des couvertures utilisées pour la scénographie. Celles-ci serviront
de dons pour des associations œuvrant pour les plus démunis, les spectateurs étant de même
conviés à en apporter. Se cherche alors une écriture contemporaine où le temps scénique, qui
nécessite le mouvement, ne doit pas s'arrêter à la porte du théâtre. De même que l'espace scénique
est soumis au changement, à la vue de Silvia qui traîne un arbre dans les rues de Lampedusa pour
faire entorse à l'ordre du quotidien. Sur le plateau, du mouvement, de la danse, de saisissantes
images de lucioles, et que d'imagination déployée afin de jouer les vagues, le tonnerre, le vent...
Toute cette texture théâtrale, dense, s'écoule d'un rythme fluide, vivifiée par la verve des arpèges
de la Sonate « La Tempête » de Beethoven, ou la puissante mélodie chaloupée de "Riders on the
Storm" des Doors. Au jeu tout en énergie et en souplesse, les comédiens sont émouvants de fragilité et de charisme, tant Glen Çaçi, avec ses airs dignement maniérés, que Silvia Calderoni, avec son
corps androgyne, sa voix chantante au timbre troublant.
En langue italienne surtitrée, Nella Tempesta de Motus suscite un émerveillement qui tient d'une
esthétique théâtrale poétique ravissante, et d'un propos à la fois profond et impalpable. Se dégage
tant de fraîcheur, d'énergie insufflée, un je-ne-sais-quoi de vie en soi, qu'on en ressort régénéré.
!"#!$%&&'()!*+,
!
!
!!!!!
Anno III, n°12
ottobre -dicembre 2013
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#'*+!(-%+!*.!&'(!%+13+0%(6!!
JJJ
Anno III, n°12
ottobre -dicembre 2013
!
!
!!!!!
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(&8#-6/!)!,$!E)1E&$#$:!
JJJ
Anno III, n°12
ottobre -dicembre 2013
!
!
!!!!!
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"Qual è il primo rifugio dopo un uragano, un naufragio o un conflitto bellico?
La risposta più immediata è sata: una coperta. E la coperta è anche l'oggetto più semplice da raccogliere
e re-distribuire nelle città..."
Una coperta. Per ogni spettatore. Questo l'invito che la compagnia ha rivolto al pubblico. Partendo dal
presupposto che sia necessario ripartire dall'essenziale per ricostruirsi, Motus allestisce il suo ultimo
lavoro in uno spazio bianco, vuoto, raso al suolo dall'ultima tempesta... un luogo distrutto da cui ricominciare a creare. Unico elemento di supporto: la coperta appunto. Una moltitudine di coperte che ogni
partecipante al "rito" avrebbe donato alla scena per la durata dello spettacolo per poi vederla regalata
agli enti di beneficenza locali.
Coperte che vivono, creano un linguaggio poetico di impatto visivo: evocano l'irrequietezza del mare,
riproducono il frastuono dei tuoni, si uniscono a formare uno scoglio a cui aggrapparsi, una tenda in cui
ripararsi, un trono su cui ergersi, un mantello con cui svelarsi, un bozzolo in cui trasformarsi. Coperte che
testimoniano anche una precisa scelta politica: un contestare lo spreco di denaro per la produzione di
scenografie maestose, destinate a diventare detriti in qualche magazzino. Coperte che diventano simbolo esplicito del primo aiuto offerto a chi approda sulle nostre terre dopo una fuga per mare.
"Nella Tempesta" comprende più piani, come già nei lavori precedenti, più strati in cui scavare e ritrovarsi:
si parte dal testo shakespeariano, sviscerando in particolare i rapporti di potere tra Prospero, Ariel e
Calibano, si passa per la rilettura post-coloniale che ne fece Aimé Césaire nel '68 fino ad arrivare a chiari
riferimenti all'uragano Sandy (di cui la stessa compagnia è stata vittima), alla tempesta economica che ci
scuote incessantemente di questi tempi, agli sbarchi a Lampedusa e alle recenti turbolenze rivoluzionarie degli Indignados, di Occupy Wall Street e dei movimenti Nord Africani e brasiliani.
In un continuo vestire e svestire i panni dei personaggi de 'La tempesta', i cinque interpreti entrano ed
escono dal testo shakespeariano rendendosi protagonisti di qualsiasi altra possibile tempesta. Passaggi
a volte poco netti, amalgamati in un piano quasi quotidiano in cui si perdono le parole di Shakespeare e
soprattutto la grandezza dei suoi personaggi. Ma il gioco metateatrale regge, e chi assiste è sempre coinvolto, interrogato direttamente. Silvia Calderoni è un'Ariel tormentata che cerca nel passaggio tra tutte
queste 'tempeste possibili' gli elementi necessari per scatenarne di nuove, perché 'generare vento' è
l'unico modo per non subirlo, l'unico modo per liberarsi e liberare, per spostare e cambiare punto di
vista, come accade al pubblico esortato nel finale a lasciare le proprie poltrone-scoglio e a gettarsi nella
scena prendendo finalmente una posizione attiva.
D. G.
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http://mamereetaithipster.com
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