a study by the context of Leonardo Sciascia
project director Lisa Ferlazzo Natoli
assistant director Angrisani Monica and Alice Palazzi
stage writing collective
with
Simone Brown Simone Barraco Kadia Baston Selene D'Alessandro Giordano Matteo Di Palma Latino Leccese Imma Lombardi Chiara Fortunato Lombardo Emamuela Lumare Fabio Nardo Cristhian Monaco Ramona Elisa Piscitelli Porciatti
plot
Un giudice viene ucciso misteriosamente e il commissario Rogas, poliziotto con vocazione da intellettuale, è incaricato d'indagare; le ricerche sembrano implicare membri del partito rivoluzionario, per cui il commissario ha una certa simpatia. Ma Rogas ha dei dubbi che vi siano ragioni politiche dietro l’assassinio e, mentre altri giudici vengono inesorabilmente ammazzati, Rogas risale ad un possibile colpevole, il farmacista Cres. E’ forse la vendetta privata di un innocente contro l'ordine giudiziario. Nel corso delle lente e minute indagini il commissario si scopre manipolato dagli alti ranghi della politica, persino dal cosiddetto partito rivoluzionario: proprio nessuno vuole un anonymous manager points the finger at the judges, much more useful to foreshadow an attack on the state and defending their privileges.
Cres will never be found, had become almost invisible, and that the pharmacist-Rogas has almost come to share the reasons - you realize that the revolution as promoted by the revolutionary party has already been moved out of prudence in date to be determined. The commissioner may kill the party secretary, perhaps unwisely will end in a trap of the secret services, certainly will be found dead and a culprit in more remain unknown.
notes
Fables of the dictatorship - always Sciascia - the name that immediately took our jobs, how to accompany a text made up of rooms, clustered around a square to the nodes and small stories that have gradually solidifying in the work of improvisation and drama around Context .
The themes of justice and murder Context-revolution-but big things stuck in a little story, concrete, changeable, full of space because one should add the writing of the actors, this has allowed us to find a red thread on the track error judiciary, and embed it in micro stories taken from the novel and stolen the imagination of young actors.
I immediately imagined a choral performance and the landscape upon which it could build: always public place, be it a waiting room, a train or a church built and modified by the fourteen players available, with only so many chairs. An open space, public note, always shared and known to the memory of the beholder, which look like the audience to be involved in the story, part of that world of "men and ominicchi quaquaraquà" mentioned Sciascia.
It is coming off a first foray into the story of The context, incomplete and sometimes arbitrary as the objects in a private collection, related more to an emotional similarity and constant desire to return the novel to its eerie subtitle, "a parody". A study in fact.
Sciascia reminded us of where we came from, because it goes through the folds of Italian history and pitfalls in a minute, as a craftsman and the watchful eye of an investigator, picks up this 'past that does not pass', a beautiful and terrible, in a network of different stories about the investigation conducted, the inquisition short form of justice ed'abuso, where power crushes its victims, making a nation of conniving.
It gave us tools to work on a first-rate stage: the detective story, enclosed area with strict rules, that the writer himself uses and trade-and that always involves a crime, the breaking point by which the ' action becomes thick and visible, and under whose track lies a civic political thought and philosophy, by keeping a concrete disturbing.
And especially the language, the magnifying glass on words and concepts that we are or we 'up rapidly,' the use of writing as an attempt at resistance, a heretic, the etymology of the word, 'man who made a Choice ', its so light and precise language, the beautiful Italian from Sicily, who knew the origins and the weight of words.
Fourteen chairs, the words of Sciascia, and a good time to reflect and try. We started from here.
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