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"Les Adieux! Words saved from the flames"



project
Lisa Ferlazzo Natoli Gianluca Ruggieri
the director and narrator Lisa Ferlazzo Natoli
musical direction and percussion Gianluca Ruggeri
assistant director Alice Palazzi
care images Maddalena Parise


"It is only by the voices
understand such struggles, there, such as wounds ..."
Osip Maendel'stam
Blok heartbreak; Esenin suicide, hanging in the odor of murder, Mayakovsky, only a pistol. Pasternak a long long exile. How
Hawks in flight, we shot on the verse and biographies, to throw and then dive on what had attracted our attention: a cadence, a move his early life and the last part of their lives, and through poetry has preserved the integrity of a house, a radicatissimo deep sense of soul, of resistance and of their land.
In that passage from one era to another that it was the October Revolution, in the midst of a world of before and one after - there is a mutation that sheds new foundations on the ruins of Great Russia, a hint of the future, and already in a contradiction, a fault from which date back to ancient roots. These two Russias tried of an alliance and is on the threshold between these two times that have disintegrated, abandoned by their homeland in the Revolution turned into a Soviet as "any island of St. Helena," Yesenin writes: "It is difficult to fit into a living being" . Whether singing
Esenin colors and long stretches of the Russian steppes, or Mayakovsky to steal the city street lights and illuminated signs, is in their lines like a flavor that has the rhythm of many drums and the refrain of a ballad popular attraction for a remote past of the future presented in the mesh. It's called a nose for history, vision, brings the gift of a sharp intuition for subtle trends cataclysms a dance on the edge of the abyss voluntary.
We imagined a sort of quadrilateral: memory and a hairdryer, an imprint of the spirit and direction of lines and stormy life that has brought them to the end. The score will go towards an abandonment - Les Adieux, in fact - moving progression of abstraction on the matter and the earth, from familiar landscapes to unknown territories, returning only to leave as possible, that of a word that is home, even parent that of the end of nostalgia.
Bells, ding-dong-nio memories scattered to the wind, the roar of a thousand drums, patches of blades and foil, steel that is pressed into the throat, the breath of ancient songs, singing with that The wind whistles, jingle bells and rolling balls, soft echoing thunder. Storm that changed the world, and come back in future carcasses of cars and debris in remote sounds pompous.
Blok - "The Merry biting cold wind and play happy with the traveler, ripping cloaks sign holder above the people, all the constitutional powers"
Esenin - "I want to live, live, live / live to fear and pain (...) In a flame blue eyes brightened, the wind / To teach me love of heaven, / teach me and I'll do anything / anything to tinkle in the garden of men "
Mayakovsky -" You tear the soul and trample it to be bigger, and I will give bloody, like a flag "
Pasternak -" ... related to everything that exists, convincing and attending the daily life in the future, you can not avoid in the end an incredible simplicity, but we will not be saved if we can not keep it a secret, more than any thing is necessary to men, but they intend to make all this is that whole "

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Rise and Fall of the City of Mahagonny, var. Step one in Naples


" Keep in mind: first of all there is to eat, then we will love, boxing, do not forget the third, fourth Drinking as long as you like. "They are the only rules to follow in Mahagonny," the city without a soul "conceived by Brecht. Now Lisa Ferlazzo Natoli suitable text for an exhibition that brings together the city Naples Brechtian thinking on urban planning: where lies the true soul of a city?

Produced by the Naples Theatre Festival, Italy, The Rise and Fall of the City of Mahagonny, var. Step 1 in Naples, directed by Lisa Ferlazzo Natoli will be staged at the Real Albergo dei Poveri. Written by Bertolt Brecht and Kurt Weill in 1929, the play is a reflection on the degeneration of the twentieth century, violence and greed of capitalism and corruption across Europe. Mahagonny is one of many metaphors of Brecht, in which the complaint policy and social bursts onto the scene with his epic and grotesque figures of beggars and murderers, exploiters and exploited. The city of Brecht, who in the "pleasure principle" finds its foundation and its destruction, engages in dialogue with the metropolis of the Gulf, marked by cultural stratification that over the centuries have so strongly influenced its history. That's why Lisa Ferlazzo Natoli innervates Brecht's narrative on the plant a series of "distractions" of images and anecdotes Neapolitan, in search of a common thread that unites Netzestadt, the city without a soul-trap, the urban utopias of Naples. The show is divided into two stages: first to take place on the sidelines of the court, the public will pass through an installation-exhibition in which, between Naples and images of objects found within the same Real Albergo dei Poveri, there will be a "prologue" made up of fragments silent evidence of stratification of the time citizen. "It was immediately clear to us that a dedication to Naples was also an excuse to go back to where we started: the concept of cities - maps in its history and architecture - and the polis, as an act of imaginative construction, at a time. What strikes us immediately of a city, without any awareness of exactly? Perhaps a certain angle of light that the buildings can still be pass. Mahagonny is after the polls, has no center or territory, has no "a" light, if not the artificial staging, comes from nowhere and disappears into thin air, it's all recorded in 900, black mass of urban capitalism has been able to build. So we put together a map, a private catalog and make-up, following the invisible architecture of Naples and especially the Ways of Walking, like moles digging blindly bridges metropolitan cemeteries funicular tangential great arteries, assuming that the movement, the mobile architecture , the crossing point could be the first narrative. This is conjecture el'impostura: it's like Naples - explicitly and exemplary, in virtue of which we continue to be mobilized again unrecognizable and yet the same, many of its urban, architectural utopias ever made, or those just dis-residential buildings, and overlap of its proceed to shell, of urban development plans that change over one night - had at its center - or we may call flap, fold? - A drain that, if uncovered, would be able to "liberate" a Mahagonny, and that this, staging, suck the residue that remains for the future of every city in the far western roots. Mahagonny is in fact a culinary sideshow, tacked to entertain, always moving, and says without a trace of sadness that the city today as yesterday they sell are suitable and are, to be auctioned as a fair, change conformation to anger or self-interest. Having fun is turn our gaze to look at Naples, which is being done right on the same stage, and designs a new suit every day and every night sinks to turn into another or disappear. I remember now that all the works of Brecht implicitly closes with the phrase "Seek the way out," it seems highly appropriate to our unique journeys Neapolitan. "

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