Moni Ovadia: teatro della morte, teatro della vita

Every theatrical production by Moni Ovadia highlights his social and cultural intentions, but above all his works display the diverse principals of his theatre and his exclusive dramatic style. In October 2000, after having attended the rehearsals for the Banker Errant, I decided it would be appropriate to interview Moni Ovadia in an attempt to bring out any elements of this play which would tie him both to the traditions of Jewish theatre and to the major directors of the twentieth century. From this conversation emerges the idea of theatrical experimentation open to varied contaminations which are brought together by words, stories and music. The Jewish universe and Yiddish theatre, with its tales, music and songs, coexist alongside a political and idealogical dimension directly linked to Brecht and Kantor.