Data di Pubblicazione:
2012
Abstract:
A certain theatrical play is not always suitable for every audience.
The level of awareness reached by the spectators about the very fact of
theatregoing strongly depends on where they live. Due to economic situation
and to dramatic literacy, it is most probably a matter of environment.
If the question is whether a certain play can be proved to be relevant (more than simply suitable) in one country as well as in
another, it goes without saying that an answer can be infinitely more tricky and hard to find. Contrary to what one might think, this
“difficulty of placement” into a global audience's imagery can be even more evident when the play deals not with private and
intimate issues, but with those weightier topics which every country is forced to face. This short preamble brings up a consideration about how complex it is to be a critic of a transnational production in contemporary
Europe and how that very experience can challenge a critic’s analysis. My example is a joint project launched in February 2012 by
the Teatro Stabile di Torino (the main statesubsidized theatre in Turin, Italy) and Volksbühne am RosaLuxemburg Platz in Berlin,
Germany around two separated stagings of Bertolt Brecht's Fatzer Fragment (Italian version directed by Fabrizio Arcuri and
German version by René Pollesch).
The level of awareness reached by the spectators about the very fact of
theatregoing strongly depends on where they live. Due to economic situation
and to dramatic literacy, it is most probably a matter of environment.
If the question is whether a certain play can be proved to be relevant (more than simply suitable) in one country as well as in
another, it goes without saying that an answer can be infinitely more tricky and hard to find. Contrary to what one might think, this
“difficulty of placement” into a global audience's imagery can be even more evident when the play deals not with private and
intimate issues, but with those weightier topics which every country is forced to face. This short preamble brings up a consideration about how complex it is to be a critic of a transnational production in contemporary
Europe and how that very experience can challenge a critic’s analysis. My example is a joint project launched in February 2012 by
the Teatro Stabile di Torino (the main statesubsidized theatre in Turin, Italy) and Volksbühne am RosaLuxemburg Platz in Berlin,
Germany around two separated stagings of Bertolt Brecht's Fatzer Fragment (Italian version directed by Fabrizio Arcuri and
German version by René Pollesch).
Tipologia CRIS:
1.1 Articolo in rivista
Elenco autori:
LO GATTO, Sergio
Link alla scheda completa:
Pubblicato in: