Chose a true story, crudelissima, long time ago, and has transformed it into a show among the most admired and applauded at the last Festival of Naples. Ronda of the children of ammon, which now opens the new season of House of Contemporary art in the Hall Solos of Naples from the 7 (and hopefully see you soon on tour), returns to the limelight Enzo Moscato in great shape, 71enne vibrant and creative to the fore from’82 and from then on regarded as the greatest playwright of the contemporary Naples (Pièce noire is his most famous work), for the strength of his language and narrative that draws on the neapolitan more popular, and its human stories. Here, as well as the director and the interpreter next to a nice company in which stands out the veteran Benedetto Casillo, Muscat signed a single act brilliant, because it also leads indirectly (it was written months before) the tragic true story that happened just a few weeks ago, in Milano, the child fell from the stairs of his school. “When I was little – tells – the my I signed up at elementary school ‘Emanuele Gianturco’ which was the institution of the Spanish Quarters, where we lived, a school cursed on which they weighed the legends or the truth for many decades”.
What are the legends?
“children, in different times, they threw themselves into the void from the railings inside of the last floors. Suicide of childhood, which is still today the older people remember. I wanted to transfer that sad sequence in the Naples of 1917 and there is a reason. It is the year of the defeat of Caporetto, when they were sent to die in our youth, little more than kids. I imagined these kids who will throw down a fear, a terror to grow up and die without purpose, by soldiers, during a battle”.
Fear of the future?
“Is an element that is common to the suicides of today to those of that time, a feeling suffused with a repudiation of the life because we live in times of great uncertainty”.
The size of his account is, however, more metaphysical, unreal than real, there are adults who become children again, as Kantor and the children are told by adults.
“Because Ronda of the children of Ammon is a grotesque return to life in the school ‘Emmanuel What’ ghosts now become adults. And I like being balanced on the right and reverse sides, as well as the word must be the meaning but also the signifier, or sound. Then there is that death is an ambiguous element in the neapolitan culture and I am proud of the culture that Naples has given, baroque, French, enlightenment. My references are not the writers of today that tell of Naples in the same way that they’d tell you Hong Kong but they are the greats of the past, Basile, henry vaughan, james… ”.
Not Eduardo?
“Every time a thespian in Naples you have to connect to Eduardo. But the question is more complicated. My neapolitan is very different from Eduardo. If anything it is more near to Viviani, who, being plebeian sinks in the roots of the city. Eduardo remains a great ethical, moral, even if sometimes it becomes moralistic, but I believe that the magnitude of the Eduardo-actor is incomparable to the author. I then, with the Breast, the Pistils, Annibale Ruccello then, I belong to the generation of the first graduates, not self-taught. We are not grown only on the lesson by heart the neapolitan, but on Genet and Artaud, whose concept is subversive of the theatre, not pacifying or bourgeois, has also become mine.”
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Carlo Verdelli SUBSCRIBERS TO REPUBLIC © Reproduction reserved Today on the Maneuver, here’s the first assault. The Room of a thousand amendments to Ilva, the three capital vices Ilva the last act, the Count prepares for the worst, but promises to Pd“, The company will not close” The hammock. More respect for the isobars
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