Claudio Santamaria is Gospodin, an anti-hero who lives by rejecting the concept of money between surreal and paradoxical misadventures
At the Bellini Theater (on stage until the 24 January) has arrived Gospodin, the anarchist and rebellious anti-hero protagonist of the novel of the same name by contemporary German playwright Philipp Löhle. To play it a bizarre, stubborn and utopian Claudio Santamaria that moves incessantly in a hyper-technological and chameleonic scenographic structure expertly studied and designed by the director Giorgio Barberio Corsetti.
The story of Gospodin it's at times paradoxical and surreal, but it could not be closer to our times and our ways of dealing with life, too tied to the concept of money, capitalism and "working to earn money". Instead, Gospodin tried to build a different and alternative universe around himself, rejecting money and material goods. His house is furnished with very few and very banal pieces of furniture, his days are marked by walks in the city with his llama, living off the tips that passers-by offer him. Gospodin does not work and does not want to work for a capitalist company.
But all this is destined to change when Greenpeace takes the lama away from him, when his girlfriend decides to leave him only by taking away those few pieces of furniture he owned, and when his best friend, passionate about art installations, takes possession of his appliances. to create". From that moment Gospodin enters a state of total impassivity, stubbornly not wanting to look for a job to live on, not trying to persuade his fiancée to return and refusing to receive help from a bizarre and extravagant gallery of friends and family, all considered Superficial and material “borghesucci” ("Is it possible that I'm the only one who thinks this way?").
Everything changes when a delinquent friend gives him a briefcase full of money on which everyone points their eyes but which Gospodin does not want to use. To fully obey his anti-capitalist ethical principles, he will decide to surrender himself to the law and end up in prison, where finally his ideal of life can be realized, where money will not limit people's choices and where the bars, paradoxically, they will finally guarantee his freedom.
A frame and a dramaturgical machine to the misadventures of the extravagant life of Gospodin multimedia scenography made of panels on which images, graphic animation and videomapping are projected that transform the scene from time to time indoors or outdoors, in Gospodin's house or in the city "jungle", which could be one of the cities we live in, where the protagonist runs, escapes, jumps and walks, constantly chased by the ghosts of a world he does not want to accept. A scenographic set-up that constantly dialogues with the narration, with Gospodin's moods and musical rhythms, articulating the narration performed by two actors / presenters who tell, in the most Brechtian of dramaturgical solutions, the situations and episodes experienced by the protagonist, sometimes passing the word directly to him with a microphone.
Attending Gospodin means identifying with an extreme and over the top character, too far from our conception of life, only to discover that, after all, Gospodin reflects our own convictions, a poetic and paradoxical invention that lives in each of us: "We are Gospodin, when we want to give up everything and live in peace, without the conditioning, the pressure of the gain ... Gospodin is comical, it is tragic, it is now ...".
