A new show by Antonio Rezza, all on the edge of the absurd and surreal: it is Anelante at the Bellini Theater in Naples.
The 29 November 2016, al Teatro Bellini in Naples, the premiere of Antonio Rezza's new show, Anelante, was held. It will go on stage until December 4 and, as with every work of the Roman artist, it was created in collaboration with Flavia Mastrella.
Anelante is the seventh work of the artistic duo and presents some novelty elements compared to previous ones. The main concerns the number of actors on stage: while in the past only Rezza was the absolute protagonist of the stage (even if in Fratto X, for some parts, he shared it with the excellent Ivan Bellavista), in Anelante they are well 4 the characters that support him. And, other fracture than in the past, these actors also speak and move in a frenetic and dynamic way on the scene.
This decision allows Rezza to interact in a different way and to carry on choral skits, despite often the other characters seem nothing but his projections.
Regarding the scenography, theHabitat (the environment, the arrangement of the scenographic elements on the stage) is, as always, created by Flavia Mastrella and this time it is made up of a series of panels that are dismantled and reassembled at will on the stage, depending on the needs of the scene. Most of the time they are flanked so as to form windows and doors from which the characters appear, appear and disappear helping Rezza to realize unreal and fun episodes of absence-presence.
This is the case of one of the very first situations staged, one in which the great of the Earth gather for the G20, soon transformed into G15, G13 and G8, to reach the final and necessary choice of G5 due to the lack of the number of participants. An encounter made almost impossible by the I keep disappearing and reappearing of those present from the windows of the habitat on the stage.
The themes
Politics and power are just one of the topics dealt with, even if it is difficult, in a show by Rezza, to talk about well-defined themes that are touched. In fact, the multifaceted artist has always accustomed us to the nonlinearity in his shows, al surrealism and to the paradoxical, to a series of staged situations almost always unrelated to each other, which carry the public to ask what the link can be. A question that, for those who know the way to make theater of Rezza-Mastrella, it makes no sense to ask why the themes underlying the shows are born directly from the body of the Roman actor to make an impact on the mind and soul of the spectators.
And even with Anelante the mechanism is the same, although it is possible to extrapolate a series of topics that are addressed gradually. Policy, religion, work, pensions, the meaning of life, but above all necrophilia, pedophilia, homosexuality and the theme of sex in general, using mainly the Freudian psychology, almost the real thread of the evening. So much so that one of the highlights of Anelante is a kind of wakefulness in which the deceased continually comes violated, as they come violated even those present. All while the character played by Rezza remembers his childhood, which was also violated, and thus that of those who support him.
A difficulty of which one blames himself Freud "whose luck comes from the fact that at a certain point of the day people get sleepy”And which made all of us believe we were in love with our parents. A sort of condemnation that could force us to live almost with thenightmare to sleep. And here it is one of the other characters in the show is terrified of falling asleep and to avoid it, he speaks continuously. A little talk that prevents him from reading (rather, to understand while he reads, so much so that even during reading he continues to speak, without actually reading the written words), but also to listen to others. And even the mathematician of the opening scene does nothing but speak, identifying with numbers, equations and hypotheses quite surreal.
Conclusion
In short, Anelante is like a stream that drags us, a show that does not have a topic, but which at the same time has many all unrelated. Yet for the spectator it is never a problem: one is not pushed to ask oneself what the spectator is talking about, one is simply overwhelmed and laughter, even a little cynical, is the only possible answer to the sense of transience of life that seems to emerge from all this.
To know the prices of the show, consult the our article.
