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The Fellowship of the escaped prisoners or the theater of the body and the dream

In a time of crisis (of ideas and resources) of the theater glad to make discoveries in geographically unexpected phenomena of art as a stage of some level. The territory is the province of La Spezia, exactly in the heart of Lunigiana Castelnuovo Magra where they have never really emerged having the force of the national art.

The escapees were born in 2002 the will of Matteo Ridolfi, Alessandro Vanelli, William Cidale, David Notarantonio, Elena, Alessandra Mele Carnacina and then Paola Lungo. A utodefinitisi always non-professional (not amateur ..) Measurement registers and repertoires (from cabaret to theater name) with time GL EVADED I have achieved all without distinction, albeit with features interpretive diverse, un notevole livello attoriale, con oltre venti produzioni alle spalle e numerosi premi. Come non riconoscere la verve accattivante di Matteo Ridolfi nelle sue impagabili parodie di family comedy all’italiana, quella esilarante di Notarantonio, quella infaticabile di Alessandro Vanello serio scrutatore degli animi umani ma anche “comico dell’arte” e in generale, come non riconoscere il valore dell’impegno della compagnia a educare a una coscienza civile più matura che trapela non solo nella scrittura originale, dalla scelta dei testi ma anche nell’organizzazione di un’eccellente Festival di teatro non professionista as TEATRIKA Castelnuovo?

The escapees have a history interesting that binds to two permanent presence of relief, those with a background actor Mark Balma respectable (author / actor / award-winning director) and that of twenty years of experience in the field of Alberto Cariola that comes from studies of Barba's Odin Theatre and the third, then tied to the idea of \u200b\u200btheater as a manifestation of the culture of a people, living material that penetrates into the relationships social, not separated from the collective context. Past for shows that have had a considerable weight to the public and later journalism, with stories related strictly to the local memory, staged in 2007, a touching representation of a dramatic episode of life of the territory in which they were winners of the national festival in Castelfranco and San Miniato, now also become a film.

The Fellowship of the escaped prisoners so it requires a national level with this dramatic "Buried Alive", a true story of protest in the Lunigiana infamous for working conditions in the mine in 1953 resulted in a "demo car burial in the tunnels "by a handful of brave, well written and well expressed theatrically, which had considerable merit, to be accepted and distributed dalle istituzioni legate al lavoro come l’Inail. Una storia vecchia e dimenticata ma non dai vecchi che non dimenticano. E che raccontano. Così si passa dall’oralità alla scena. Dai fatti alla memoria dei fatti, tramandando ricordi sottili come la carta velina. Una coraggioso e importante prova di teatro civile in cui gli attori hanno restituito la rabbia, lo sconforto, il terrore del lavorare in miniera. Dicono di questo spettacolo:

“ Siamo nel ’36, alle porte della seconda Guerra Mondiale. Siamo nell’Italia autarchica di Mussolini dove c’è bisogno di tutto quello che il territorio può dare alla nazione. Siamo nella Piana di Luni. A place that suddenly turns out to be very valuable, because here you can extract the lignite, a poor relation of coal. There's a war and the imperative is to produce! It is produced in the same way that you die: without restraint, without rules. In fact, if the industry draws huge benefits, the miners die exploited, digging drowned in their own sweat, if not crushed by the feet of earth separating them from the sky. This is life in the wells one day after another, after another three feet, bowing to scrape the bowels of the earth in tunnels too narrow, too hot and with little or no compliance with costly safety regulations, useful "only" to preserve the lives of miners and the longevity of the mine, useless for a company looking to profit and paid a progress meter at least once a day. Fire, explosion, subsidence and landslides were the norm, like death. "

The message is far and landed in their carnet have put together multiple replicas of a professional national company, wherever they were on the bill, the show created the debate, aroused the conscience, ignited minds. And everywhere was sold out with no communication of social networks but the most effective ritual passa parola di chi li ha visti e vuole che altri vedano. A conoscerli c’è in loro qualcosa che nel teatro professionista si è in parte, perso: la volontà coesiva, la curiosità di imparare, il mutuo sostegno, l’ascolto al maestro.

Alberto Cariola è diventato il loro méntore, garantendo un passaggio di saperi tecnici, gesti, intonazioni, fatto non ad Ostelbro ma a Castelnuovo Magra. Una piacevole scoperta dunque questo nuovo lavoro, FATA-favola per adulti. La storia di un passaggio da giovinetta a donna con i fantasmi e gli incubi che abitano le litanie, le fiabe, le epopee di all times. Demons and guardian angels, mirrors and unconscious desires that materialize making masks of the East and West. Those black and white, humpbacked, strolling players and straight. An hour and fifty strong representation with the audience spellbound, put in the middle of a continuous passage of dreams materialized, forests and adventure where venture, first of all an adventure of love. The "Great" threshold, the rite of passage is sealed with clear symbols (doors, Limin woods) and the charming but naive young girl, Honey, is primed and cultured in a trap as in fairy tales: based on "Lo Cunto de li cunti ie Pentamerone" Giovanbattista Basile, the text was the "launching pad" for intensive work on the voice, rhythm, physical action. With the joy of saying, their bodies bent to mimic expression of comedy "suddenly" of yore, with scary masks and Vanello Cariola and obligations, the escapees revive the dream time where easy to track down a memory wild, archaic.

Cariola said Albert, who wrote and directed the work

the summer of 2006 we had the idea to take care of fables, just in those stories where a "walk, walk, give him magic items, kill dragons and orcs and saving princesses. But we realized that, in addition to fairy tales with a happy ending for the children, there are a whole series of fairy tales, from people all over the globe, much more raw, violent, sensual, paradoxically, more real. We realized that we were interested in working on the dark side of fairytale topography, where the journey of the hero / heroine provides the experience of the dark, blood, fear, falsehood, suffering, as well to that of friendship, magic and love.

life fairy tale is a place of wonder, but you can tell the real life fairy tale in the language of a fairy-tale structure? We tried taking the first language of Basile, while being guided by leading scholars of the genre, trying to build a text in which "the word can do everything, but, as happens when a fairy intervenes, changes sign in every situation, because There is never only one side of reality, but there is also the opposite, as necessario. L’Orco non sempre è cattivo, il Principe non sempre è buono, a volte chi ti da consigli, ti prende in giro, chi ti prende in giro, ti vuole bene. La preparazione, per quanto riguarda testo e regia, è partita dalla lettura di oltre 3200 favole di differenti aree geografiche e dall’ideazione dello scenario generale. Così Fata racconta la notte del giorno in cui Miele, un omaggio a Milo Manara, scopre di essere innamorata e sogna; tutto quello che sogna si materializza nella sua camera.

Riavvicinandosi fatalmente FATA with Odin, Cariola with Voice in the Mirror offers a theater radiant symbols, myths and a repertoire of collective muscles, nerves, bones and moods. Almost frantic pace from Taranto, a primitive rite / modern made in the Province, the crucible generally mediocre performing activities, pace of those who "administer" the culture of the people. I remember one critic about art Odin said the capacity of actors to be a "dream body", flexible forms of matter: I do not know if it's processed, non-professional company, have had this type of training, but the really excellent result that is achieved can be understood (even) as well.