The representation of Dante’s “Paradiso” by Martinelli and Montanari for the Ravenna Festival continues until 8 July

After the first three performances – on 24th, 25th, 26th June – and the break on Monday 27th, tonight 28th June the final act of the Dante trilogy by Marco Martinelli and Ermanna Montanari returns for the Ravenna Festival. The reruns will continue until July 8 (every day except Monday) from Dante’s Tomb at 8pm.

Hell is real, the atrocious industriousness of which will continue even after the Day of Judgment. The mountain of Purgatory is also tangible, but it will vanish at the end of time, when even the last soul will have soared towards the sky. And Heaven? A heavenly script, an admirable show set up for the spectator Dante. In short, theater. Theater that, in the commission of the Ravenna Festival to Marco Martinelli and Ermanna Montanari, becomes itinerant and musical, the city a stage, the citizens – six hundred this year – involved in all phases of the Dante yard.

Paradiso Martinelli Montanari
Paradiso Martinelli Montanari

The journey that began in 2017 with Inferno, continued with Purgatory in 2019, ends with Paradiso, the last leaf of the triptych Public call for the Divine Comedy. It starts at 8pm from Dante’s Tomb up to immerse yourself in the lively vortex of souls in the Public Gardens – overlooked by the harmonious Renaissance architecture of the Loggetta Lombardesca – with music by Luigi Ceccarelli, lights by Fabio Sajiz, scenes and costumes by the students of the Brera Academy. At the center of this new colossal production of the Festival, in collaboration with Teatro delle Albe / Ravenna Teatro and with the extraordinary contribution of the Municipality of Ravenna, there is the word “joy”, because Heaven is the song of joy that becomes sound , dance, Dionysian feast, a hymn to the transfigured flesh – “between flesh and heaven,” to quote Pasolini.

“This Dante’s path reinforces a vision that has sustained our work for decades: theater lives if it knows how to make itself ‘art’ in dialogue with life and the city – underline Marco Martinelli and Ermanna Montanari – As the poet and citizen Dante Alighieri knew, politics and the tension towards beauty are the two faces of the same spirituality. In the Comedy, the spectator plays a precise role: it is Dante himself, the everyman, the pilgrim who first descends from the depths of the dark forest into the bowels of the earth, then climbs the mountain of Purgatory and finds himself climbing the skies together with Beatrice. , up to the beatific vision of the XXXIII canto. For Paradise we have chosen some figures, from Piccarda Donati to Giustiniano, from San Tommaso to Cacciaguida, San Pier Damiani, San Pietro … The spiritual ascent of that lost man marks at the same time a metamorphosis of the sonorous universe, with infernal cries up to the harmony of the celestial spheres, where light and sound are a single vertigo. “

Marco Martinelli and Ermanna Montanari teach us, after all, that the classics are not enough to put them on stage; you have to “bring them to life”, because the masterpieces of past eras mean nothing if they are not made flesh and substance in our present. And then it is necessary to put those words back into circulation, to unleash them so that they become action, halfway between sacred medieval representation and Mayakovsky’s mass theater. Speaking of words, the third Canticle is full of neologisms – the most glaring indication of the tension to which Dante subjects the Italian language, in order to live up to the paradox of telling the unspeakable. The first of these neologisms is, in Canto I, to transhuman, or to go beyond the boundaries of the human. This is what happens to the poet-traveler when he ascends towards the sphere of fire, that is the intermediate zone between the earthly world and the Heaven of the Moon (the verb transhuman would have found modern life, coincidentally, in the title of Pasolini’s last poetic collection. , Trasumanar and organize).

Info and pre-sales: 0544 249244 – / Tickets: standing place 20 Euro (reduced 18)

Paradiso Martinelli Montanari
Paradiso Martinelli Montanari
Paradiso Martinelli Montanari

Paradiso – Public call for Dante Alighieri’s “The Divine Comedy”

  • ideation, artistic direction and direction Marco Martinelli and Ermanna Montanari
  • music by Luigi Ceccarelli
  • commissioned by Ravenna Festival
  • on stage Ermanna Montanari, Marco Martinelli, Luigi Dadina, Alessandro Argnani, Camilla Berardi, Roberto Magnani, Laura Redaelli, Alessandro Renda, Salvatore Tringali and the towns and citizens of the Public Call
  • collaboration with the music of Vincenzo Core electric guitar, Raffaele Marsicano trombone, Giacomo Piermatti double bass, Gianni Trovalusci flutes, Andrea Veneri live electronics and voice with Mirella Mastronardi
  • sound design Marco Olivieri
  • stage space pupils and pupils of the Academy of Fine Arts of Brera Milan – School of Scenography Eleonora Battisi, Hefrem Gioia, Umberto Kilian D’Annolfo, Martina Maria Pisoni, Giada Ratti, Valentina Silva, Alessia Soressi coordinated by Edoardo Sanchi with Ludovica Diomedi, Elisa Gelmi and Matilde Grossi
  • costumes pupils of the Academy of Fine Arts of Brera Milan – Costume School Beatrice Alberti, Valeria Benatti, Caterina Lanza, Alessia Lattanzio, Lidia Zanelli, Bingqian Zhu coordinated by Paola Giorgi with Federica Famà and Flavia Ruggeri
  • lighting design Fabio Sajiz
  • production Ravenna Festival / Teatro Alighieri in collaboration with Teatro delle Albe / Ravenna Teatro, with the extraordinary contribution of the Municipality of Ravenna

A “Paradise” in Ravenna Festival that has been long in coming but it is an amazement of lights, sounds and poetry between peace and war, Dante and Pasolini, Pope and San Francesco

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About David Martin

David Martin is the lead editor for Spark Chronicles. David has been working as a freelance journalist.

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