Uomini. E se fosse andata così? (Narrativa) (Italian Edition)

London, Misterioso by Stefano Benni, Monk between jazz and silences. Filomena Campus presents the art and life of a giant of jazz.

A giant of jazz among music, racism, silences and the hysteria of McCarthyism against an art perceived as subversive: A polished and tasteful play, with great jazz and the text about America in the 50s, with its dramatic context of black and white, which becomes the chromatic theme in Misterioso. On stage, like in a smoky 50s jazz club, spectators sit on tables, with a waiter offering them a drink.

Monk spent his last seven years in complete silence. How would you be able to describe this through music? No matter how paradoxical the question is, Theatralia attempts to sort the challenge out. The play, adapted by director Filomena Campus is based on the written work of Stefano Benni, both a very well know Italian writer and an estimator of jazz music. The stage is set as a jazz club where the music performed by incredible names such as Guy Barker we have seen him in The Talented Mr Ripley , Jean Touissant and many others mix up with short acting inserts and video projections.

His silence, as we understand in this work, is a response to a sense of disgust and rejection to the discriminations during the controversial McCarthy era. Although the final interpretation is left open to you whether the mystery of Theolonius Monk is solved, one thing is certain, the show has a triumphant ending — the music reigns, and the tragedy is eased. Jazz and Theatre in London Campus has found in London a fertile soil for her theatrical ideas and experimentation with her company Theatralia.

Thelonius Monk: Music And Silence On The Stage

Her last production Misterioso, written by Stefano Benni, has won an extraordinary success of critics and audience. Abused and persecuted in the McCarthy era, Thelonious Monk stopped playing and talking in the last seven years of his life. Unione Sarda , November Threeweeks — [Lucinda Wingate-Saul].

The show, sold out in its inaugural run at the Riverside Theatre in London last year, boasts several highly regarded British jazz musicians in its cast, including trumpeter Byron Wallen and singers Cleveland Watkiss and Filomena Campus, the founder of Theatralia. The List Edinburgh Festival. At various times, Thelonious Monk was reputedly either one of two polar opposite characters, able to discourse endlessly about his esoteric music, or a virtual mute who let his idiosyncratic jazz piano style speak for him. Pat Thomas, as Monk, looks the part, sitting statue-like until called to play piano, although rather than attempt faithful recreation sound-wise, the musicians inject Monk favourites such as In Walked Bud with their own energy.

Italy and UK press reviews

And I was moved and it was done with love. I want the Riverside Studios to host a jazz night every week! People stare at you, from afar or right in your face. As the situation becomes more and more uncomfortable the performers emerge from the standing audience. They watch us like wardens guard prisoners.

Using complete darkness or dramatic lighting they tell the story of Karla Faye Tucker, a woman executed in Texas while George W. To the accompaniment of a nightmarish score performed live on electric guitar by Roger Goula, tension builds and culminates into a Dantesque danse macabre that sees the cast try to escape the theatre like cats fighting their way out of a cage. Following this powerful scene director Filomena Campus uses religious ritual to dramatic and emotional effect and produces a beautifully sincere moment when we are asked individually to promise not to kill each other.

Total audience interaction can totally backfire, so Theatralia — the company that has devised Not in My Name — takes many risks with this thought-provoking, original piece. Using mainly physical theatre techniques, they tell the story of Karla Tucker, executed in Texas in when George W Bush was still governor — and of the others that were killed under the government of a man who became ruler of the free world.

They whisper incoherently in the darkness.

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The choreography is effective and the cast ensure that at all times during the performance no space is left empty. Tension builds throughout the piece, beginning with the gradual realisation among the audience that some people are not who they seem.

One by one the cast begins inspecting individuals. Then darkness and whispering. By the end we are all promising not to kill each other in some quasi-religious incantation. It is very moving and effective. Enrico Franceschini, Venerdi di Repubblica, 6 Nov La nostra performance da un testo di Benni. Tra immagini filmate, musiche e narrazioni della vita di Monk, Campus, eccellente vocalist jazz, porta sul palco con la sua compagnia Theatralia — tra inglese ed italiano — le sensazioni e le riflessioni di Benni mescolate con le note del grande pianista. Accanto alla cantante e regista, un poderoso ensemble di jassisti di altissimo livello: Campus, artista sarda da anni attiva sulla scena teatrale e musicale inglese, dove ha portato con successo una versione di U di Marco Paolini, usa i testi di Benni per raccontare non solo pensiero di Monk.

Accanto a lei, un poderoso ensemble di jassisti di altissimo livello: Fece il tutto esaurito nel a Camden, ora si prevede lo stesso ai Riverside Studios.

Enrico Franceschini — La Repubblica- Nov Perseguitato in epoca maccartista, si chiuse in un mutismo ostinato negli ultimi sette anni della sua vita. Le sembra ragionevole tutto questo? La follia non spiega tutto, ma resta una suggestione fondamentale per capire il libro: Ci sono statue che prendono vita, che si scambiano di posto, bassorilievi che ossessionano fino alla pazzia: Le morti che popolano il romanzo sembrano causate da energumeni che usano le vittime come mazze umane: La critica statunitense ha molto insistito sul parallelo tra De Maria e Lovecraft: Persino la Torino protagonista del libro viene paragonata alla Providence del maestro della narrativa weird: Qui gli omicidi o meglio i suicidi come in Morselli, dunque?

Ancora da Le venti giornate di Torino: Gli anni di piombo Nello stesso anno di Le venti giornate di Torino , il , esce al cinema San Babila ore Alla piantagione ne parlavano tutti e ci si chiedeva se gli avrebbero sparato come ai neri che scappavano e che cosa sarebbe successo alle famiglie quando loro sarebbero stati uccisi. La casa era chiusa, la porta era chiusa e anche le finestre erano chiuse, come quando muore qualcuno.

Si fermarono per un minuto e scrutarono la casa in ascolto.

Ma fino ad ora, il prete non aveva fatto niente. Era un segreto che Isola non poteva dire a nessuno, o rischiava che quegli uomini facessero del male a suo padre se lo avessero scoperto. Non poteva dirlo nemmeno a Birdie. O ci bruceranno la casa. I neri passavano tra le alte piante verdi controllando i danni e zappando le erbacce. Bisognava sradicare le piante piegate o rotte.

Birdie fece un cenno con la mano a Lud e poi le due ragazzine si misero a correre, non sulla strada che portava a casa di Birdie ma dritto dritto verso il bosco. Correvano e ridevano di Lud, grassa, quasi calva e completamente sdentata.

Le ragazze corsero sul terreno spugnoso e nel fango che faceva ciaf-ciaf tra le dita dei piedi fino allo stagno grande appena dentro la boscaglia. Suo padre, invece, diceva che uscivano dal fiume e che camminavano sulla terra di notte e che si gettavano nella prima acqua che trovavano. E come riuscivano, poi, a camminare , se non avevano gambe? Sembravano pesci come tutti gli altri: Sporse le braccia in avanti, pronta ad afferrare la prima cosa si muovesse.

Aveva insegnato molto inglese a lei, Nina e anche ad altri, anche se Birdie non sapeva leggere e non le era permesso di andare a scuola. Quando il signor Gracey non era nei paraggi, suo padre la lasciava guidare il mulo.