Caravaggio’s mild magically turns Corato on

The Corato author Franco Leone and the actors of Teatri 35 staged the immortal fantastic thing about the artwork of the nice Lombard painter with an occasion organized by Corato’s Proloco Quadratum.

On the night of August 28, within the evocative nighttime setting of the Municipal Theater of Lastella, a quiet sq., attentive and stuffed with spectators attended the present “obtained by grace“, of the dwell pictures, or quite residing work impressed by the work of Caravaggio. The occasion, sought and ready by the ProLoco Quadratum on the event of the 54a version of the Slope, was launched by chairman Gerardo Strippoli and offered by Leone in a mix of 4 arts: portray, theatre, music and poetry.

The Coratino author defined the main points and emphasised the main points of the 14 work that the theater firm has staged as residing work: the fruit basket (Milan), theWorship of the shepherds (Messina), Saint Matthew and the Angel (Rome), the Crucifixion of St. Peter (Rome), the Martyrdom of Saint Ursula (Naples), the Resurrection of Lazarus (Messina), the Beheading of the Baptist (Malta), Judith beheading Holofernes (Rome), the Crucifixion of Saint Andrew (Cleveland, Ohio, USA) St. John Baptist (Kansas Metropolis-Texas, USA), la Magdalene in ecstasy (Rome), the Salome with the top of the Baptist (Madrid, Spain), la Madonna of the Pilgrims (Rome) and St. Francis in Ecstasy (Hartford-Connecticut, USA).

That is the textual commentary of the journalist Dr. Marina Labartino who was current on the occasion: «Prof. Franco Leone offered the pictures of the work that ran on the massive display screen as follows: “By lifting the area between the characters within the composition and us viewers, the artist permits us to be a part of the work. He’s an irresistible invitation to allow us to really feel the transience of life within the crumpled leaves and within the unhealthy fruit of the fruit basket, to allow us to really feel the acute distress of the beginning of Messina, the cracking of the crutch of St. Matthew behold, the power of the hand nailed to the fist of St. Peter, the disturbing absence of God within the martyrdom of St. Ursula, the sword of Judith that appears to pierce the canvas with the blood of Holofernes showing to us to splash; but additionally to allow us to contact the sculptural physique of Saint John, the sparkle of the muscle tissues of the executioner of the Baptist smoothed by the sunshine, the deep bitter wrinkles of the aged half hidden behind Salome, to point out us the roughness of to point out the soiled toes of the pilgrim kneeling earlier than the Madonna of Loreto, to allow us to be disturbed by the languid desolation of St. Francis in ecstasy within the arms of the angel … “”

The actors of Teatri 35 Gaetano Coccia, Francesco De Santis, Antonella Parrella then applied the wonder displayed within the 14 work by way of sheets, curtains, colours and above all by way of the expertise of Italian inventiveness.

Ethereal and luminous like a hologram appeared the sleek angel of St. Matthew, floating within the ether, interpreted by Antonella Parrella. Parrella herself demonstrated her versatility by passing from the sweetness of the Madonna of the beginning of Messina to the imperturbability of the licentious Giuditta or the icy Salomè. Francesco De Santis reworked Caravaggio’s three-dimensionality into impulsive gestures that, escaping from the stage, entered the area of the spectator, simply as within the artwork of the Lombard painter: Attila’s arm with the bow stretched out in opposition to Orsola, the fingers of St. Francis in ecstasy. , the hand of Saint Peter dying the other way up on the cross. Extremely concentrated, Gaetano Coccia allowed us to immerse his characters in an nearly metaphysical actuality: Saint John sunk doubtful, Salome’s torturer caught in a sadistic narcissism with a contracted triceps, Saint Andrew projected right into a now transcendent area.

So whereas Franco Leone, by way of the traditional rhythm of Dante’s hendecasyllables that mark the gestures of the characters within the work, led the viewer on to the three spatial dimensions, Teatri 35’s firm managed to create by way of gestures, curtains, colours and sounds the observer in an extra fourth dimension: that of feelings formed by Caravaggio’s mild.

Thursday September 1, 2022

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