Abat-Jour
comedy based loosely on William Storm Shakespeare
A production Fellowship of Eridani associazioneTeatrale
Direction and Dramaturgy
Catherine Fazio
With
Prospero: Umberto Fabi
Ariel Arianna Novelli
Water Child: Julia Pelone
Child of Air: Tiziano Cervellera
live music
Serena Perini, Flute
Fabrizio Longo, Baroque and modern violin
travel. A storm. Not a real storm. A fiction. A dream of a storm. Island. An old trunk and a stool. Prospero is laid on it, like a statue. The island is the stool and the trunk. A trunk full of clothes, and a spirit that sleeps inside us: Ariel. Ariel moves freer air, and fight with water, such as Jean Renoir's Boudu.
look beyond the island, look at the scene. It is a room. A room of a house that is about to be abandoned. The trunk, the stool. A sheet, perhaps a sail to the right of the island. It is spread on a door, hide the rest of the scene. The door. What remains of that room is going to be left a wreck. A second and third wreck, the past: an old lampshade next to Prospero and another smaller, scepter Spirit Air. Two kids on. They are the kings of the Imagination, other worlds, worlds unseen. Children light the lamp of Prospero, spend their power in his hands. Prospero then change the course of destiny, can win back his life using their power to mix dream and reality, the emergence of a double invisible from the sea bottom. Not with his hands, with your body, which remains suspended from above, but using Ariel. At his command the spirit will be close to the door, and speak in absolute stillness, speakers hidden in the sail-cloth. But do not ever go beyond the border, the border marked by sailing from the port, the kingdom Invisible. Will stop on the edge, making it visible to the public actions that will take place in that sheltered place, unseen, invisible. While kids will run on the borders: visible and invisible, dream and reality, audience and stage. They have the power to expand the reality, to find another place that is a continuation of the real, let's embrace of visible and invisible.
Everything is intertwined and there is simultaneously .
In theater, there are now three spaces. One: the audience, the audience - the reality. Two: the left side of the scene, the scene itself, the island - the bridge. Three: the right part of the scene, the hidden part of the scene, invisible, behind the door, behind the sail-cloth - the size of the invisible. The latter is a sort of fifth, but it is at the center of the stage, and shown simultaneously removed from the eye. In all actions it originated. You hold the first place. The dramatic actors occupy the second, the bridge. The third area is accessible only to children, masters of all three places.
Our show has as its essential content and idea space. Three places become metaphysical body, again returned to the dimension of imagination and still are present and so on, as the actors move in space under construction. The triptych of space, and even more its third part, the non-visible area behind the sail-cloth, evoking in them the size of the invisible. The invisible visible. The shadow of white visible.
This area is the space behind the door in front of us on stage yet it remains hidden, covered by the sheet. This is mentioned elsewhere by the sail, but as there is space on the stage - is not visible. You presence in the absence . In the perception of the viewer grows, it blossoms into extensions of the imagination in the elsewhere, such as off-field compared to the visible screen cinema. Yet it is reality, it becomes material, because Ariel and approach it with the body and the voice announces to us, makes us imagine other bodies hidden by the sail. And they hear it, speak them, they move, even if you do not hear, not see them. Their absence there is this, their bodies are there. Out of sight.
The goal: visibility of the invisible .
We extend the concept of reality.
The shadow will be white body. Catherine Fazio
