The theater stages itself. Through the use of the" theater of Theatre, Giovanni Testori offers his reading of the famous masterpiece of Manzoni. A theater company stages The Betrothed, and the rehearsal becomes evidence not only of that text, but of life. Because the theater is the word you a reality, meat and life, and therefore testing and verification of the written word. The key dynamics identified by Testori is that of power. It is a taste for the power to set in motion, the arrogance Don Rodrigo, the whole story. But this is a taste properly grasped in the spiritual root. This is the same at the end of the rebellion of Satan, who claim to impose God's own terms, putting him in his service. In this sense, the squire of the seventeenth century English man icon becomes "very modern", which reflects true innovator in an age that denies God to affirm man. Even the Unnamed is captured (not told of his conversion) in the fascinating and deadly giddiness of a pond that yearns to expand enormously to become, an exaltation of nell'offuscamento destructive sea. The medal has unlimited necessarily another side of self: the oppression (Possibly deletion) of the other. What stands out particularly evident in the case of the nun of Monza, Testori character which gives great prominence. His misfortune is in fact given rise to an act of power by his parents, who for reasons of social force her to the convent. She is already "illegal" (illegal, we would say today) in the womb, and in this condition will last for a lifetime. Being born and living under the sign of a force that imposes itself, shouts against Providence, reacting as it can and entering illegally. After all questions only to "be herself". But even this road - one of the slogans indisputable, true secular dogma of our time, Testori that does not fail to mock - is illusory. A few even here we are ultimately faced with a self-affirmation, albeit losing, to the detriment of the other. No, the road is another, and Lucia is represented by the common people: faith, which emerges as a true salvation. In this drama of "domestic infinity" in this adventure of a humble people and things at home, it is clear the desire of the human spirit to overcome its own limits, and it dawns dawn. In the light begins to illuminate the places of everyday life can be glimpsed the true way all'autotrascendimento: not self-assertion, but self-reliance in the hands of God who "humbles the proud and exalts the humble." Important reading a large text.
23 to 28 November 2010, Teatro Metastasio (Prato), The Betrothed At trial, Giovanni Testori, directed by Federico Tiezzi.
