Antonio Rezza, together with Flavia Mastrella, has produced a kick ass comedy show. At centre stage a figure yelling at the audience to mirror themselves in it.
Numerical civilisations in comparison. The definitive defeat of meaning. Two-figure diseases that multiply till you jump with fright: we're just a few hops away from the subtraction that makes us disappear. Wobbling and tottering in mobile ideograms.
Suddenly the link with the past ceases: ropes, nets and laces hold the situation tight. Life is played out in an ideogram. The section, translated into three dimensions, develops triangular volumes aiming upwards in coexistence with horizontal lines: but vertically only the man moves.
Here it's not the bedtime story that's being told, here we turn the other side. That's not the cheek of he who has the face of an arse-hole. The side does not mean that it's not been pierced through. With a dry throat and a body in distress another sound is uttered.
End of words.
Start of the dance macabre.
Italy / Biennale di Venezia | Teatro
7-14-21-28 20 July 2018
by Flavia Mastrella Antonio Rezza
with Antonio Rezza
and with Ivan Bellavista
(never) written by Antonio Rezza
habitat Flavia Mastrella
assistant to creation Massimo Camilli
lighting design Maria Pastore reinterpreted by Daria Grispino
management Stefania Saltarelli
stagehand Andrea Zanarini
a production by RezzaMastrella - TSI La Fabbrica dell’Attore Teatro Vascello - Fondazione TPE
duration of the show 90 minutes
The author speaks of defeat of significance and a universe reduced to the oscillations and vacillations of a mobile ideogram, but the spectator, who never ceases to laugh, applaud and scream with him in an evening of rare, overwhelming enthusiasm, can recognise in this tormented, screaming figure that urges him to laugh till drawn to tears, his own much-desired double that lapses into protesting against a society in shreds. (Franco Quadri, la Repubblica)