One cannot explain Rezza’s shows, they have to be seen, experienced, chewed and digested.
«Light-heartedness should be stifted at birth»
Can one talk to one who gives you voice? Can one answer with the same voice as that of the one who asked the question?
Two people are discussing existence. One of the two has time to think while the other is talking; he suspects a trick but isn’t sure.
Manipulation is at the base of a correct lifestyle. For the umpteenth time, form changes through expressive violence.
Never as in this case, or better, once again in this case, hate towards the mystification of theatre, cinema and literature is relentless.
Power lies in surviving those who die. We are ready to rule. One just needs to die a little bit more. (Antonio Rezza)
The Fratto X habitat is an impetus of photographic suggestions. The images describe the road that runs and the impossibility to act. Illuminated trails materialise with the disturbing delicacy of flowers seen close up. Like 7-14-21- 28, Fratto X is also an ideogram, pursuing the vibrant, light freshness of the brush-stroke and the full colour of the 3D image. A stretch of warm skin organises anthropomorphic figures, swamped by flesh and carnality, victims disposed to mass persuasion. Uselessness permeates and compresses the characters who look out from the prohibition X. The Chair, light blue mutant vehicle, skin and rust, is borrowed from narrative theatre. The genetically modified remote-controlled device and the miracle of urbanisation are dependent mobile sculptures.
The carcass of the warrior is proposed again as an epic presence only in form and attitude. (Flavia Mastrella)
Italy / Biennale di Venezia | Teatro
Fratto X 21 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 Mattia Vigo 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 105 minutes
Rezza is quite irresistible. He uses Mastrella’s drapes as clothes, a wall, a diaphragm, and even a prison where he appears crucified, his arms forming an X. (Osvaldo Guerrieri, La Stampa)
Only by seeing Fratto X by Antonio Rezza and Flavia Mastrella, only by watching the bodily impetus, the plastic power of suggestion and the dynamic war-faring of the new show whose title alone vibrates like a 3D ideogram, only by listening to the verbal violence, the extreme implacability and the tyranny of the turmoil that the extra-ordinary company promises, only then can we be convinced that the theatre of these vocal and spatial warriors is a synergy of Rezza’s performing and linguistic movements and Flavia Mastrella’s production of contemporary art. (Rodolfo Di Giammarco, La Repubblica)
On stage there are obstacles to overcome and that X made of stretched lengths of fabric, luminous trails and paths impossible to follow. And yet the story the two artists tell (if one can call it a story...) is once again about television, cinema but also about relationships, about all of us, and about a deep hatred towards reality as it is. So let’s see what this reality is like. [...] One cannot explain Rezza’s shows, they have to be seen, experienced, chewed and digested. He’s like that, he makes you laugh, he dazes you and manages to get you to do exactly what Ivan [his dumb alter ego] does: lets himself be manipulated, usurped by other people’s freedom, for the duration of the show. (Francesca De Santis, L'Unità)
Rezza and Mastrella are portraitists, not narrators. Wishing to isolate a common trait, it’s almost always about human beings in difficulty, where the difficulty is given not so much from private misery (which is there, and heart-breaking), as from circumstantial misery – the friction between the naked human being and the world, society and its laws, its instigators: obsessive relatives, prevaricating employers, annoying acquaintances. In fact, theirs is a theatre of monologues; what we see are the consequences that the abuses of the world provoke on the body and spirit of the poor man subjected to them. (Claudio Giunta, il Sole 24 ore)