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FROM PINOCCHIO PREMIATO AL FESTIVAL INTERNAZIONALE DI BRNO SETKÁNÍ/ENCOUNTER

"FROM PINOCCHIO", saggio di diploma dell´allievo regista Emiliano Russo vince il Premio MARTA AWARD assegnato dalla Professional Jury del Festival composta da eminenti personalità della cultura europea e il premio assegnato dalla Student Jury
FROM PINOCCHIO
PREMIATO
AL
FESTIVAL INTERNAZIONALE
DI BRNO
SETKÁNÍ/ENCOUNTER
8 - 12 APRILE 2014

http://www.accademiasilviodamico.it/public/galleria1/3716042014173059_media1.jpg

Lo spettacolo dell´Accademia Nazionale d´arte Drammatica "Silvio d´Amico" "FROM PINOCCHIO", saggio di diploma dell´allievo regista Emiliano Russo vince il Premio MARTA AWARD assegnato dalla Professional Jury del Festival composta da eminenti personalità della cultura europea.
Lo spettacolo si aggiudica anche il Premio assegnato dalla Student Jury composta dagli attori delle scuole europee membri dell´E:U.T.S.A., European: Union of Theatre School and Accademies.

FROM PINOCCHIO
Regia EMILIANO RUSSO
Scene BRUNO BUONINCONTRI
Costumi EMILIANO RUSSO
Coreografie MONICA SCALESE
Luci SERGIO CIATTAGLIA
con
Valentina CARLI, Barbara CHICHIARELLI
Flaminia CUZZOLI, Valerio D´AMORE
Arianna DI STEFANO, Désirée DOMENICI
Carmine FABBRICATORE, Matteo MAURIELLO
Marco MAZZANTI, Gianluca PANTOSTI
Ottavia ORTICELLO, Matteo RAMUNDO
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Recensioni
Italy: From Pinocchio
The production´s Director, Emiliano Russo, has chosen for his staging the general theme of human development from childhood to adulthood and he has connected it to the well-known story of Pinocchio. A question arises from the beginning are we going get wiser in the end, such as Pinocchio did, or will we fail to find any solution whatsoever? The Director leaves the answer to this question to our discretion, including the resources and the free will that every person has.
The Director´s work with the actors consisted in exactly guiding their movements on the stage with cooperation and mutual trust. They were dependent on one another; no one could mess up, the slightest error would come to light. The overall choreography was plastic one movement flowed into the next. Actors created shapes that might have meaning but didn´t have to mean anything at all.
The rhythm of the staging was also exact. The Director achieved exactness through dynamic movement on the stage accompanied by music which often resembled film melodies. Overall relaxation occurred when the actors climbed up on a ramp and told their story, which the audience understood despite the language barrier. The actors were natural, but they at the same knew when to choose what emotion, when to mute their voices as well as the right time intensify them.
In this production, human development had twelve portrayals, which were continuously linked. The Director did not use any sharp transitions between the individual steps in human development. I would like to point out, as the best scene, the portrayal of first love. Each movement and every expression on their faces bore clear emotion. The actor together with the actress together established a few amorous emotions that led to other places than first love, and all this was done with the help of clear gestures and mime. The audience was in utter silence. If there is anyone who says that this did not give them the shivers, they are lying.
The production was primarily a tribute to the choreographer Pina Bausch. Her influence on the Director could be seen from the beginning. The Director was inspired by the choreographer´s ideas and ways of working with the body, but he definitely did not copy her. He often uses, like Pina Bausch, the actors´ movements in a row, diagonally across the stage, along with highly symbolic gestures.
Nikol Jancìkovà

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Link Pubblicazioni
http://issuu.com/setkaniencounter/docs/mp_03_aj_tisk

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