Version 2.0 - 31 contemporary tragedies
Marco Di Stefano
Editions Thespis, Rome, 2008
A cheatsheet of myths in verse? A catalog of characters thrown out of the pages of Greek literature and re-presented in a modern way, in a light which makes them more attractive, or rather transform them into inhabitants of a world familiar to the reader?
None of these definitions to fully reconstruct the operation in the center of poetic "Version 2.0 - 31 contemporary tragedies" (Thespis, 2008), the second poetry collection by Marco Di Stefano, born in 1981 and a diploma in art school dramatic Paolo Grassi in Milan. Di Stefano, who now teaches playwriting and directing in the laboratories of Dams in Turin, is also
Renato Sarti's assistant at the Theatre Cooperative in Milan.
His literary debut dates back three years ago with a volume of Haiku " Sixty blades per hour - Analysis in the form of Haiku " (The Wire, 2006). Focus of reflection, modernity and its distortions, which go hand in hand with those of the soul. Because while "Even this dawn / Palestine burns / Technicolor," "Twenty-five years / dripping like wax and from the window sill." And so the game out of the investigation is exchanged with the observation of the inside, seen in the external alternating with inner experience. It was then emerging as a metropolitan scenarios interrupted, "rings that do not take 'of Montalian memory, open to close up in subjective disarming:" Years gone / before microsoft word / dry skin. "
With the same force
Marco Di Stefano
Editions Thespis, Rome, 2008
A cheatsheet of myths in verse? A catalog of characters thrown out of the pages of Greek literature and re-presented in a modern way, in a light which makes them more attractive, or rather transform them into inhabitants of a world familiar to the reader?
None of these definitions to fully reconstruct the operation in the center of poetic "Version 2.0 - 31 contemporary tragedies" (Thespis, 2008), the second poetry collection by Marco Di Stefano, born in 1981 and a diploma in art school dramatic Paolo Grassi in Milan. Di Stefano, who now teaches playwriting and directing in the laboratories of Dams in Turin, is also
Renato Sarti's assistant at the Theatre Cooperative in Milan. His literary debut dates back three years ago with a volume of Haiku " Sixty blades per hour - Analysis in the form of Haiku " (The Wire, 2006). Focus of reflection, modernity and its distortions, which go hand in hand with those of the soul. Because while "Even this dawn / Palestine burns / Technicolor," "Twenty-five years / dripping like wax and from the window sill." And so the game out of the investigation is exchanged with the observation of the inside, seen in the external alternating with inner experience. It was then emerging as a metropolitan scenarios interrupted, "rings that do not take 'of Montalian memory, open to close up in subjective disarming:" Years gone / before microsoft word / dry skin. "
With the same force
intertwine the three wires behind the compositions of Version 2.0: the myth, the contemporary and interiority. In disordered order of appearance, like the confused lineup of a television program to improvise live, peep, page after page, the notables of the Greek tragedy. We auditioned for a reality show: Agamemnon, Orestes, Hecuba, Electra and others come into the recording room, watch room and vomit in their history, mimandola and reproducing in an alternation of registers, high and low, dignified and vulgar. Wiggle, justify, simply acting violently screaming their truth. Or try that happens, unarmed, to explain why the myth that fate has intended for them.
But this is one step before burning. A clever editing and reworking stitches the stories and obsessions of the protagonists. The result are many mini-script that the director-author stages on the page, with unprecedented power, before the reader-viewer.
And the characters of myth, in this step, change and reveal themselves in their new identities-inner. So
Elena meets in the subway, and the reader, through the eyes of Paris, looks like the two young looking with the iPod headphones Dolce & Gabbana clothes. And she, so beautiful as to interfere with the exchange of tracks, shy, read a book that takes on knees, not knowing that those "can start a war just to have you."
Then comes the scene in Antigone, a girl of 18 years with the earring in the nose and low-rise jeans. In the litany, almost a dance in words, that is dedicated, has hatched a female child so inexperienced in the world as daring to defy the unwritten laws, divine or human does not matter. In the first scene is nestled between the Ikea furniture to read No Logo by Naomi Klein, then you see on the streets of Genoa impassioned screaming with no global.
deconstructed and reassembled in the new part, the characters of the myth are now inexperienced actors. Trivial and weak, perhaps, but a weakness because the crowd is recognized as universal and particular set, which belongs to the dimension of the tragedy as that of everyday life.
And so, in the story of Medea, "The nurse is a useless character / if history is inscribed on the bodies of two lovers," while the author is like Philoctetes, with the open wound, watching the fellow who leave and abandon him. As has been abandoned Andromache, who in his own reality show plays the role of spectator as a solo act, in life as on stage, the audience is mass-silent forms, in an essay metatheatrical of the most original collection.
Francesca Gambarini
But this is one step before burning. A clever editing and reworking stitches the stories and obsessions of the protagonists. The result are many mini-script that the director-author stages on the page, with unprecedented power, before the reader-viewer.
And the characters of myth, in this step, change and reveal themselves in their new identities-inner. So
Elena meets in the subway, and the reader, through the eyes of Paris, looks like the two young looking with the iPod headphones Dolce & Gabbana clothes. And she, so beautiful as to interfere with the exchange of tracks, shy, read a book that takes on knees, not knowing that those "can start a war just to have you."
Then comes the scene in Antigone, a girl of 18 years with the earring in the nose and low-rise jeans. In the litany, almost a dance in words, that is dedicated, has hatched a female child so inexperienced in the world as daring to defy the unwritten laws, divine or human does not matter. In the first scene is nestled between the Ikea furniture to read No Logo by Naomi Klein, then you see on the streets of Genoa impassioned screaming with no global.
deconstructed and reassembled in the new part, the characters of the myth are now inexperienced actors. Trivial and weak, perhaps, but a weakness because the crowd is recognized as universal and particular set, which belongs to the dimension of the tragedy as that of everyday life.
And so, in the story of Medea, "The nurse is a useless character / if history is inscribed on the bodies of two lovers," while the author is like Philoctetes, with the open wound, watching the fellow who leave and abandon him. As has been abandoned Andromache, who in his own reality show plays the role of spectator as a solo act, in life as on stage, the audience is mass-silent forms, in an essay metatheatrical of the most original collection.
Francesca Gambarini
(book review appeared in the number 9 Stratagems - Perspectives Theatre , Pontremoli Publisher, Milne, April 2009)
