The Best Of Lotta Topp

DANTE "in times like these, the 8th of March BACK IMPORTANT '

On March 8, Emma Dante has in the past theater, at the Palladium in Rome to prepare for the debut of the Roman Empire (yesterday) of its already rodatissima Trilogy glasses. "With time running the festival for women is important to come back for what continues to be," he says. "I've celebrated for me to work because working is always a party. And do my job the best I think the best way to celebrate it. " The Trilogy (Acquasanta The castle of the Zisa, Ballarini) is also a book, just published by Rizzoli. Speaks of the ability / inability to see with the usual mix of language dialect, abusive, sensual drama that becomes one with the tortured bodies of the actors, forced to the limit, contorted, screaming. "Even if this show is so much sweetness and sadness to surprise myself first of all, is ultimately a romantic spectacle." His books rather than plot, but of events, books that are dramatic texts in a way that nothing will divide the theater of the word, the Trilogy of glasses as Carnezzeria (Fazi). "Even if the word is important, however, and when it is as central in the monologue Acquasanta, and when I proceed by subtraction, as in the other two texts. " Hastens, Emma, \u200b\u200bto say that she is not a writer, that the theater remains at the heart of his interests, she was born actress. It was not in his plans to write and become a director. But at age 31 in his return from Rome, Palermo and feels actress failed. Then, two years later, in '99, he founded a company's, South West Coast, to experience the theater that she likes. Every show is a success in Italy and abroad, is literally covered in awards. Until in 2009 he debuted as a director with an opera Carmen that divide, he gets the first boos of his life experience has yet because it hurt when you appoint Carmen Emma, \u200b\u200binadvertently lowers his eyes fierce, always melancholy, and put on the defensive. Hard to describe the sadism as a director, but no trace of malice in this legendary woman kind and just eccentric (a frezza blond / white in her hair, a long blonde braid tormented all the time, a giant ring between your fingers) that amid the empty seats of the theater without poses and answers questions without reluctance, his eyes darting around that dramatic of an old dull pain. "Maybe when I was a bit 'Taliban' he admits. "But I am changed, now I'm calmer. Of course, I remain demanding, but if I were a man no me criticized him ... My theater tends to rape the bodies of the actors, it is true, and it required a great turnout, rigor. When less m'incazzo. But I am not to be violent, is the question that I do to be so. Because I always asked me about the human being, which is atrocious. " The human being who is interested in the poor, sick, old, short gap. Or terribly arrogant, primitive. As in his only novel, Via Castellana Bandera (published by Rizzoli in 2008) which plans to make a movie. He has already written the screenplay with George and wide in search of a producer. Although that book, he says, not thinking about the novelist wrote, no. She wrote it thinking about the cinema, why did you get the script so well, there was already inside the cinema. "Writing is not my talent," he insists. "But the story I tell is really happened to me and I could not make me miss. We were two hours at each other. " As in a duel: Two women are bottled in a narrow street of Palermo, and neither gives passage to the next. "The cinema interests me as an experiment. I find my center of gravity in the experiment, is part of my research. Then, if the film goes wrong, I will still give you something, I do not fear. " He says that working with a writer like Vasta, a Sicilian living in the north and has a vision of Palermo unlike his own, was an enrichment. Palermo Palermo Palermo. Who does not love, that does not support it, who cares about his work. That she can not leave after all. Emma is proud of its autonomy, but did not go down the indifference of his land for the love that you put in the theater, even for the difficulties encountered by the internationally renowned artist like her. "Of the cuts to culture, the theater, we all suffer, even people like us who never got a penny from the region and state, never asked for a public financing. A Caltanissetta has cured for a year festival that was put to death in silence. "Run events is complicated, the tours are cut at the last minute, reduced the money they offer you. The producers are not likely on new shows. I show him a feel for two months, I laboratory before going on stage. Actors who are with me I have to ensure ongoing situation and wages must be equal to their availability. When I am the producer if the show fails, resign my pay. And in sitazione of great poverty in which the Italian theater can no longer count on the strength of a show. Do not tell me that poverty can become a stimulus for the imagination: I already do poor theater. Do not ride with the truck: the entire trilogy Eyeglass enter into any suitcase. Where else should I cut? "The costumes always makes them alone and are an important part of the shows. "I am the skin of the characters. Also I think of Carmen. " Her husband (since 2007), in the company from the previous year, is the actor Carmine Maringola (also very good photographer), a "Creattori," defines it. Of those that get involved in a show, actors / authors. "I'm not prevaricating as they say, let things happen and often my initial idea is disrupted during construction." As long as the theater is not entertainment, but "something monstrous that comes over me ', provided in full sun you can tell "around the shadows."