Stagione 2011/12

L’avaro

L’avaro

2 E 3 MARZO 2012 h. 21.00

di Molière
ideazione Marco Martinelli e Ermanna Montanari

traduzione Cesare Garboli
musiche originali Davide Sacco

in scena Loredana Antonelli, Alessandro Argnani, Luigi Dadina, Laura Dondoli, Luca Fagioli, Roberto Magnani, Michela Marangoni, Ermanna Montanari, Alice Protto, Massimiliano Rassu, Laura Redaelli

regia Marco Martinelli

produzione Ravenna Teatro in collaborazione con AMAT (Associazione Marchigiana Attività Teatrali) e ERT (Emilia Romagna Teatro Fondazione)

Il regista Marco Martinelli porta in scena “la più tragica delle commedie di Molière”: L’Avaro. La veste nera e priva di fronzoli di Arpagone (costume usato già nel 1668 da Molière stesso) è il simbolo del clima che si respira in una casa dove tutti spiano tutti, vivendo con la speranza di riuscire ad ottenere lo scettro del potere che detiene l’avaro capofamiglia, per prendere il suo posto e diventare così uguali a lui. Il denaro, pur essendo l’oggetto della commedia, non è presente sulla scena, è un fantasma impalpabile che gira tra uomini.

L’universo costituito dai personaggi di questa commedia nera mostra un’umanità che ha dei tratti negativi intrinseci al proprio carattere e che porta avanti la propria battaglia per il successo personale fino alla felice conclusione d’obbligo, la quale assomiglia molto alla finta realtà che ci propone la televisione dei nostri giorni.

Il legame con l’attualità è molto forte: Arpagone, il cui nome è etimologicamente legato alla rapacità di certi uccelli, rispecchia l’avidità che ci appartiene come società (quanti sono gli Avari del nostro mondo Occidentale?) e come individui. Ermanna Montanari, tre volte vincitrice del premio Ubu come miglior attrice, usa la sua voce inconfondibile per giocare con suoni bassi e amplificati, dando vita ad una trama fonica evocativa che rende “la voce del padrone” in tutta la sua autorevolezza. Il fatto che Arpagone sia interpretato da una donna non deve stupire: l’identità sessuale del personaggio è secondaria e dunque non è rimarcata da travestimenti fisici o vocali. Questa scelta inoltre permette di elevare il vizio del protagonista ad una dimensione tragica prima che comica e contemporaneamente di suggerire, come ha affermato la stessa Montanari, che l’avarizia ha tratti femminili, essendo intrinsecamente legata ad una dimensione di possesso e di controllo totale.

Dal punto di vista drammaturgico, lo spettacolo rispetta il testo nella traduzione di Cesare Garboli, con piccoli tagli, ma ne rende attuale la durata, velocizzandola con l’abolizione della divisione in atti. Il livello metateatrale si gioca soprattutto sulla duplicità fra recitazione teatrale e ripresa cinematografica, come in una moltiplicazione della costrizione a guardare e farsi guardare, e trova la sua naturale conclusione con l’ingresso finale in scena del regista, al quale è affidato il compito di guidare l’agnizione finale e di chiudere lo spettacolo.

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