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Theatre _: _ The Flying Circus Pinter - Interview and reviews of various Pisanotizie

's interview with Dario Focardi Pisanotizie

Pinter and search for truth: The Flying Circus Pinter

The study builds on "Art, Truth and Politics," Pinter's speech at the 2005 the Nobel Prize. Only a punto di partenza o tutto lo spettacolo è costruito intorno al discorso di Stoccolma?

Pinter lo pronunciò in videoconferenza poiché era già gravemente malato di quel male che lo portò alla morte nel 2008. Un discorso in cui chiama in causa l'impegno di ogni cittadino nella politica e l'attivismo delle coscienze. Pinter inizia parlando del suo teatro ed arriva ad affrontare temi come Guantanamo e la guerra in Irak. L'ultimo testo teatrale di Pinter, che è all'interno dello spettacolo, è del 2002. Da quel momento in poi smise di scrivere per impegnarsi attivamente, scendendo in piazza, partecipando in demonstrations. The work we did was to start the video conference, to which we have woven 8 other texts, written by Pinter from 1959 until 2002. They are all one act.

's speech in Stockholm is a text very hard ...

Usually the speeches that are spoken on the occasion of the withdrawal of the Nobel Prize are all very 'abstract', the authors talk about their literature, their works. Pinter deals with this. What emerges is that he always tried to tell a contemporary story in a political, though not absolutely deployed.


a speech in which the politicians come up with broken bones.


Absolutely. There's a part where he says that the life of a writer is very difficult, there are icy winds in which writers are exposed. To solve the problem of being alone, the writers should start telling lies, which would mean taking the first step in becoming politicians. Goes on to say that it is necessary to begin to really address the reality, to tell things as they are, because otherwise we risk losing what is central to all of us, or human dignity.

An attack on politicians, but also an attack on political language, which does not aim to seek truth, but the maintenance of power.

In the initial part of the intervention, Pinter offers an argument about what is true and what is false. From here to tell how he, playwright, has addressed the dichotomy between truth and reality, explaining that it is sometimes very difficult to distinguish between what is really true and what is actually false. The two things often overlap, depends on the type of language that you choose to use. You can choose to tell very things using false codes of truth, so that others seem to absolute truths.

Back to the show. This is the final outcome of a study on Pinter as early as December that he had a first performance. A journey come to an end, though, since the object of study, perhaps we may say that a search in this sense can never say definitively concluded ...

On this I agree fully. We have continued to try and experiment because every time you read the text pinter discover new meanings ever, ever deeper. As you work you're able to get more and more in the text, but do not ever get to a conclusion. Pinter's work is not based on a very high language, instead using the jokes are very dry, which allow you to work a lot on subtext about what is behind what is being said. To try to understand it in depth you have to work a lot and as you say probably never get to find out altogether.

An author does not provide conclusive answers.

In interviews Pinter explained that what he does with his lyrics is open a door . What a viewer sees in his works, which are one-act plays or longer, is what happens to a character caught in a x of his life and left to a point y . So, without a beginning and an end states. Opens a door as if to say: "Look what happens to these characters in this exact moment. What happens before or after I do not care tell."

Tell us something about how the show is built ...

It 4 of 8 one-acts and actions taken by Pinter's speech in Stockholm. Most of the texts have been cataloged by the author as sketch - reviews, therefore c ome if they were pieces of magazine variety show, alternating with moments of strong drama, in the text produced for the delivery of the Nobel. The idea was to accompany the immensity of the word author, something that from a certain point of view it was more mild, but at the same time it is not really. These seemingly simple sketch, but in fact more complex. What we have tried di fare rispetto a ciò che Pinter diceva sulla verità, è stato prendere dei personaggi molto reali, ma che nella loro realtà risultano assurdi. 

L'assurdo che viene fuori da un indagine sulla quotidiana 'normalità', dal vuoto che il quotidiano si porta con sé...

Esatto, si tratta di personaggi schematici che esistono rispetto ai loro tic e ai loro cliché. Sketch che si rivolgono allo spettatore dicendo "guarda, questo è quello che tu vivi sempre, come fai a non ribellarti? Ciò che ti faccio vedere è talmente assurdo e paradossale che non può do not take to find a solution, to be committed.

There is a strong emphasis on language, the use of the word ...

pinteriana The word is so important that we have decided to divide the English texts. We wanted to give depth and meaning to the word of the author, speak directly to the original texts. It is a language so dry and essential in his lines: It is extremely important to give a weight to each of the words he uses.

The central element of the show is the importance of the commitment of every citizen?

Non nell'accezione dell' engagement sartriano . Il lavoro che noi abbiamo fatto è stato quello di inserire molti passaggi pop. Utilizziamo, ad esempio, le figure della lego come pupazzi che vivono la quotidianità senza porsi domande su ciò che succede, come stessero seguendo uno schema dall'inizio alla fine. Pinter mostra una realtà rispetto alla quale lo spettatore è portato a porsi delle domande, chiedendosi cosa c'è di vero e cosa c'è di falso. Si tratta, dunque, di una ricerca della verità. Pinter non è in nessun modo ideologico e non può essere inserito nella categoria dell'artista involved, since for most of his life it never was. And 'its production at the end says. Pinter working on there are too many words to explain. What I think is important is the essence of his search for truth, which is not lost behind too many speculations, but goes straight to the point. It shows the everyday life so meager, it is then up to you to decide what to do. Do not propose a solution cathartic, not trying to propose an ideological world to refer to. Pinter himself says in an interview: "I can bring the viewer to make a choice. Maybe.

Review by Maria Francesca Stancapiano out on events in Theatre Thursday, March 15, 2010

Cabaret and irony in the political circus of Pinter

one 'idea of \u200b\u200bPaul and Dario Focardi Pierazzini left from Pisa, to turn many theaters of Tuscany, a show that has marked a big question in the viewer. This is Pinter's The Flying Circus (photo) with Simone Faucci, and Paolo Dario Focardi Giommarelli, co-production between the Company and TeatroLux of Theatres of Resistance of Pisa.

A wheelchair brought us to the scene recalls Harold Pinter, now sick and at the end of his life, during delivery, in 2005, the Nobel Prize for literature. But, anyway, the great dramatist is still strong to support and communicate its discomfort of the century.

It is this unease that the "three specialists to Tarantino" with masterly ease we reproduce on stage in cabaret sketches and moments of pure ironia.Un 'irony that melts sul palco durante i dialoghi tra due personaggi che continuano a contraddire quello che avevano detto su se stessi, e che il pubblico, abituato per convenzione, prende per buono.

Ma è anche un' ironia che in modo brusco, violento, cede il posto ad una drammaticità ancora reale, contemporanea. Lo scrittore cede il posto al cittadino chiedendosi cosa sia vero, cosa sia falso in questo mondo. Nel momento in cui si sente la necessità di vomitare con rabbia la persistenza di guerre, di bombe, all' uranio impoverito. O più semplicemente di morti. L' unica certezza che si ha è che i politici non mirano alla verità, ma al potere. E per consegnare questo, è essenziale che la gente rimanga nell' ignoranza.

"The crimes the U.S. have been systematic, constant, vicious. We must recognize that 'America has managed to coldly manipulate power in the world under the guise of universal good. "

This and other pieces of the famous speech in Stockholm, are often shown during the piece as the glue of that circus of political theater that offers the public the debate on 'influence that the political system has on' individual: to have a conscience velero own or be handled? Among the texts cited "Art, truth and politics - Nobel Prize speech," "Trouble in the factory", "Girls," "This is your problem," "precise" and the poem "The Dead"

Review Marta Masha published Teatro.org

The Flying Pinter Circus - La lezione di Stoccolma

Cosa c'è di più assurdo della realtà contemporanea? L'uomo ha ancora dignità?

Questo si chiedeva Harold Pinter durante la conferenza per il conferimento del Nobel per la letteratura del 2005, che gli fu assegnato dall'Accademia di Svezia. I registi dello spettacolo: Focardi e Pierazzini, il quale è anche un operatore sociale, scelgono di utilizzare come base della rappresentazione il discorso che pronunciò allora Pinter, che è considerato il suo testamento artistico e politico, ed il video-intervento, che lo immortala, che viene mostrato più times during the performance. They do a tribute to this great man and artist, who died last year. The show is divided into ten shares stage, joined together by a tenuous connection of events, interspersed with scenes of circus figures in fitness facilities, from circus music and psychedelic lights. They are so many pieces of contemporary, full of cynicism and drama. Real data are presented in a dimension outside the real, and after a beat back the smile to the tragic sense, as often happens in the Theatre of the Absurd, which Pinter was a member. The plaintiffs are three: Simone Faucci, and Paolo Dario Focardi Giommarelli: all men, dressed in black suit. Become in the course of the show caricatures, with the movements and facial expressions especially accentuated. Often turn to the public, playing with him, as they move freely on stage, even climbing on the seats. They make several references to contemporary television programs today, and especially the political situation today. Certainly one of the most successful scenes in this study, which is not yet the final show, is a reference to Guantanamo, the rights of persons not respected, because of neglect by those who claim the leader of the free world. There are constant references to death and injustice. At the end are told that we are all reflections of a mirror, it is necessary to break, for man, and especially the artist must bring out the truth, to bring the world a perspective of life. The truth must be sought with the art, not politics, that hides so many lies, and just want to get to full power. Finally, the interesting juxtaposition with the circus, as this is an art which constantly threatens the life, for the realization of exhibitions, which attracted strong appeal to the risks and effort it requires. But in the end as in the circus can break the barriers and the man becomes strong and heroic, and that's what everyone should do following the lesson Pinter.

Viewed on 14/12/2009 at Pisa (PI) Theatre: CinemaTeatroLux

RATING: 3 out of 5

Review by Gianfranco Capitta release on February 7, 2010 Manifesto of the