Caravaggio’s mild magically activates Corato

The Corato author Franco Leone and the actors of Teatri 35 staged the immortal great thing about the artwork of the good Lombard painter with an occasion organized by the Proloco Quadratum of Corato.

On the night of August 28, within the suggestive evening setting of the Lastella Municipal Theater, a quiet sq., attentive and filled with spectators attended the present “By grace acquired“, of residing footage, or quite residing work impressed by Caravaggio’s work. The occasion deliberate and ready by the ProLoco Quadratum on the event of the 54a Version of the Slope, was introduced by its President Gerardo Strippoli and introduced by Leone in a mix of 4 arts: portray, theater, music and poetry.

The Coratino writer defined and highlighted the main points of the 14 work that the theater firm staged as residing work: the fruit basket (Milan), theworship the shepherd (Messina), Matthew and the Angel (Rome), the Crucifixion of St. Peter (Rome), the Martyrdom of Saint Ursula (Naples), the Resurrection of Lazarus (Messina), the Beheading of the Baptist (Malta), Judith beheading Holofernes (Rome), the Crucifixion of Saint Andrew (Cleveland, OH, USA) St. John Baptist (Kansas Metropolis-Texas, USA), la Magdalene in ecstasy (Rome), the Salome with the pinnacle of the Baptist (Madrid, Spain), la Madonna of the Pilgrims (Rome) and St. Francis in ecstasy (Hartford-Connecticut, USA).

That is the textual content commentary by journalist Dr. Marina Labartino: «Prof. Franco Leone introduced the photographs of the work that ran on the massive display as follows: “By the artist canceling the area between the figures within the composition and us spectators, the artist permits us to change into a part of the work. It’s an irresistible invitation to make us really feel the transience of life within the crumpled leaves and within the unhealthy fruit of the fruit basket, to make us really feel the acute distress of the Nativity of Messina, the creaking of St. Matthew’s stool. the facility of the hand nailed to St. Peter’s fist, the troubling absence of God in St. Ursula’s martyrdom, the sword of Judith that appears to pierce the canvas with the blood of Holofernes that appears to splatter on us; but in addition, to allow us to contact the sculpted physique of St. John, the twitching of the muscle groups of the Baptist’s executioner smoothed by the sunshine, the deep bitter wrinkles of the aged half hidden behind Salome, to allow us to see the roughness of the soiled ft of Pilgrim kneeling earlier than the Madonna of Loreto to be disturbed by the indolent devotion of St. Francis in ecstasy within the arms of the angel … “”

The actors of the Teatri 35 Gaetano Coccia, Francesco De Santis, Antonella Parrella then remodeled the wonder represented within the 14 work by way of sheets, curtains, colours and above all by way of the expertise of Italian invention.

Ethereal and luminous like a hologram, the sleek Matthew Angel appeared floating within the ether, interpreted by Antonella Parrella. Parrella herself demonstrated her versatility, going from the sweetness of the Madonna of the Nativity of Messina to the imperturbability of the riotous Giuditta or the icy Salomè. Francesco De Santis remodeled Caravaggio’s three-dimensionality into impulsive gestures that, escaping the scene, invade the viewer’s area, simply as within the artwork of the Lombard painter: Attila’s arm with the bow stretched in the direction of Orsola, the fingers of St. Francis in ecstasy, the Hand of Saint Peter dying the other way up on the cross. Extremely concentrated, Gaetano Coccia immersed us in an virtually metaphysical actuality: Saint John misplaced unsure, Salome’s torturer caught in a sadistic narcissism with cramped triceps, Saint Andrew projected right into a now transcendent area.

Thus, whereas Franco Leone, by way of the traditional rhythm of Dante’s hendeka syllables that characterize the gestures of the figures within the work, led the viewer immediately into the three spatial dimensions, the corporate of the Teatri 35, by way of gestures, curtains, colours and sounds, managed to convey the viewer into one other fourth dimension: the emotion formed by Caravaggio’s mild.

Thursday, September 1, 2022

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