ACCIDENTE 5 - UN CORAZON NUEVO
The story of a great gift, a new sensibility, a loss. An artist who paints pictures that look like photographs. A new heart that sounds emotions. A staging that points the lens towards others. Towards you.
Original Script MAURO ANDRIZZI and MARCUS LINDEEN
Translation, Concept, Direction GIULIO STASI
With TIZIANA AVARISTA, MARGHERITA GIUNTI, FRANCESCO MARINO and with YOU
Technical Direction DARIO SALVAGNINI
Premiered in Rome at TEATRO QUARTICCIOLO for Premio alle Arti Sceniche Tuttoteatro.com DANTE CAPPELLETTI 2012. Presented at TEATRI DI VETRO Festival 2013 in Rome and Festival TRASPARENZE 2013 in Modena
Performer in previous editions FRANCESCA MULLER, ROBERTO DE PAOLIS, GIULIO STASI
SPECIAL MENTION PREMIO TUTTOTEATRO.COM ALLE ARTI SCENICHE DANTE CAPPELLETTI (Jury: Paola Ballerini, Roberto Canziani, Gianfranco Capitta, Massimo Marino, Laura Novelli, Attilio Scarpellini, Mariateresa Surianello, Aggeo Savioli)
In Giulio Stasi’s Accidentes Gloriosos project, the drama by Mauro Andrizzi and Marcus Lindeen is transformed into the implementation of an episodic device which goes beyond the usual narrative and spatial barriers, and at the same time offers ways of relating closely with the audience members without giving up control of the scene.
ALESSANDRO PAESANO on TEATRO.ORG about ACCIDENTE 5
[...] Giulio Stasi keeps surprising thanks to his ability in building in a sharp, effective and exemplary way a performing path towards a direct and unsettling dramaturgy; he first elicits the audience’s emotions and then, when they are emotionally receptive, tells them a multi-layered tale, where the lifestyle change following an heart transplant (evocated by another character) becomes the cypher of a mystery to be subjectively sorted out. The script is open to different solutions, all of them equally valid, as the narrative determinism is filled with a universe of possibilities enabled by the spectator’s own experience and by the emotional reverberation that script, music and performance maintain in them. The playful and entertaining aspect of the performance perfectly matches the serious and concrete existential questions about the possibility of and capability for change, possibly linked to a loss, like the disturbing content of the secret painting seems to suggest…
SIMONE NEBBIA on I QUADERNI DEL TEATRO DI ROMA about ACCIDENTES 1, 5 and 6
It may be true, it may be so, that when faced with the danger of our own or someone else’s death we feel the pulse of life even more deeply. Giulio Stasi, an artist known as an actor and director, seems to have a concrete awareness of this; together with his company, Rosabella Teatro, he has created a series of “Accidentes Gloriosos” dealing with death, which obviously means talking about life. Three of these “Accidentes”, staged at Teatri di Vetro 7, were among the most interesting projects of the entire festival. Number 5, “Un Corazón Nuevo”, previously presented at the last Dante Cappelletti Prize, is a visual discourse that investigates the faces of audience members from the stage, penetrating them all the way to their inner organs. One of these is the heart, of which the last face speaks, revealing the transplant of feelings that occurs within an organ transplant. […] An accident, an incident, an incisive show about the life remaining to us; we leave the performance trying to swallow what we chew on raw.
SERGIO LO GATTO on TEATROECRITICA.NET about ACCIDENTES 1, 5 and 6
Shooting death, shooting life. – We get out safe, or almost safe, from our three stops in this terrifying emotional amusement park and it is difficult to know what we could or should say about it. Victims of an accident only remember the deafening sound and the sight of all eyes staring at them. Perhaps it is in this declination of death that the three Accidentes embrace each other, in an accurate montage of a life ebbing away, consigning itself to the memory of those who remain, to the memory of that death scene, one last impression of light. […] Giulio Stasi’s work is a slow and courageous journey towards the articulation of a language. He takes the huge risk of totally penetrating the great distance between very strong dramaturgical material and subtle staging: a risk assumed with the responsibility of making a violent impact on defenseless spectators, but done with the keen grace of research, the elegance of simplicity, and renouncing any winking shortcuts from the get-go. Within the triangle of gazes (performer, spectator, playback of the gaze); within the human body represented by a bicycle; in the distant but wrenching narration of that head-on collision: within all this there is a sense of real emotions that are never purely emotional but always, always, always critical states of being. And all too often this urgency is underestimated.