idiotas

di eimuntas nekrosius

A journey into the meanderings of the mind, into the secrets of the erotic impulses of the characters to present a life that cannot be stopped but only represented or sublimated. A kind of “melodrama” where the scenic tale invented by the great Lithuanian director, winds along a line of music that is never a banal soundtrack, but a language “other”, a kind of vertigo that takes the characters, a big question on the deeper issues of our life.

Maria Grazia Gregori (L’Unita)

 

… The great performance is peaking in the third part where the formalizing absolute space, coincides with the evocation of the dream and the play of sounds, everything becomes abstract, the action stops and the drama finds its place in the absolute thought. Franco Quadri (Repubblica)

Following the highly acclaimed Anna Karennina, Nekrosius turns back to the beloved nineteenth century Russian Literature making front this time Dostoevsky’s The Idiot. The result is impressive, strong, tense, impressive … supported by an intensity that never fails.

The representation is divided into four acts of different compositions. Each of them culminating in a summit of emotional violence: in the first, the furious rain of coins that is poured on Anastasia Filippovna, the last, the mirror- pendulum oscillating around her before Rogozin kills her. The two central acts are dedicated to rummage in the soul of the protagonists, developing a subtext of feverish dreams, hallucinations, ghostly dance. Renato Palazzi (Sole 24 ore)

… this is where comes the visual power of the theater of Nekrosius, the same that we find in this Idiotas and that we have learned to love in the magnificent views of Chekhovian Three Sisters and Shakespeare’s masterpieces. We listen the characters say the pain of their indecision, and the violence of a fate which condemned them all, even those who desperately seeks, as Myshkin, goodness, with stubbornness to distinguish between love and compassion. We listen them and we are seduced. Nekrosius puts us in front of what we know from our experience and reveals us something secret. In these fragments, the political condition is poetry, or maybe vice versa, a necessity of reinventing theater in the gaze of the spectator. Cristina Piccino (Il Manifesto)

Performed in Lithuanian with surtitles on a running time of 4 hours 50’ including three intermissions.

 

Idiotas_photo- Dmitrij Matvejev C (10)
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