Open Letter to Friends critical
Dear Friends, I write these lines to cast because I heard that last night something happened. The occasion was the presentation of the book by Andrea Porcheddu and Roberta Ferraresi, "This ghost, a theater critic." Not a book on Wikileaks. Not an instant book on Rudy's bed Berlusconi. No, a book on who writes about theater. The critic of theater, Andrea baptizes "the ghost". Well, around this ghost yesterday have moved energy that can not go neglected. To begin with, the audience there were at least ten other ghosts. Since overtime, for those who know the inertia, the antagonism and the arrogance of our class critique. Not only was there, but we all talked. We exposed. We felt less alone. We were there for the book by Andrew and because, in many ways, we had attended the meetings of Novo critic, this "extravagance" invented by Elvira Frosini, which contaminates the word "critical" with a syncretism: an egg (hence the fertility ) new (young) that becomes the bait for the work of the imagination.
Many of us have known for many years and have been through difficult and often discordant. Each of us has struggled not only an idea but groped to make it, not to succumb, not to change course. In this struggle for survival we have lost sight of the goal. I have often heard to say that the nineties were good years than today. It is not true. These are the best years. Because in the meantime all I had to deflate it is deflated, what he had to drop fell. And today we are wonderfully hollow, anemic, more humble, and in need of new words.
We are in a moment of transition. Maybe Berlusconi left the scene, but he will not disappear on Berlusconi. It can come out bruised, with some scratch, with a smile less smagliante, leggermente più cereo, un po’ invecchiato, ma il fantoccio del signor B. ormai è ben piantato nel nostro immaginario, perché non l’abbiamo subito ma creato, gonfiandolo a dismisura, ebbri di felicità.
Nessuno ci ha impedito di fabbricarci il nostro Ubu Re, il padrone-servo dei nostri bassifondi onirici. Non ce lo ha impedito la Sinistra, che si è limitata ad alzare la bacchetta dei maestri saccenti tutte le volte che gli scolari svogliati diventati presidi (è chiaro che tutto il berlusconismo ha significato la rivincita degli ultimi della classe) si prendevano eccessive libertà. Non ce l’ha impedito l’Europa e neanche l’America né il mondo tutto, che ha marched with the G8 Aquila, participating in the most nefarious feast of Italian history, feeding the remains of the massacred people of Abruzzo too many earthquakes. Did not have prevented our dark sense of modesty that is a symptom of a deep-rooted double standards in our minds.
Why do I speak here of Berlusconi? Because that is what we need to address. We must take care of those who govern us, because we are no better, and those who represent themselves as the best times to send messages occlusive monologue, convinced that embody the good. Anthony Audino spoke of "Come away with me". He spoke with unease, and it is the discomfort I felt in the words of Antonio, who should be born is our responsibility.
But who are we? What do "these ghosts," what to look for what they have to say, twenty years later in what are now? What critics are saying the young (maybe ghosts still do not feel) to us and the artists we are called to dialogue?
Claudia Cannella closed his speech with a terrifying question: Are we sure are better than those who preceded us, or at the end want nothing more than replace the barons of the critics who have eaten alive (or facts we live to eat)? Must we wait for their death? Distressing circumstances, unworthy of people who use writing and thinking live.
said Andrea Porcheddu many times, with a sincerity that it was difficult to read his face: it is our duty to say something to artists and those to come. Let's go back to using critical writing without shame, competently, wisely. Next to the theater who does it, but do not confuse with the artists, who have not, however, no desire to mingle with us. Travel Travel parallel question ourselves, not tiriamoci never back.
Massimo Marino said that the book is in excellent health. Yes, even the theater's books are good and some even read them. Let me add that not only the book of theater, but also the human being is coming back in fashion.
If videocracy could settle as a successful model in the last twenty years, it is because he made a slow but irreversible transformation of the imaginary.
We want to leave it at that? Is it not time to get out of our misery niche to take care of what happened and what is happening around us and within us? Would not it be nice to help produce a new imaginary, present to each other as a community?
will be important to show our "presence in life before our presence as critical.
The time is ripe. If being human is coming back into fashion - after years of humiliation, of simulacra, of fiction - then we too, especially those of us who are concerned with foreign words and objects alive, we must measure ourselves with what's left of humanity.
not just to write good reviews (better if they are beautiful, and enough with the involutions: You're right Claudia), because of "pressed to his skull in the world."
's a moment of political change. But there is little to celebrate if we allow the opposition is made in Italy "only" on TV, that TV devour forms of theater and all possibilities of thought in motion. As new, the tv is always in opposition a great performance car, with its rules mute, self, unable to sustain the beauty of a thought in constant rebellion, able, on the contrary, at every step to celebrate the funeral.
If the disagreement flows, with all its branches cut badly, in the great machine of production of ideas that are manufactured elsewhere, always, there will be that one day applaud the advent of a new King Ubu Otherwise, we will meet increasingly lonely and pissed off to haunt the shadows.
We do theater. The theater is made of living things. The theater is thought the move. He says Massimo, I have repeated many: we have to think. And above all let us come together, dialogue, non disperdiamo le energie. Non dobbiamo essere per forza d’accordo sulle idee, ma almeno stringiamoci attorno a delle idee che siano tali. Critici, scrittori, attori, registi, spettatori, tutti, usciamo allo scoperto. Come è successo l’altra sera, dove, una volta tanto, non abbiamo fatto una riunione di condominio, ma abbiamo registrato i segnali di bellezza ma anche quelli di allarme. Non illudiamoci che, siccome l’abbiamo sfangata una volta due volte infinte volte, la sfangheremo ancora. Il pericolo è reale. E perdonatemi questa citazione da Pasolini: “Lo sanno tutti che io le mie esperienze le pago di persona. Forse sono io che sbaglio. Ma io continuo a dire che siamo tutti in pericolo”.
I think as Simone Fog: "To write is to know." The rest should not matter.
Katia Ippaso
Rome, December 4, 2010
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