Da I Fratelli Karamazov
di Fėdor M.Dostoevskij
traduzione di Agostino Villa
personaggi e interpreti
Karamazov Fėdor Pavlovič CORRADO PANI
Karamazov Dmitrij Fėdorvič, Mitja MASSIMO POPOLIZIO
Karamazov Ivan Fėdorvič GIOVANNI CRIPPA
Karamazov Aleksej Fėdorvič, Alėa DANIELE SALVO
Smerdjakov Pavel RICCARDO BINI
Makarov Michail Makarovič MASSIMILIANO SBARSI
Un agente PIERLUIGI CICCHETTI
Rakitin Michail 0sipovič, Rakitka PIERFRANCESCO FAVINO
Kutuzov Grigorij Vasil'evic STEFANO LESCOVELLI
Kuttuzova Marfa Ignat'evna MONICA MIGNOLLI
Padre Zosima, lo starec ANTONIO PIOVANELLI
Padre Paisij LUIGI SARAVO
Padre Iosif NICOLA SCORZA
Un monaco GIANLUCA GUIDOTTI
Snegirėv Nikolaj Il'ič STEFANO LESCOVELLI
Snegirėva Arina Petrovna GABRIELLA ZAMPARINI
Snegirėva Varvara Nikolaevna MANUELA MANDRACCHIA
Snegirėva Nina Nikolaevna FRANCESCA FAVA
Snegirėv ll'ja, Il'jua NICOLA BORTOLOTTI
Krasoktin Nikolaj, Kolja FRANCESCO GAGLIARDI
Il Grande Inquisitore MASSIMO DE FRANCOVICH
Lui VALENTINO VILLA
Chochlakova Katerina Osipovna PAOLA BACCI
Svetlova Agrafena Aleksandrovna, Gruen'ka VIOLA PORNARO
Fedosia Markovna, Fenja PATRIZIA SACCHI
Perchotin Pėtr ll'ic PIERLUIGI CICCHETTI
Samsonov Kuz'ma Kuz'mic GIAN PAOLO PODDIGHE
Il guardaboschi MASSIMO POGGIO
Gorstkin, Bracco MASSIMILIANO SBARSI
Un cocchiere EMILIANO BRONZINO
Un passante, un garzone di Samsonov GIANLUCA GUIDOTTI
e con
Calogero Azzaretto, Fabio Bettini, Mario Capanna, Adriano Cerantola, Giovanni D'Astore, Marzia Di Roma, Valter Midolo, Cesare Pilotto, Ofelia Porretti, Roberto Spaziani
Scene di MARGHERITA PALLI,
costumi di GABRIELE MAYER,
luci di SERGIO ROSSI,
musiche a cura di PAOLO TERNI
REGIA DI LUCA RONCONI
Produzione Teatro di Roma
«In the "theatrical" version
of The Brothers Karamazov, each scene has a precise stylistic identity -created
by a wide rage of expressive techniques from the naturalistic to the expressionistic
which is also reflected, sequence by sequence, in the content which takes precedence
over form. With regard to the overall structure, the discontinuity is mirrored
in the breakdown of the play into three parts: Lovers of Luxury, The Grand Inquisitor
and A Judicial Error. 'This season we are only presenting the first two parts,
which cover the events in the novel up to the parricide and the departure of
Dimitrij for Mokroe while Aläsa decides to obey the starec and leave the
convent. The third and final part, which begins with Mitja's arrival in, Mokroe,
will be staged next season. The inordinate length of the play, coupled with
the discontinuity of the story - which also characterises the longer scenes
to a lesser extent, with their division into sequences being delineated by "Caesuras",
-made it necessary to build the characters in a different way. The "montage"
structure in fact deprives the Karamazov characters of atypically theatrical
continuity. Moreover, a persona will often appear on stage in one sequence,
and only reappear after a long period. The graduality of the narrative logic
also means that each scene must "stand alone" to some degree. To achieve
this it was necessary, instead of presenting the "evolution" of the
character, to on communicating the "complete" character, scene by
scene, according to the specific feeling of each sequence. In other words, the
actor is not called upon to communicate the character's "transformation,"
but the different aspects of the character expressed in the various contexts."
Luca Ronconi, an excerpt from a conversation
with Sandro Micheli (taken from the programme of the Brothers Karamazov produced
by the Teatro di Roma)
When the fate of the Karamazov brothers is apparently
sealed by the sentencing of Dimitrij to hard labour for parricide, the useless
confession made by Ivan in an attempt to save his brother, and Smerdiakov's
suicide, Doestoyevsky introduces into the novel the poem of the Grand Inquisitor.
The diabolical, mean-spirited Ivan tells Aläsa, who finally becomes a "confessor"
and counsellor in virtue of his sanctity, the story of the second coming of
Christ and the Spanish Inquisitor who condemns Him for heresy. In condemning
Christ, the
Grand Inquisitor uses his power and authority, to prevent the human race from
going astray by acting of its own free will and living according to the law
of love. By preventing freedom and love, in fact, he guarantees the peace and
salvation of Man, because human beings are not equipped to deal with the responsibility
of freedom and, if Christ were allowed to take up his mission again, he would
only bring about their destruction. Christ responds to this rationale with a
kiss, and accepts imprisonment.