PRAGMA. STUDY ON THE MYTH OF DEMETER

Directed by: Clemente Tafuri, David Beronio

With: Domenico Carnovale, Luca Donatiello, Aurora Persico, Alessandro Romi

Production: Teatro Akropolis, 2018

Kore is the nameless maiden, daughter of Demeter, the mother goddess who dispenses seasons, the goddess of wheat and poppies. While Kore is catching flowers, Hades, lord of the underworld, kidnaps the girl and leads her to his reign. The pain of Demeter is boundless, it generates the end of every cycle of rebirth. Only Baubo, a grotesque image of Dionysian nature, manages to make her laugh, distracting her for a moment from her mourning and dancing obscenely for her. Zeus, determined to interrupt the winter that Demeter loosed on the world, intercedes with his brother Hades to release Kore and grant her to return to her mother. Kore returns as Persephone, queen of the underworld, destined to reach cyclically Hades in his reign. From his encounter with Demeter a new creature is generated, the divinity of life and death, of healing and destruction.

The myth of Demeter is one of the oldest traces of Western culture, the myth represented in the mysteries at the origin of the theater. The research conducted on the sources (Orphic, Eleusinian and about all Greek wisdom) and philosophical studies (Colli, Kerényi, Nietzsche among others) led to the scenic composition of the events, to the reworking of ancient fragments with the presence of body in scene, through the archaic dances and the archetypal power of the tragic vision.

ABOUT PRAGMA

“The stage and laboratory research […] of Tafuri and Beronio, unique for its style in Italy, concerned for years the pre-literary origins of the theater, since their theater is about the expression of an unrepresentable wisdom, an art that makes possible a direct comparison with the myth and its metamorphic essence. […] The work […] finds a representative power that leaves, at its end, moments of suspension, is almost impossible to applaude […]. These images are peculiar, by density, in Italian theater today […]. An use of the scene like the one of Teatro Akropolis cannot be found elsewhere in Italy, and therefore should be known.”

Renzo Francabandera – Paneacquaculture

“We applaud the whole Company, in particular the emotional proof of Alessandro Romi […]. An entire universe of meaning unfolds between signifiers that stratify our experience, emotional and intellectual. […] And yet, the temporal linearity of life / death that clashes with the circularity and the cyclicity of nature, which returns to the stage together with the only solution of continuity: the Heraclitus’ child, who in the game, in the ‘pizzica’ dance that explodes on the rhythms of Scarlatti’s sonata, throws the man into casualness and, at the same time, rejoins Giorgio Colli and the Greek wisdom, the Arche and the mystic inebriation to the ‘here and now’ […]. Like Giuliano the Apostate, Clemente Tafuri and David Beronio invite us to participate in the Eleusinian Mysteries. Art becomes archetype.”

Simona Maria Frigerio – Teatro.Persinsala

“The concept of love / hate, eros / thanatos, is expressed in bodies and faces that the penumbra accentuates in their tragedy. While the irruption, in the central part of the performance, of the dance – whose movements refer to the traditions of the ‘pizzica’ dance – thanks also to the light and harmonious quality of Domenico Carnovale, gives the feeling of offering a body, finally liberated, to the Solomonic sentence – of Zeus, on the mythological level. […] Actorial proof of great generosity by all members of the Company […]. An important step in the research path of Teatro Akropolis.”

Luciano Uggè – Artalks

“By patiently mixing these preverbal signs, the playwrights reconstruct the immortal myth of Demeter not as a representation or narrative, but as a panic suggestion that seeks its foundation. This last show, then, represents […] a point conquered in awareness and coherence. […] Beronio and Tafuri continue, and they also grow theatrically in their search for a theater halfway between poetry and philosophy, almost in search of those primitive cenacles from which the ancient tragedy absorbed its strength. It is no coincidence that their scenic work is accompanied by intense research.”

Maria Dolores Pesce – Dramma.it

“An essential show, of solid emotional impact, a theater that pursues dance and leads the viewer on the threshold of a myth. […] It is an ‘act sans paroles’ intimate and high voltage. […] A timely and methodical survey that produced written pages, reflections and theatrical actions carried out with rigor.“

Walter Porcedda – Gli Stati Generali

“That of Tafuri and Beronio is a representation that precedes the logos, terrestrial in its sensuality, gloomy in its manifestation through the bodies of the interpreters, who are able and precise physical presences in the care of the gesture and in the definition of a theatrical moment that follows the one about study.”

Lucia Medri – Teatro e Critica

Photos

Technical info

Artistic sheet

Technical sheet

On stage

No event to display

Newsletter

 
  • Name and surname
  • Personal data authorization use (GDPR n. 679/2016)
  • This field is for validation purposes and should be left unchanged.
Contenuto non disponibile
Per visualizzare il contenuto consenti i cookie cliccando su questo banner o sul tasto OK nel banner in fondo alla pagina.

Cliccando OK e proseguendo nella navigazione acconsenti all'utilizzo dei cookie. Maggiori informazioni

Questo sito utilizza i cookie per garantirti una migliore esperienza di navigazione. Non utilizza alcun cookie di profilazione, ma sono utilizzati cookie di terze parti legati alla presenza dei “social plugin”. Cliccando OK e proseguendo nella navigazione acconsenti all'utilizzo dei cookie. Per informazioni aggiuntive sui cookie e sulla loro disattivazione consulta la nostra Cookie Policy.

Chiudi