Directed by: Clemente Tafuri, David Beronio
With: Domenico Carnovale, Luca Donatiello, Aurora Persico, Alessandro Romi
Production: Teatro Akropolis, 2018

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.

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

The ensemble builds a very rigorous and, at the same time, slight performance […] very memorable, for precision and density, the sequence in which a performer makes a very long series of fast rotations on his own axis imbued with innumerable, exact variations […] This Study on the myth of Demeter it is simple and definitive as a cut on a canvas (blue) by Lucio Fontana. And, in this case as in that, it is an invitation to appear on an elsewhere, very human and indefinable: on the border between corporeity and mystery.

Michele Pascarella – Hystrio

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

This last show 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

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