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Davide Enia, “Madrigals of revolt”: timetables and tickets

Summer at the Piccolo intertwines two programs: Each time unique the end of the world (from 21 June to 29 September), which Claudio Longhi has entrusted to Marta Cuscunà, author and visual theater performer, Marco D 'Agostin, performer and choreographer, and the theatrical ensemble lacasadargilla, which will have as its main setting the Chiostro Nina Vinchi; Incursioni / Excursions (from 15 June to 26 September), which will open from the center to the whole city, branching out into the Municipalities and will have as protagonists Davide Enia, Stefano Massini and Marco Paolini.

The show “Madrigals of revolt”

The third protagonist of Incursioni / Excursions is Davide Enia, who returns to Milan, this time with a show produced by the Piccolo Teatro of Milan, Madrigals of Revolt, which in a sort of metropolitan tour, will cross the city starting from the center , from the Chiostro Nina Vinchi, on 22 and 23 July, in Italian premiere, up to touching the Town Halls, from the former boarding school of the Trotter park to the urban cultural sea, from Casa Chiaravalle to Cassina Anna.

Davide Enia chooses the form of the madrigal because, with it, he chooses the song in the mother tongue, the song of the roots, the sounds and vocals of his own land, of his own dialect. Woo tradition, however, without completely marrying it. Enia is a 'cuntista' but a heretical and heretical cuntist is also her philological approach to traditional materials, into which she enters but which she then appropriates, from which she lets herself be inhabited and which she wears in a completely personal way. The artist is not so interested in replicating tradition slavishly but in investigating its shadow areas, the ripples that represent its true charm. Enia says: “Tradition does not exist, there is the story of tradition, there is the moment in which the word becomes flesh and this happens every evening on the scene”. This is where the idea of ​​the show, its necessity, comes from the urgency to answer the question whether it makes sense, after a pandemic that has upset and redefined all forms of communication, to do theater again. A question to which there is no other answer than to be on stage, to continue to go up on the stage, every time, reproducing the miracle of the story, of the words and sounds that are incarnated.

Madrigals of revolt reasons of life and death, reasons of the continuous and uninterrupted dialogue that is knotted between the living and the dead, between those who are and those who are no longer there, those who remain and those who have gone, a dialogue that it has invisible, indecipherable forms, which are made up of thoughts and memories. The dead teach the living resistance, the living teach the dead revolution, according to a time frame that is not linear, as we are used to thinking. The future changes the present and the present changes the past, in a backward race, at the bottom of which the past does not exist, there is only the story of the past through gaze and memory.

Madrigals di riot is a sung operina, a sound diptych, a musical dialogue between Enia and Barocchieri in which the cunto relies on the sounds of the Turkish saz and the electric guitar, instruments with a precise dramaturgical significance. The Turkish saz is a stringed instrument, with a score of sonority that connects the East to the West, uniting the two continents in a common language that can be understood at any latitude. The electric guitar amplifies the dirty sounds of contemporaneity, reaffirming, even in the musical texture, the continuous flow between past and present.

“The Madrigals of Revolt – explains Enia – are songs and cunti imbued with anger and despair, in which the living and the dead weave a dialogue starting from an observation: violence is the common language and under the sky we slaughter ourselves by surrendering ourselves to hatred. They are songs of mourning as necessary parts of an inexhaustible training in order not to succumb in battle, words and notes that counterattack to intercept a sparkle of light at the bottom of defeat, cunti that do not give up and vibrate with happiness in the crash. The Kingdom of Heaven is a mustard seed. The fire always springs from a spark “.


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