Adaption and direction | Lisa Ferlazzo Natoli
Translation | Tommaso Spinelli
We do not need a plan of the future,
we need a method of change.
Edward Bond’s Lear is the tragedy of the collapse of a world and its language, the tragedy of dismemberment and dispersion. It’s the grand contemporary narrative of violence and horror, of war spreading out through every word and act, of Nations erecting themselves on silence and abuse. It’s a Lear of literal violence, with strategies worthy of terrorist attacks, a Lear that brings to surface the discomfort we feel towards the controversial democracies of our Nation-States.
The plot develops around a wall, a compression, a state of widespread danger that reminds us of the iron curtains and forces us to retrace those other walls that, though becoming increasingly thinner, enclose us in a silent centre on the outskirts of our souls. In Lear Bond talks about a world dominated by the original myth of the State and of the Law as something private and obscenely domestic, and in doing so he also talks about its inevitable precipice. Lear talks about violence in all its possible forms, even the more wisely democratic; about societies – both the technological and non-technological ones – that manipulate and redefine our idea of control, making it more and more meticulous, admissible in its quasi-transparency.
Lisa Ferlazzo Natoli - author and director, is the founder of the company lacasadagilla. She has conceived and directed La casa d’argilla (2006) and Foto di gruppo in un interno (2009); directed the opera La bella dormente nel bosco (2007); Ascesa e rovina della città di Mahagonny (2009); Jakob von Gunten (2012) and, recently, Lear di Edward Bond/Parole nude (2014), a reading intended as a 'study' of Lear by Edward Bond. Finally, she has curated several projects, including Wake up! Bagliori della primavera araba (Teatro Argentina, 2012); IF/Invasioni (dal) Futuro (Estate Romana 2014, 2015).
Edward Bond - is one of the most prominent figures in the contemporary theatre scene. Dramatist, poet, screenwriter, theorist and theatre director, he has written more than fifty plays that have been internationally performed. As a playwright, he reflects on the corruption of the contemporary society, as well as on the different forms of power and the resulting compression. Among his plays: Saved (1964), Lear (1971); Summer "A European Play" (1980); The War Plays (1983-85); In the Company of Men (1988); Existence (2002); The Edge (2011).
Lear by Edward Bond is part of Borderlines a project open to the radio, the publishing industry and the visual arts that, moving from the publication of the Italian translation of the play text – which has never been published in Italy before – to the exhibition of the Wallonwall photographs by Kai Wiedenhöfer, operates around the theatre of Edward Bond.
11 December 2015, Teatro Argentina, 5pm
Public lecture by Edward Bond and book launch of Lear (minimum fax). A unique opportunity to explore the ethical and political issues put in place by the play Lear, and more generally by Edward Bond’s theatre. The event took place at the presence of Edward Bond, actor and theatre director Elio De Capitani and the translator Tommaso Spinelli.
8 December 2015, Teatro India
On the day of the play’s premiere there waswill also be the opening of the second step of the Wallonwall. Photographs and Frontiers at the City’s Borders exhibition, which will takeook place in the outdoor spaces of the theatre. This is a public art project that develops through time tracing a 'map of borders' across the city of Rome.
WALLONWALL | Photographs and Frontiers at the City’s Borders
started on 8 October 2015 with the exhibition of a large format photograph at the MACRO museum as part of Fotografia-Festival Internazionale di Roma (until 17 January 2016). In 2016, Wallonwall will taketook over to the perimetral walls of the Rebibbia and Regina Coeli prisons.
Is a project by lacasadargilla / Lisa Ferlazzo Natoli, Alice Palazzi, Maddalena Parise / Alessandro Ferroni
Produced by Teatro di Roma and lacasadargilla
Photographs and Frontiers at the City’s Borders
curated by Maddalena Parise / lacasadargilla
in collaboration with Fotografia_Festival Internazionale di Roma,
with the support of Teatro di Roma
and of Assessorato alla cultura e turismo di Roma Capitale