By Natalia Dantas- 

Inauguration of the XIII Edition "Satura Lanx" Festival internazionale del teatro romano, Monday July 6, 2015, at the Roman Theatre of Volterra.

A short greeting and the presentation of the Festival by the artistic director Tushar Majmudar opened the evening on the terrace overlooking the grandiose Monument: the actor and Director of Volterra has also shown any developments of a restoration project, reuse and extension of use of a section of the Auditorium by the competent bodies. The artistic director he then yielded the floor to actress, Director and playwright Cinzia Maccagnano, protagonist imminent on the stage of the evening, which in a brief speech drew to outline the guidelines of the show about to go on stage.

Below have spoken Augusto Mugellini, President of the Fondazione Cassa di risparmio di Volterra and City Mayor Mark Buselli, underlining the unfailing commitment of the Foundation for the first Festival and calling for joining forces to improve structural data of the monument and the second equally, focusing but not only on the problems of preservation and improvement of the present conditions of the theatre but also the desirable increase in grip of "event" in the territory.

Piero Rivers interventions concluded, Henry's son, the celebrated archaeologist volterrano discoverer of monument, which recalled the father figure and the enterprise.

The descent of the audience in the Auditorium of the Roman Theatre of Volterra is always exciting: the grandiose monument, illuminated not only by skilled spotlight, but also from bright lights to trace the route to reach the audience exudes its charm. Even more so if you are going to watch a rarity on today's scenes, like a comedy by Aristophanes. And in fact "the frogs"-Malincommedia on the edge of the world "was the title of the show opening Festival by 2015," the frogs ", one of the most popular comedies of the great classical Greek author.

To stage Aristophanes today is an act of courage, almost as much as that performed by Dionysus in search of poetry with his descent into hell…

We got commitments Cinzia Maccagnano, Cape de “La Bottega del pane”, with a date of transposition masterpiece, also taking care of dramaturgy.

And that's the key point "of the whole thing", to use the language purposefully revamp of this poetic journey into the underworld baraonda…Not only brave, then, the show, but also outside the box, almost everything in the feminine, hard to read, because cryptic, in a sense, at first glance, if you are familiar with from the public of the mechanisms of Greek drama, comedy is tragedy.

Brekekekex koax koax he heard resonate after over two thousand years in the cavea of the Roman Theatre of Volterra, from frogs croaking today still have a meaning indecipherable, if not duly evidenced: the verse, the fantasy, the transcendence of poetry and its imponderable lability.

The frogs at the Roman Theatre of Volterra are often gracidato in Greek, with those same words onomatopoeias untranslatable which put their mouths Aristophanes and, through Hipponax, certainly fascinated the leopards.

…And the thought of the writer is also running at large Tino Buazzelli and her frogs, at the Greek Theatre of Syracuse, many years ago: a masterpiece in the masterpiece.

A business note a logical thread running through the story of this comedy, albeit behind, in a sfaccettarsi of scenes, characters, languages and dialects…Consistently, though, so as it was at the time of Aristophanes, whose comedies are often preposterous today precisely because they contain immortalized the jokes about the rulers of the time, politicians, courtesans, the merchants, the poets and poetastri, in many different Greek dialects…And here, to put it on stage, it recurred at the same artifice; to project the present into the past, with language, dialects and related subjects our days, the events of our politicians, our European currency…

This was put into place by Maccagnano, who, coming from the distinguished School of INDA to Syracuse, crush the tablets of the stage, with this show in particular, for many years.

Aeschylus and Euripides are two examples of agone tragic, but also an example of how to consider the present decay and the past example of consistency and righteousness, then as now, as always. An excuse, therefore, Euripides: the stone of Aeschylus almost ascetic tradition against the tragodìa against the ornate almost Alexandrian; the bombastic but Gaunt, against the decadent and wordy…You save the stone industry, Aeschylus, after a clash with verses and quotes of classic have retained only the terms and titles of the tragedies.

Therefore modern symbolic anyway, Cinzia Maccagnano, with an eye to gassmaniana armata Brancaleone, reported in Volterra, again, Aeschylus in the world of the living and for the sake of posterity, legendary among the croaking of frogs. Mission accomplished.

© Natalia Dantas

La Bottega del pane:

THE FROGS – Malincommedia on the edge of the world

by Aristophanes

translation Cristina Putignano
direction and dramaturgy Cinzia Maccagnano
with Moon Marongiu, Cinzia Maccagnano, Cristina Putignano, Rita S, Oriana Cardaci
scene and Chorus Kendrick Caldwell – Mariella Badekar
costumes Clare Parker
original music de Seta – Fontana – Larry

PHOTO NATALIA DANTAS, CIGNA, AA. VV.