“In a space without volume, the flat wall closes from sight the ritual meat that explodes and rebels.
There is no dialogue for those who talk to themselves. A mathematician writes aloud, a reader speaks as he reads and doesn’t understand what he is reading, but only what he is saying. With senile wisdom, the adolescent, against all common sense, splashes around in the enclosure surrounded by conspiracy. Unseen, he spies on characters who, in the middle of their lives, allow themselves to be transported by events, perdition, and delirium along the wall. The silence of death against pathological oratory, a clash between sounds, scratches, and resonant words. Sound upsets the remnants of a concept, impoverishing it. Space for logorrhea, dysentery of the broken-down mouth, intestinal discharge from the least pleasant part.”
From the press:
[…] A work has been produced, Anelante, that is the most calculated, most interior, most analytical manifesto in a repertoire that, for almost thirty years, they have always created in partnership. “Anelante” is a present participle (“craving”), and the title of this latest work by a company devoted to energetically scrapping the Theatre, has the sense of an investigation of categories of indeterminacy: of language, math, physics, myth, and performance. Once again – but here we would say it more than elsewhere – it is a “choral” enterprise, since four other actors (Ivan Bellavista, Manolo Muoio, Chiara Perrini, and Enzo Di Norscia) interact with Rezza. […] Kudos to this highly personal Rezza.
Rodolfo Di Giammarco, La Repubblica
[…] There is no plot; everything is played out in accordance with leaps of the imagination, expressive, twisted syntaxes governed by a vein of desecrating anarchy, physical and verbal provocations that go beyond simple comic effect, irresistible somersaults of meaning without a consequential logic. […], a phantasmagoria for a hyperactive and extraordinary actor, with a malleable face, body, and voice, joined in Anelante by the excellent Ivan Bellavista and by Manolo Muoio, Chiara Perrini, and Enzo Di Norscia, who provide sound support for Rezza’s acrobatic comedy. […] What is it about? It’s about Freud and his theories, or about mathematics, or current events; and you laugh, you pay to have gone to a festival where intelligence, irony, madness, and entertainment coexist under the wing of liberty.
Magda Poli, Corriere della Sera
[…] yearning for an overturning of schemes, that is desecrating and follows surreal meanings and consequentiality, thus giving life to an overwhelming physical and verbal comedy, to an unstoppable monologue […] This actor/character, with echoes of Marty Feldman in Young Frankenstein and of the unhinged, gymnastic vitality of Roberto Benigni, plays upon impertinent, challenging, surprising proposals, between cruel exhibitions of the self, an unsparing rhythm, and ancient-style mugging and comedy – this time with Ivan Bellavista, Manolo Muoio, Chiara Perrini, and Enzo Di Norscia sharing the truly thunderous applause in their supporting roles.
Paolo Petroni, Corriere della Sera
Rezza’s gladiatorial, ingenious comedy gives us ninety minutes of ferocious entertainment, ransacking social conventions and individual nightmares like a hurricane.
Massimo Marino, Left
Rezza uses bodies other than his own as an extension of his own: arms, legs, heads, and asses popping suddenly out of the habitat created by Flavia Mastrella. It is as if his body, still resilient as a spring, and his face, capable of infinite nuances of expression, and his unique voice, were no longer enough. And so we find ourselves dealing with Rezza’s body squared […]. Bodies, or pieces of bodies, that speak in their own way of characters that let themselves be transported by events or by impossible dialogues.
Francesca De Sanctis, L’Unità
By Flavia Mastrella and Antonio Rezza
With Antonio Rezza
Featuring Ivan Bellavista, Manolo Muoio, Chiara Perrini, and Enzo Di Norscia
(Never) written by Antonio Rezza
Habitat by Flavia Mastrella
Creation assistant: Massimo Camilli, lighting design: Mattia Vigo
Technician: Andrea Zanarini, General organization by Stefania Saltarelli
Women who resist the violence of the gods.
Ballad of the uncertain sight of animated bodies
The sounds, words, and drums of Romani Culture.
La Regina dei banditi
The life of Phoolan Devi, between legend and reality
La camera di sangue
La stanza del tramonto
Notes on the ordinary life of a mammal
A window onto the irrational, onto an ancient world of authentic expressive liberty, of Dionysian possession.
In a space without volume, the flat wall closes from sight the ritual meat that explodes and rebels
For Xenia, saying “site-specific” means, above all, listening to places.
There is an old Italian saying that like chickens coming home to roost, all knots are snagged by the comb: knots to be unravelled, that keep entire generations.