Deflorian Taglirini, The Marks of Time and Aging

Deflorian Taglirini, The Marks of Time and Aging

Please review. Overlay is a new performance/show by Deflorian / Tagliarini. Seen at the Santarcangelo Festival 2050 event in Rimini.

Photo Claudia Borgia and Lisa Capasso

We’re in Rimini, Ali Theater of Acts, in the second movement of the 50’s edition santracangelo festival the director Proposal: a political and heterogeneous version, in which art and activism go together and with this year overlay Federico Fellini reaches the city. There’s a net in the theater cell to keep the birds from getting too close to human life, there’s a black dove, who knows how long it’s been in the trap, dead, as if to remind us how cruel we are Maybe when we want to defend ourselves. At first glance, as in the case of acting-interaction Deflorian / Taglirini, makes us wonder how much reality is in that image (a theme that was bombarded, among other things, by one of the festival’s other shows, ultrafiction de El Conde de Torrefiel), also because that corpse is a masterpiece, if the trap is not focused well, it appears to be suspended in the void between the blue of the sky and the clouds.

Photo Claudia Borgia and Lisa Capasso

There is a moment in the new Deflorian / Tagliarini show in which something happens; Without the fireworks, but with the simplicity that is now a precise and extreme pinnacle of a certain theater style that can be assimilated into the practices of the artistic duo. It so happens that a mirror is snatched away such that for the entire time the eyes of the two actors are divided: “I talk to you but in the mirror I see my image” said one of the two. And then she can’t find a way to say, without embarrassment, how important this mirror is to herself over the years, the possibility of seeing herself through someone else again. In short, when the mirror is lifted up there is a pause, long, but dense, full of meaning, a silence that is somehow the center of gravity of the show, a kind of Aleph To put it to Borges, a point that aggregates all the events of life, all his plans. So, that silence has nothing to do with the surprise that caught us with our eyes on the net, or the one that might have happened to one of the two actors seeing the other aged. The phenomenal fact actually hides the sinking of the heart in the stomach, the feeling we all face in life when we are faced with the passage of time. Here is the great Moloch who has been with us since we were born, slowly sacrificing our youth and transforming itself: Short Stories of Antonio and Daria, The Daily Life of an Independent Theater Company, Many Years Ago, When Reunited There were few, few spectators and there it was always condescending to eat rice and zucchini for their diet, in some remote place, in the cold. In one scene with spectators on either side and a gray table in the middle divided in half by mirrors, two actors and writers sit at its ends, while several make-up artists are carefully styled, almost the entire time of the show, Whitening their faces, wrinkling wrinkles, hair and beards. Ginger and Fred by Fellini is a starting point “But we didn’t want to tell the story, the movie” DiFlorian would explain to me later, this attempt appears to be the opposite of not telling the fish in that imagery, if nothing else, to see something like that. For what worries them: the dance, in Tagliarini’s gloomy and airy steps, the block of set to that broken rib of Giulietta Massina—a darkness that brings to mind the forced blocks of the pandemic—and then that sofa that a At certain point one of the opening of the two sides comes out, there is still the label. Daria sits on freedom, ocher-and-gold patterned cushions, a Scotch whiskey “Isle of Skye”, a white wig and some dance steps, Here she recounts another escape from Hollywood stardom to Greta Garbo. is thirty years old. The old woman who gives up on success and life.

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Photo Claudia Borgia and Lisa Capasso

Deflorian and Tagliarini never touch each other, yet they are constantly touched by makeup artists, their appearance is manipulated – they almost always manage to reveal a clear presence on stage, but only if necessary. , so invisible; Despite the physical distance, Daria and Antonio are very close. Here it is not the burden of sadness with which Fellini’s film ends, but the fragility of the artist clearly emerges in the face of life, a transience that certainly belongs to all human beings, but which in the case of stage performers differs from one. Further impossibility increases.

Tagliarini, recalling the past as a dancer and contemplating this boundary condition, wonders whether, after all, what he really knows how to do, the answer lies in the exact same fragility, “I know how. have to fall.”

Andrea Pokosgnich

July 2021, Teatro degli Atti, Rimini, Santarcangelo Festival 2050


A project with Daria DeFlorian and Antonio Taglirini and with Cecilia Bertozzi and Chiara Boitani / Assistant Directors Chiara Boitani / Lighting Design Giulia Pastor / Costumes Metella Raboni / Care and Promotion Giulia Galzigni – Parallel / Administration Grazia Saglia / Thanks to Esme Signaroni and Thanks to Samantha Giorgia Mura / Image Francesca Tresoldi / An AD production, Santarcangelo Festival / Residence Ostudio Roma, not Carrozzari Roma / Vivao i 2 Riccioli Verdi / © Francesca Tresoli.

The show was made a reality with the contribution of Rimini Municipality.

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