Pinocchio
La MaMa, downtown NYC, has brought from Italy Teatro del
Carretto's marvelous production of Pinocchio. The company, well-recognized
in Europe, is making its US debut.
Pinocchio is a dark production, for adults, spoken in Italian, with visual
elements that are universally eloquent. Its central actor stands with knees
together and feet apart, his spine curved forward and sideways, his palms forward
just outside the shoulders in shock and defense. He's the picture of oppression
in his timeless white jersey and shorts, with that silly nose strapped on.
He might well look oppressed. Even with no translation beyond the program notes,
it's clear that he's the abused man. He's overworked, humiliated, trained as
a circus act, made to jump through a flaming hoop, changed into an ass, and
hanged. The stage is bare, with a semi-circular wall on the back and sides,
suggesting a circus ring, and when the masked actors dance around him, it's
spooky. Some of the costumes, which are of no particular time, suggest commedia
dell'arte. On a stage of no particular place, they make for a fable of all time
and places.
It was a blessing that I didn't understand the Italian. Freed of denotative
meaning, the language is as subtle and eloquent as music. Indeed, some of my
most pleasurable moments were spent just listening. Italian is the most musical
of languages, and this troupe gives it the deliberate cadence of music, with
clear tempo changes, making the bootsteps extensions of its beat.
The Pinocchio story may be the play's starting point, but it's been developed
almost beyond recognition. The program lists 25 scenes mostly unrelated to the
myth, each with a specific action, like the stations of the cross.
Pinocchio was written by Carlo Collodi (did you know that?). Here, it's
adapted and directed by Maria Grazia Cipriani. The wonderful actor's name is
Giandomenico Cupaiuolu.
We're grateful to La MaMa for this Italian gift.
- Steve Capra
January 2008