CARLO COLLA & FIGLI |
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THE PIED PIPER OF HAMLIN |
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Metaphor? Poetic passage? Half-glimpsed dream world? Perhaps the Pied Piper of Hamlin has to be a little of all of these. Certainly the marionettes, in their own specific language, have had to find a life of their own, in this retelling of the celebrated fable of the Brothers Grimm, which we see here in a dramaturgically more complex version enriched with new characters.
Above all in this show we see the marionettes returned to their ancient, satirical function that in the past allowed them to comment on historical events and social changes too dangerous for human theatre to touch on. However, along with the satire, there is always the strong need for nostalgia, the melancholy and simple poetry that these “objects” in movement sustain. |
These fantastic creatures, as
new made as their new roles, projections of the imagination of their creators,
moving through landscapes of the imagination dressed in incredible, colorful
clothes become, finally, actors. There are many points on which to speak
of ourselves, of all of us, of times past and quiet voices heard speaking
of that world in miniature located between dream and thought. Eugenio Monti Colla |
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