Every theatrical production by Moni Ovadia highlights his social and cultural intentions, but above all his works display the diverse principals of his theatre and his exclusive dramatic style. In October 2000, after having attended the rehearsals for the Banker Errant, I decided it would be appropriate to interview Moni Ovadia in an attempt to bring out any elements of this play which would tie him both to the traditions of Jewish theatre and to the major directors of the twentieth century. From this conversation emerges the idea of theatrical experimentation open to varied contaminations which are brought together by words, stories and music. The Jewish universe and Yiddish theatre, with its tales, music and songs, coexist alongside a political and idealogical dimension directly linked to Brecht and Kantor.
Tutte le produzioni teatrali di Moni Ovadia evidenziano la sua intenzionalità sociale e culturale ma soprattutto contengono i diversi principi del suo fare teatro e l’esclusivo stile drammaturgico. Dopo avere assistito, nell’ ottobre del 2000, alle prove dello spettacolo Il Banchiere Errante, ho ritenuto opportuno intervistare l’attore Moni Ovadia per poter fare emergere proprio dalla drammaturgia di questo spettacolo gli elementi che ben visibilmente lo legano da una parte alla tradizione teatrale ebraica e a tutto il contesto socio-culturale, dall’altra ai principali registi del Novecento; emerge, dunque, da questa conversazione, l’idea di sperimentazione teatrale aperta a diverse contaminazioni, legate insieme dalla parola, dal racconto e dalla musica. L’universo ebraico e il teatro yiddish composto dalle storielle, le musiche ed i canti coesistono accanto ad una dimensione politica e ideologica che si ricollega direttamente a Brecht e a Kantor.
Moni Ovadia: teatro della morte, teatro della vita / Sabatini, Desiree'. - In: BIBLIOTECA TEATRALE. - ISSN 0045-1959. - STAMPA. - n. 74-76:(2006), pp. 85-97.
Moni Ovadia: teatro della morte, teatro della vita
SABATINI, Desiree'
2006
Abstract
Every theatrical production by Moni Ovadia highlights his social and cultural intentions, but above all his works display the diverse principals of his theatre and his exclusive dramatic style. In October 2000, after having attended the rehearsals for the Banker Errant, I decided it would be appropriate to interview Moni Ovadia in an attempt to bring out any elements of this play which would tie him both to the traditions of Jewish theatre and to the major directors of the twentieth century. From this conversation emerges the idea of theatrical experimentation open to varied contaminations which are brought together by words, stories and music. The Jewish universe and Yiddish theatre, with its tales, music and songs, coexist alongside a political and idealogical dimension directly linked to Brecht and Kantor.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.