Readings PIIGS 2014

Confession . Italy

Confessió (‘Confession’), by Davide Carnevali, is a subtle reflection on the mechanisms of power, their self-justifications, perception and the role of voter seen from the perspective of a leader, democratically chosen, who do not respect democracy. Carnevali possibly hit the nail on the head when focused his speech at the core of the perversion of the system, because it is from there where economic and political relations inevitably pervert.

Confessió (fragment)

Italia

Escena 1

Faules

«Un dia els micos van queixar-se a Júpiter: “Estem cansats de viure a les branques dels arbres -van dir-, també nosaltres volem un poblet bonic com el dels homes”. Júpiter va contestar que els homes treballaven molt per a mantenir bonic el seu poblet, mentre que damunt dels arbres els micos podien viure sense preocupacions. Però ells insistien: “Ens assemblem més als homes que als ocells -van dir-, no obstant això els homes viuen en un bonic poblet i nosaltres als arbres de la selva. Nosaltres també volem viure en un bonic poblet”. El pare dels déus va escoltar la seva petició i va fer construir per als micos un poblet just als marges de la selva: “Podreu viure allí -va dir Júpiter als micos-, però ja sabeu que si voleu que el poblet sigui bonic com el dels homes també haureu de treballar com ho fan els homes”. Els micos es van establir al poblet, però no van fer cas del consell de Júpiter i van continuar vivint com micos, com sempre havien fet, sense preocupacions. Així, amb el temps, el poblet es va omplir de males herbes, dins de les cases van començar a créixer plantes i matolls, i alguns es van fer tan alts que van rebentar els sostres. A poc a poc la selva va envair el poblet mal cuidat, i els micos van tornar a viure de nou a les branques dels arbres. Així es castiga l’estupidesa de qui no cuida les seves coses i és incapaç de treure profit a una situació profitosa.»

 

 

Author

Davide Carnevali

Davide is a PhD in Performing Arts at the Universitat Autònoma de Barcelona. Translator of Spanish and Catalan into Italian and teacher of theory of theatre and drama writing in several workshops. Also writes for various theatre magazines. Among his plays are: Variazioni sul modello di Kraepelin (Theatertext als Hörspiel/Theatertreffen Berlín Prize 2009, Marisa Fabbri Award 2009, Journées de Lyon Prize 2012); Come fu che in Italia scoppiò la rivoluzione ma nessuno se ne accorse (Scintille Asti Teatre Award 2010, Borrello Award 2011); Sweet Home Europa (European premiere at the Schauspielhaus Bochum 2012); Ritratto di donna araba che guarda il mare (Riccione Prize per il Teatro 2013). His works have been shown at various international reviews and have been translated into German, Spanish, Catalan, Estonian and Flemish. Entrevista amb l’autor …

1.-How did the idea of ​​writing this play come to you?

When I was living in Buenos Aires, I lived near Congreso, the Argentine parliament, a few minutes walk from the Casa Rosada, the executive mansion of the President, and from the Museo del Bicentenario, which traces the political history of the country from its birth until today. The Argentine politics is a fascinating subject, as well as his greatest mystery, the Peronism. A label that somehow unifies a wide sort of opposed political strategies, for example that of Kirchner and that of Carlos Menem, the president who, from 1989 to 1999, shaped the image of the Argentina before the crisis. A country which was rich, neo-liberal, cool; a country who aspired to the ethical and aesthetic model embodied by its chairman. A president who brought the country to the brink of the abyss, and dropped it, without anybody noticed. That’s fascinating, in my opinion: how a president can distract his country and make the truth go unnoticed.

2.-To what extent do you think that reflects the current situation in your country?

The economic crisis we are experiencing in Europe resembles that experienced by Argentina a decade ago. In both countries a macroeconomic policy that leads to loss of monetary sovereignty has been pursued. Although there are differences in comparing the Dollar, a foreign currency, to the Euro, which is a common currency, whereby each country should, ideally, has power of decision on it. The truth is that the ECB is quite influenced by the decisions of the Bundesbank and the German political weight. As a result, the countries that suffer most from the crisis (Greece, Portugal, Ireland, Italy, Spain) have very little autonomy in financial management, and that somehow reminds the dependence of Argentina to the USA and the IMF in those years. When a country has no autonomy in terms of monetary policy, it can only cut costs, privatize, dismiss the social system. Hence elected governments lose all effectiveness and prefer to declare a sort of “state of emergency” leaving political liability side of an assumed financial responsibility.

3.-How would you define your style of writing?

This play is very different from what I’m used to write. In open opposition to the political rhetoric (and therefore in some way to the theatrical rhetoric), the story is flowing clear, simple. It has been conceived as an Argentinian “unipersonal”, a monologue for one actor, easy to stage and easy to move, with no need of money to do it, nor complicate technical requirements.

4.-What is the theatre for you?.

Theatre is the only art in which the clash between word and body, between reality and discourse about reality, happens live in front of the public. Thus theatre is a powerful tool to explore the method of construction of reality through language.

5. What has Carlos Menem of Silvio Berlusconi and S.Berlusconi of C.Menem? And to what extent have you used both to create a syncretic character like “Menem” of Confessione ?.

There are many similarities between Menem and the figures of Silvio Berlusconi or José María Aznar, for example. They are all rich, powerful, friends of magnates and tycoons. They are all faithful to the liberal doctrine of the United States. They are all graduates in law, and, paradoxically, all of them were somehow beyond the law. And most importantly, they knew how to exploit their image, building through the medias an “attractive” character to the citizens’ eyes.

 

Director

Beatriz Liebe

Universidad Católica de Chile. Combine her work of stage director with cultural management in different organizations: co-directs the platform to promote dramatic authorship “perpetuum” (www.perpetuum.cat), artistic director of the company Tuvalú productions (www.tuvaluproduccions. com), project manager at the Fundació Xarxa (www.fundacioxarxa.cat) and executive producer of l’Altre Festival of scenic arts and mental health (www.laltrefestival.cat).

Since 1997 has participated in more than 25 theatre plays, cinema, opera and performance, including: Dow Jones (Vallromanes, 2013), Divisions (Ivanow, 2012. Avignon Off Festival 2013 – Program Avignon à la Catalane), Alades Paraules (Convent of St. Agustí ’09, Award for best project of visual theatre, Theatre School ’09), Mon Amour (Regional Museum Montsiá. Strobe Festival ’08), Los Niños de Morelia (Barcelona and Spanish tour ’08-’10), among others.

Creator and organizer of the Festival PIIGS, along with Rosa Moline and Antonio Morcillo and the platform of dramatic authorship “perpetuum” (www.perpetuum.cat).

She was in charge of the direction of the play Confessió of Davide Carnevali.

 

actores-ita Actor

Xavier Capdet

 

Translator

Angelo Costantini (Istituto Italiano di Cultura di Barcellona)