Lectures PIIGS 2014

Confessione

Confessió (‘Confessione’), de Davide Carnevali, és una reflexió subtil sobre els mecanismes del poder, les seves autojustificacions, la percepció i el rol del subjecte elector vist des de la perspectiva d’un governant escollit democràticament que no respecta la democràcia. Carnevali posa possiblement el dit a la llaga quan cen- tra el seu discurs en el nucli de la perversió del sistema, perquè és des d’allí des d’on les relacions econòmiques i polítiques es perverteixen de manera inevitable.

AutorDavide Carnevali

Davide és doctorant en Arts Escèniques a la Universitat Autònoma de Barcelona. A la seva activitat acadèmica s’afegeix la de traductor del castellà i del català a l’italià, i la de docent, impartint tallers de teoria del teatre i escriptura dramàtica. També escriu per a diferents revistes de teatre. Entre les seves obres destaquen: Variazioni sul modello di Kraepelin (premi Theatertext als Hörspiel / Theatertreffen Berlín 2009, premi Marisa Fabbri 2009, premi Journées de Lyon 2012); Come fu che in Italia scoppiò la rivoluzione ma nessuno se ne accorse (Premi Scintille Asti Teatr 2010, Premi Borrello 2011); Sweet Home Europa (estrena europea al Schauspielhaus Bochum 2012); Ritratto di donna araba che guarda il mare (Premi Riccione per il Teatro 2013). Les seves obres s’han presentat en diverses ressenyes internacionals, i s’han traduït a l’alemany, castellà, català, estonià i flamenc.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.

DirectoraBeatriz Liebe

Universidad Católica de Chile. Combina el seu treball de direcció escènica amb el de gestió cultural a diferents entitats: codirigeix la plataforma de promoció de l’autoria dramàtica “perpetuum” (www.perpetuum.cat), és directora artística de la companyia TUVALÚ produccions (www.tuvaluproduccions.com), responsable de projecte a la Fundació Xarxa (www.fundacioxarxa.cat), i productora executiva de l’Altre Festival d’arts escèniques i salut mental (www.laltrefestival.cat).

Des de l´any 1997 ha participat en més de 25 obres de teatre, cinema, òpera i performance, entre les quals destaquen: Dow Jones (Vallromanes, 2013), DIVISIONS (Nau Ivanow, 2012. Festival Off Avignon 2013 – Programa Avignon à la Catalane), Alades Paraules (Convent de Sant Agustí ’09, Premi a millor projecte de teatre visual, Institut del Teatre ’09), Mon Amour (Museu Comarcal del Montsià. Festival STROBE ’08), Los Niños de Morelia (BCN i gira per Espanya ‘08-‘10) Agnus Lupus (Aula de Titelles, Institut del Teatre ’07), Tuvalú (La Farinera del Clot ´05), entre d’altres.

És creadora i organitzadora del Festival PIIGS, juntament amb Rosa Moliné i Antonio Morcillo, i dirigirà la lectura de Confessione, obra del dramaturg italià Davide Carnevali.

Intérpret
Xavier Capdet

Traductor
Angelo Costantini (Istituto Italiano di Cultura di Barcellona)