Elementary Salutatory Address

Cinieri Cosimo, the epic, and his audience-people

Cosimo Cinieri comes from the avant-garde of the sixties, the more "flagellate" tribulation language (both pro, both against), having also gone through, for what concerns him most directly, the 'speech' ventured and unrelated to a Carmelo Bene, which was a close friend, but to settle down soon, in its way, the canonicity of the whole language and severe, believing, rightly, that there, in this canonicity, the Word, in its essence (here the use of systematic saussurriana necessary) sounds better and means better. Cinieri prefers to use the language-word in his final formalities. It is no accident that the theater will present a zest to make good use of the "classics".

In terms of language requirements, Cosimo Cinieri can be described as a fundamentalist. And it is also his way of understanding the function and the profession of actor totus actor, in fact. Its very physicality, native actor (homo scaenicus born, to be precise), I'll allow. Then he is also founder, director, producer, dramaturg , viewer-auditor copyright texts, set design and "responsible" for technical support and multimediatici, either verbal, iconic and you want sound, is part of a requirement of completeness and a need for "autonomy" which makes it possible to operate in completeness, "alone". Being able to work alone is denoted and its also his connotation.

"Her" is the right word. In fact, his theater is his, because Cinieri has built itself a result of its own. A public that has been known to be due to a poetic ad hoc, circumstantial, and practiced by him during now for decades and which has the characteristics of a real Kultur , that's a burden to use and reuse of "deposits" literature of all ages. Whether the fragments of Beat Generation (1978), whether the review of "classic" real, up to the "voices" of our time: From Homer to Neruda poems divine (2008). The focus of this planning takes place passionate evocation of the "peculiar poetic foundations" of the Italian tradition. And here the titles of his shows even the most recognizable and most popular talk yourself: what Canzoniere Italian (1991) and Italy my (2011).

Actor materials atavistic, then, this Cinieri. This constitutes one more proof of his fundamentalism election, even if it is practiced in aesthetic procedures scrupulously updated. However, there is no doubt that Cinieri looks like a "update" of the arc. Needless to say, and willingness to support this provision, there is theoretical and technical cicostanziata processing, due to the success in terms of continuity and seal of the association Cinieri-Palazzo: Cosimo Immaculate and Irma. And it is Immaculate on Irma Palazzo, which must be emphasized attention to a proper understanding of the phenomenon Cinieri, as it is for Irma chair, during the design and preparation, the work of dramaturgy and direction, of which she is the by monitoring critical consciousness, as well as creative. Therefore, the association Cinieri-Palace is set up as a studio-workshop, where the usual business of studying what you put in evidence, and put in evidence what is studied, consists of a very specific intention: to make the 'look' of the show, developed and proposed, is simple and easy, happily free from any trace of breathlessness and fatigue, for those who perceive it, namely the public. The public share of Cinieri, the actor never share the same audience.

All this because of a desire for empathy, obtained not only relying on 'spontaneous onset of empathy itself, but as a result of a sensory awareness of the dynamics, psychological and logical, which are the basis of a power of vision the scientific point of view dedicated to aspects of sensory perception and, going back perhaps to the origins of the great expert surveys on this field, even referring to the founders of this type of research, William James, Carl Lange (1884-1885). As you can see, the approach work of 'ensemble Cinieri-building, not just literary type, but also scientific, that with regard to the disciplines of psychology, in my opinion of course, refers by implication, though not openly, to the theoretical form of , typical of the School of gestalt. And here I refer in particular to a procedural and stylistic feature set, with which Cinieri staging works that he calls "short drama" (one of his "kind" special, which qualifies him in particular).

We can and we must speak of the theory of action gestalt , especially in the "short drama" of Cinieri (and here one can not fail to mention his Macbeth of 1982-1983) for the presence in it of a clear tendency to stylization, including geometrical that, in fact, can be considered as a constant form of the formula's overall theater-Cinieri Palace. Formula driven to take account of aspects relating to the perception, rightly understood as a key factor to achieve, with the value of immediacy, and emotion and is intellection. And it is precisely around this particular hermeneutic circle of perception-hear-hear, identified by the theory of gestalt, and that is a kind of aesthetic fundamental axiom on which they pin all the arts in general, that the process of theater-Cinieri Palace settles.

So much for a matter of "principle" theoretical total of a general nature concerning, however, the creative and production process, has already said the key role played by Irma Immaculate for the creative for the critical part and the part of directors. His being, first of all, a work of retrieval and selection of texts from a huge list of authors and periods of "culture" different (and odd). Texts, which, once chosen, can be subjected to decomposition and rejoined for "assembly". Work can also be defined as a "get busy" around "the questions of words" (and agree to associate with other "signs", iconic gestures, and above all sound, as in the dramatization "Cinieri" the music becomes an essential factor ). Well, this "get busy" on matters of words, even if it is practiced in terms of DIY the usual avant-garde in some way is also a kind of recall, matrix unconscious more conscious (and here another "great" knowledge of the mystery of the deep, Gustav Jung, it would confirm), a form of duplication of the practices attributed to the ancient archetypal Pizie.

It's no wonder to do with it. It 'just the generative procedure of today's avant-garde of the time (for example using the technique of cut-up : the so called lovers of stochastic recourse to the expedient processing of texts) "cut" in the text segment organic to put them back together for a sense of "other." Although (and by the way) the main concern of the treatment of the poetic texts designed by the couple Cinieri-Palace is to respect the sense "own". He is, in fact, though, about manipulative techniques and combinatorial analogy of ancient prophecies and diversification of our times, as is to be noted that operating segments and fragments that Pizie of mythology "invented" their response. The art of making theater, as modernized, secularized and grammaticalized by structuralists of today, there still remains a ritual practices associated with a certain idea of \u200b\u200bbeing an art, whose main purpose would be to play, produce and perpetuate all what does mythology. In the theater is the imagination that is the real, if only because it replaces. Cinieri by good fundamentals of the theater, I agree. And keep it.

But back for a moment on laboratory work, particularly what he sees committed Irma Immaculate Palace on the "counter". Somehow we have already said that special care is given to ensure that in the show, which will be "externalized" by the actor demiurgic di Cosimo, the component relating to the conceptual part is never separated from the emotional. It 's a question of balance and put in symbiosis. But we must also say, then, "in his hand and voice, that is the body" to Cinieri, the factor emotional tends to overtake, but with a reason that goes back to a ground that is always relevant to a philosophy: the externalization of an emotion must be dramatically successful an event that gives rise, for those who attend, an event "by living. " A derivative that also, perhaps, and probably without perhaps the messianism of Carmelo Bene, of which, however, was also Irma Palazzo Immaculate coadiutrice. Of course, this size is placed in content and form completely different (we're in different worlds, Carmelo Bene went in the direction of eversività of primitiveness, Cosimo Cinieri goes in the direction of canonicity dell'arcaicità). And here raises the opportunity to give confirmation of a key finding in the formation and preservation of the "forms" that are the essence and history of arts training and retention that occur, however, through their transformation and mutation. In this "gap" for continuity and difference between Carmelo Bene and Cosimo Cinieri, we can say that the mode of operation of the Company Cinieri-Palace is writing a paragraph example of the metamorphosis of the structure of forms. We suggest that you give the transcription of this fact in textbooks dealing with this most essential issue.

we come However, the "specific difference" lab-Cinieri Palace: a survey from the beginning, more than thirty years, with strict criteria of professionalism and equally careful planning, in the direction of three parallel streets, independent, albeit related. 1) the dramatization of the poem in conjunction with the music, 2) The discovery-reinvention of the classics, re-proposed in the spirit of the contemporary world (are classic authors who appear to be more contemporary), and 3) give the height to the enhancement of the "short drama" . And, indeed, Cinieri is a master of knowing how to bring "far short" texts also "long measure": its already mentioned, Macbeth made in short sections, marked with geometry gestalt , as has been said, it was an example of considerable success. And indeed, this idea of \u200b\u200bshort drama, becomes more than it should be noted that this is unquestionably happy intuition, this also comes from the need to reduce complexity to simplicity, which, by Cinieri-building is an obligation of school. Moreover, the concept of "short measure", which is the principle that leads to the choice of "short drama" (summarized in these terms: short duration but high intensity of expression) corresponds very well to the canons of the "new aesthetics" of their time more closely today and especially those of the future. Therefore, good luck to the formula. Incidentally, notice how the poems of Recitals , so Cinieri is particularly well known, are already prepared, structurally, the "short measure".

saying "quick" does not mean, however, be performed in a time subject to reduction due time, but to restrain the extent, precisely, the time had (Neither more nor less), which means time to full . And here is detected, thus, a category of expression that characterizes the actor's Cinieri: its fullness . Fullness to the bitter end, it seems. In fact, the choices always fall on poems of fullness and fullness to music. It 'good to keep in mind that Cinieri practice the kind of epic, not that of elegy. So full of poetry and music of fullness, which, once in the joint deployment of spectacle in its own way of seeing, of thinking and feeling (to Cinieri, well of course), can only give rise to a kind of superlative theatrics, let's call it a pure theatricality "for completeness". Inevitable, therefore, even exuberance.

And that is fine. It 'important that there is exuberance. Exuberance even redundancy as desired effect and obtained on the resonance of the materials used, both verbal and gestural, and is especially music. The latter, in fact, "found" and used in particular for their primeval grandeur as they are, already, sounds high, wide and fully open, the band music. The use of band music is the real "found" Cosimo Cinieri. Nothing is more suitable, in fact, the band music in order to provide evidence of attainment of the fullness of the music with that surplus of music (music of excess), the band brings its stigma as, for precisely, in irretrievable excess. Nothing to complain about the outcome of this type that are obtained by virtue of the use of band music, with the utmost simplicity, dell'immadiatezza, full and perceptibility of the maximum bulk of sounds "music", even from the tuning fork top of these sounds: ringing a tocsin, size, therefore, in which all other music, no doubt also learned more and more artisticizzate not dare venture. And mostly in the context of maximum emotional effect, almost an action all'elementarità, so you can make the most of the pitch of sounds the tocsin rang, dimension in which the other arts of music, more learned and more artisticizzate not dare to venture (and, in fact, they can not and should not). While Cosimo Cinieri man-actor attracted by "strange attractors" of the epic, however, there is adventure undaunted. That ringing the tocsin, he makes it his podium.

E 'capopopolo a podium, from the which he, becoming phantasy of course, but also, even more ghostlike, the personification of his own interpretation (Jung would explain very well this translation process of identifying metamorphic). E 'at this point that Cinieri finalizes the meeting with his particular audience. A public which is not only public theater, but also a gathering of people, especially bearing in mind that the "content" word and sound, which exposes Cinieri in its recruitment to figure bard or herald of a common feeling, are content itself and choral group, so that "his" government recognizes them as his own, and therefore can not be his grateful. Grateful is the word which refers, in its root, the word recognition. Then of course everything then is a ceremonial recognition of identity that Cinieri being put into practice. It is therefore something quite different from that of merely setting up an event for entertainment. In fact, if we take a look at his repertoire turns out even better, if we can express its "intention of ambition" and having considered the materials which he made, interpreted and used, affects the audacity to put that with high content and content low, the present and the remote uniform and not uniform in the sacred and the profane, the chaste and the licentious, the austere and running, without overlapping the bulkhead plans to discriminate. That is enough to initiate an alert and sincreticità eclecticism of censorship, but then you realize that Cinieri aims to go beyond, it aspires to a vision, not of confusion, but the merger of disparatezze of "discourses of the world" tour d ' total horizon. Today we would say overall. Whatever happens, the effect of surprise censorship, which produced a similar rise in those who hear it outside, of course there is. But who "cares" for those who place themselves outside! The doubts will dissolve by itself, if quell'elaborato you decide to enter and stay there, educated or naive, informed or uninformed, or gourmet orecchianti (including the least receptive) to be both. We are all very well. And that is enough.

Be it in bulk and in the incompleteness, helps to better understand the overall project of the duo-Cinieri Palace, giving the last two lists of authors: The authors of words and sounds of the authors. For authors of words, Catullus, Martial, Aretino, Poe, Verlaine, Swift, Metastasio, Alfieri, Belli, d'Annunzio, Montale, Palazzeschi, Pavese, Lorca, Apollinaire, Miller, Ferlinghetti, Ginsberg, Corso, McClure, Pessoa; Shakespeare and maybe in the middle ... For Sound Authors: Strauss, Manfredini, Borodin, Leocavallo, Ponchielli, Debussy, Di Candia, Smetana ... In short, from Bach to Nino Rota. The catalog reserved to the authors of Italy (both poets, and musicians) (something all of Cinieri, with both employment militarily, as it also uses the band of the Carabinieri and Army) is separate chapter. They range from Francis of Assisi to Pasolini, with Dante "Wanderer" cosmic Leopardi, Foscolo heroic Rossini sumptuous and festive, patriotic Verdi. But there also appear living poets, as long as "national." Given the lists, thus giving the impression that Cinieri is of me, in the spirit of playfulness, a giant kaleidoscope, to obtain effects from global celebration of the sacred glories. The epic genre itself does not allow that, with such materials, proceed to ritenutezza better, even if it overflows.

And, of course, for this trend that "urges" to overflow, which Cosimo Cinieri, loyal to such precepts (no reason to be otherwise), it uses, with good insight and the medium cher the evidence: the band music, the music more "open" that is, relying on an effect of emotion, that "nature" has no equal, if not in sound of bells, with power, that is their own, to raise the onset, a plot of two conflicting feelings: happiness and sadness, joy and sadness, celebration and nostalgia. Two emotions in themselves and against literary "naive", which considered separately noted for their simplicity, but that perceived fused and intertwined are generative of a build very dense with emotional complexity, is both informal and formal. A complex high-value reminiscent of a totality of design and sentimentality, which thickens around a need-abandonment of reminiscence, for which, rightly, Maurizio Grande, speaking of the play Cosimo Cinieri, had identified as an "excavation on the outskirts of memory." More than well said, so that in summary was the scene of Cinieri, is essentially an event of remembrance.

rimmemorazione excavation, which also means digging in the middle of the texts. It is in this research excavation and reconstruction of the texts, as already said, that Irma Immaculate Palace plays its role inside, with the eye of the penalty area. So much so that a text prepared and configured to be placed "in vivo" by Cosimo (and must say that it is always a text submitted, in the laboratory, the surplus, to the misrepresentation, tilting and deformation of the meaning of the event, vice-virtue of inheritance that comes from the avant-garde, although d ' yesteryear), it must be assumed that Irma Immaculate to rule in this way (after all in his own words ): "This is the text. It 'also allowed to go beyond it, however, without touching the writing. "With this added plus:" But even there, that is, outside of any caption and all ideology. "Impeccable this Irma.

Cinieri in all this, we declare assenziente course, but on stage he is Cinieri-Cinieri: his way of going beyond the text, while "respecting the establishment," is all to motu proprio , for inspiration, mastery of native and actor, including virtuosity ( quia leo nominor ). Moreover, the virtuosity, art of the theater, it is essential to request performativity of gender. Beware if this factor of impertinence was not there. The true actor, the actor's nature (and Cinieri is), is designated to have to do with this impertinence relevant because if it is not, nor is his auctoritas with his own public. E 'crossing the' applause that evidence. It must be said that, as in possession of this kind of virtuosity, Cinieri is not less certain to default. One thing, this, that makes him, when he climbed the podium, something more than an actor playing the authors of the texts which reads, in its own way, with that mystagogue and shaman (which is what makes him a character actor), prone to wide-ranging content that exposes the seduction. Among them, those specially selected for attractive and seductive arguments by their very definition, subject to free and libertine, and even openly compiaciutamente erotic. Heck, it is still a classic!

Here, the "classic" seem, however, an excuse. In fact one has the impression that it is rather a propensity for a certain pagan background from which Cinieri in its pantheism spontaneistico, also extends to issues "Christianized", because to him, referring to Terence, this which also has to do with the human's okay: he, worthy, beautiful and sacred, it is located in carpe diem (in jazz) of Horace (2011), both in the carp Deum of St. Francis (when it happens, always), and is in Cherchez la me ... (1981-1982) a Aretino of d'Annunzio, a Miller ... It's no wonder that critics have found in him because of his indiscriminate complacency in putting everything in one admixture, which includes everything equally, a flash of "treachery", which leads to the suspicion that there is behind the action, and wanted to "intent" which alludes to a simulation in some way, the figure of the devil. Nature of the case and want Cosimo Cinieri has the facies of the role, though in the service of his pantheism reassuring and beneficial exciting as life requires.

Rome, 21 March 2011 Caesar Milan