As from Tuesday next, April 21st back on the stage of Teatro Argentina after three decades, Aeneide of Krypton – entirely recast. Written and directed by Giancarlo Cauteruccio, it takes body under a new version of a “concert/theater”, between a mixture of sound and voice, between rock music and theatre dialogues: all keeping strictly to the essence of the historical passages and confronting at the same time, this story to our present in order to accomplish a new artistic success. At its debut, at the Teatro Studio of Scandicci in 2014 and after a winter-tour in 2015, throughout Italy, including Teatro Rossini
in Pesaro and in Florence, where it has has obtained an out standing success.
Thirty years ago, the Aeneide of Krypton, directed by Cauteruccio and original music of Litfiba, was a cult show that sparked a revolution in theatre research design: multi-media representation of an epic narrative element of light and stylised of the performer made a dazzling image of Italian theatre. The work was featured in the major theatres of Italy up to being staged in 1984 at the Teatro “La Mama” in New York for the festival “Welcome” New Theatre, Italy.
The show then will be presented again under a new guise: by now under mature experience, with new electronic possibilities in the field of music and scenery, where the four artists directly enter on stage accompanied by live music, along with the voice of the Director, actor and singer, and intense vocals ‘off’ from Ginevra Di Marco for the character of Lavinia, combined with a physical and instrumental recital. “This new Aeneide, has transformed into an emotional immersion, when thirty years ago, nights spent thinking about how to deal with the poem, how to ‘escape’ from just words to translate them into images and sounds, more a painter than a director – explains Cauteruccio – scenery resulting from a subtraction of previous scenes, the result of a difficult synthesis of a gigantic piece, now accept the words of a text that I reassembled in fragments, as a song written for each picture. Needless to speak about ’to what extent the tragic landing of Aeneide invokes on the present landings off the Libyan coast this time. As well as the ‘sacredness’ of the reception reserved to the foreign fuggitives from Troy after it had been destroyed, expressed in the words of Didone, inevitably reflect on the emergency of our days. And how love and death, thus symbolically linked to one another, and the battles of conquest still narrate part of human existence, in an age where in Europe you hear speak about a third world war “.
Translation provided by Marina Stronati