Directed by Deda Cristina Colonna, with Deda Cristina Colonna and Mara Galassi

Barbara Petrecca costumes

Lights Francesco Vitali, Royal Palace of Milan / Hall of the Caryatids, in collaboration with the Marco Fodella Foundation, on the occasion of the exhibition 'Caravaggio and Europe', 2006 and performed in various national and international contexts, until the 2012.

Friday 27 is Saturday 28 January appointment at the Royal Palace

pleasure Dolendi. The gestures of Caravaggio

A dance performance, ancient music and acting for a parallel between the life of

Caravaggio and his works

Stefano Zecchi - Culture and Museums

26/01/2006

Friday 27 January, at 20.30, is Saturday 28 January, at 17.30 and at hours 20.30, in the frame of the Sala delle Cariatidi of the Royal Palace, Andre in a stage of "Pleasure Dolendi. The gestures of Caravaggio ", a show with free admission (subject to availability) produced and created by the Department of Culture and the Royal Palace, as part of the exhibition "Caravaggio and Europe". By the Marco Fodella Foundation, the “suggestive and original dance performance, ancient music and acting - said Stefano Zecchi, Councilor for Culture - refers the audience to parallel visions of the life and works of Caravaggio ", in a baroque and at the same time contemporary atmosphere for the play of rhetorical figures and the staging of a story through 'living' images.

The show includes a single act for an exceptional dancer and harpist: Mara Galassi (double harp) and Deda Cristina Colonna (dance and acting). Costumes and props by Barbara Petrecca, scenic space, lights and projections by Francesco Vitali. Musical notes and figures painted in the air by the movement of the body link in a story 'live and in images', the real episodes of life lived by Caravaggio to the brushstrokes and strokes of colors on canvas.

Here are the festive and vigorous dances, like the pantomime in the time of a 'galiard', typical baroque dance, which refers to the picture "The good fortune", where the painted scene of the gypsy reading the young man's hand and at the same time stealing his ring, relives on the scene in all its atmosphere. From brush to sword, like "the cheater", famous canvas now animated by the gestures of the actress who mimics the characters on stage until the final act of the duel, not painted in the picture, but actually lived by Caravaggio, tried as a murderer, imprisoned and escaped, in a crescendo of musical notes and gestures that well represent the soul of a rebellious artist, long hunted and preyed upon by the powerful, from the Roman nobility to the papacy.

A journey parallel to Caravaggio's life through Baroque mimic eloquence, where costumes, lights and scenographic elements recreate the atmosphere and vision in the eyes of the spectators of the era in which the Master lived. And where music draws on the wide repertoire of the 16th and 17th centuries: from the songs of anonymous, including fantasies and stalwart, to the sums of expressions of Frescobaldi and Monteverdi, where the sounds evoke paintings of a sacred and profane nature, from "Magdalene in ecstasy" to "Deposition of Christ". An intertwining of Caravaggesque quotes that as if by magic, through the light step of the dance and the touch of the harp strings, comes to life on the stage, leaving the canvas to enter life and finally transform into other images.

I am sorry to spoil pleasure del Caravaggio – L’ArtFILM 2008