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Pippo Delbono. ORCHIDS

2 October, 7 pm
Lithuanian National Drama Theatre, Big hall

Compagnia Pippo Delbono
Directed by Pippo Delbono
Cast - Dolly Albertin, Gianluca Ballarè, Bobò, Margherita Clemente, Pippo Delbono, Ilaria Distante, Simone Goggiano, Mario Intruglio, Nelson Lariccia, Gianni Parenti, Pepe Robledo, Grazia Spinella
Lighting design: Robert John Resteghini
Music - Enzo Avitabile and Deep Purple, Miles Davis, Philip Glass, Victor Démé, Joan Baez, Nino Rota, Angélique Ionatos, Wim Mertens, Pietro Mascagni
Sound - Giulio Antognini
Lights and video – Orlando Bolognesi
Costumes – Elena Giampaoli
Producers: Emilia Romagna Teatro Fondazione, Teatro di Roma, Nuova Scena - Arena del Sole - Teatro Stabile di Bologna, Théâtre du Rond Point - Parigi, Maison de la Culture d’Amiens - Centre de Création et de Production
Duration: 1h 55 min, no interval
In the play “Orchids”, the most controversial genius of Italian theatre, text author, actor and director – Pippo Delbono uses texts of William Shakespeare, Anton Tshehov, Georg Büchner, Jack Keruac, Peter Weiss and other authors of “the important word” texts. Delbono not only stages performances, he creates entire artistic pieces, which mark a starting point between his poetic quests and encounters with socially marginalized people. Delbono’s works have been presented in over fifty countries, most prestigious theatres and international festivals.
He does not stage plays but, rather, total creations, devised with a stable group of actors whose number has grown through the years. The encounter with socially marginalised people determines a turning point in his poetical research.
“Pina Bausch invited Delbono to Wupppertaler Tanztheater. Work with one of the century’s most celebrated choreographers confirmed Delbono’s vision and condensed the theatre language he was creating. He figured that most important thing for him on stage was the dramaturgy of movement and body. However, he realized that the body had to be special. Delbono’s theatre makes use of unstandardized body, the same way that people make use of unstandardized language. First of all it is Delbono’s own body as it appears in all of his productions. He’s tall, bulky and baldish; with his long arms, marked by plasticity and grace. He moves naturally and freely as a child who never learned any dance technique. It’s a naive and natural kind of plasticity, which has not been corrupted by masterfulness. Obviously, the techniques he obtained while working with Bausch, are still there but they’re not important anymore. The most important thing here is the unique energy of Pippo Delbono“, wrote Lithuanian theatrologist Ramunė Marcinkevičiūtė in 2009 for the cultural magazine “Kultūros barai”, in an article entitled “Transgressions of Contemporary Theatre”.
Of his work “Orchids”, which is critically acclaimed as his most mature piece, Delbono remarks: “I still can write of love", Dario Bellezza, a poet, great friend of Pier Paolo Pasolini, once wrote as AIDS was killing him. The orchid is the most beautiful flower and the most wicked as well, a friend once told me, because you cannot tell the real one from its fake. The same is true of this our time. In Orchids, as in all my shows, there is an attempt to stop the time I'm living through. To stop my time and that of my company, the people who've been with me many years now, but also the time we all are living in - Italians, Europeans, citizens of the world. A time of confusion in which I, we, many of us, I believe, feel lost... Feeling like something has been lost. Forever. Maybe it is our faith, our political, revolutionary, human, spiritual faith. Orchids also came from the great sense of emptiness I was left with when my mother went away for ever. My mother, with whom I had newly grown closer, after our conflicts, our separations, we had become friends once again. I had grown, I was a little wiser, and she had become more child-like growing old. Hence, the void. I was nobody's child anymore. Bereft of love. Orchids was born of many voids, though, many abandonments. The cultural void we experience, our being lost as artists. Theatre, that for the most part feels like a dusty, false, dead place to me. The accepted lie of theatrical representation. But Orchids also deals with the vital urge to fill that void. It deals with the urge to keep searching - new mothers, new fathers, new life, new stories.Then, unexpectedly, theatre's 'important' words, that I was determined to leave behind, came back and stuck to me, revealing a whole new meaning as they wedged into my life.And my life has become, perhaps, thanks to those words, the life of many others.I believe Orchids represents to me that vital, uncontainable urge to keep writing and speaking, in spite of all, about love“.
“Orchids is a beautiful piece of work, fullof rare tenderness, that tells us more than other works of his who Pippo Delbono really is: the craziest, least polished, most exaggerated talent in Italian theatre Pippo keeps darting from the stage to the audience, delivering Hamlet from behind our seats and telling us about himself onstage “ - Anna Bandettini, „La Repubblica“
“Orchids is one of Delbono's most formally accomplished works, with images and words, gestures, music, and space coming together to create a great emotional impact. It is a vital and, at the same time, desperate flow that we follow, almost holding our breath“ - Maria Grazia Gregori, „L'Unità“
“'Dance, dance or you'll be lost', the lesson Pina Bausch taught him, has clearly not been forgotten <…> but the lessening of dramaturgical text <…> comes not from a mistrust of words: on the contrary, words seem to gain importance as they are freed from plot and character. <...> What Orchids leaves us with in the end is what it was trying to tel us in the beginning. We don't like this world, but it is the only one we have.“ - Gianni Manzella, „Il Manifesto“