The company Anagoor, awarded of the Silver Lion at the 2018 Venice Theatre Biennale, presented a trilogy entitled “Anagoor. Towards heresy” at the Teatrino of Palazzo Grassi, on April 11, 12, and 13, 2019.


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<u>Text</u> <br/> <b>Lisa Gasparotto</b> <br/><span style="display:none;"> PhD in Linguistics and literature <br/> Università di Milano-Bicocca</span>






<span class="alinea"></span>In a suggestive intertwining of performance, research, lecture, poetry reading, visual art, and narrative techniques, Anagoor’s stylistic reflection—on word and language, on the different but complimentary modalities through which the past is embodied and resurfaces in the present—took shape in three scenic compositions: <i>Rivelazione: sette meditazioni intorno a Giorgione</i> by Simone Derai and Laura Curino, <i>L’italiano è ladro</i> by Pier Paolo Pasolini, and <i>Magnificat</i> by Alda Merini. <br/> <br/> <span class="alinea"></span>These three artistic experiences may seem rather distant from one another, but are subtly united by the same idea of heresy and of a critical reflection on time and theatrical space. It is a triadic composition, constructed a posteriori; the result, in essence, of a ten-year journey marked by a reflection on the ambivalence, throughout history, of power, as reflected in the form of language. The <i>sette meditazioni intorno a Giorgione</i>, first performed in 2009, present to the public an (almost) never-before-seen and a (nearly) heretical Giorgione, through a narrative that is, in fact, a meditation: fragments of images reveal how the symbolic question in the iconography is reflected in the ambivalence of the artistic language. <i>Magnificat</i> by Alda Merini also dates from 2009. This text dismantles the traditional image of the Virgin, presented here in the existential, human, and carnal consistence of the ages of women, from adolescence to the painful transfiguration caused by the loss of her son. For Anagoor, this is a central work, an opportunity to question the representation of poetic speech in the theater, which has influenced some of the company’s successive choices, such as their rapprochement with the works of Virgil, first, then of Pasolini. <br/> <br/> <span class="alinea"></span>The most recent of the three works, from 2015, is in fact a Pasolinian poetic text, little known but of explosive expressive force, an unfinished work taken from the author’s magmatic laboratory, an amalgam of speech and image, sound and pain, an expression of power and the ways in which humans succumb to it, and bearing an emblematic title, <i>L’italiano è ladro</i>. Here, the voice and poetic language, accompanied by a soundtrack, reach the audience in all their symbolic scope, in an aggressive, even disturbing crescendo. <i>Verso l’Eresia</i> thus seems to contain in germ all Anagoor’s research, which tends to turn the interpretation and transformation of the world on its head. In this triptych, it seems that the three expressive regimes that define the forms of democracy, of theater and, more generally, of literature, mentioned by Rancière, are at work: the ability of speech to establish a fabric of life, the democracy of the “silent things” that speak in each tragedy, and, finally, democracy distanced from the need for the hermeneutical noise that constitutes the forced decoding of the sign.
 

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