Alfonso Cipolla, Eolo 30 September 2016
Leonce und Lena
Patrizio Dall'Argine is a puppeteer by necessity. The puppets and the shack are for him the way to paint poetry, to fight his personal battle against the fixity of images and the flow of time. The puppets, praying and moving statues, are the fixed gaze in the instant. Only in a timeless time can the fetish be resurrected in the soul and give life to parables that the public is invited to share. Leonce and Lena is the high point of this belief. It is a show that is very faithful to Büchner's drama not only in the text, but also in the dreamlike search for a transfiguring reality. In the drama, the two protagonists run away from their destiny: a mocking and perverse fate, since what they run away is actually what they want. In a rarefied and nocturnal climate, the desire for love is confused with that of death, even if the inevitable can lead to the dissolution of torments. The intangibility of contrasts and feelings finds a counterpart in the visual and rhythmic structure of the show. It is almost a score: nothing is left to the unexpected and everything is so calculated that it is a continuous flow, albeit in an aura of suspension.The cabin is like an eye on the dream, a non-place of events that flaunts or forgets that it is theater , which goes beyond spatial limits, finding new perspectives and depths. In these they breathe puppet-automatons with a symbolist flavor, at times diaphanous like creatures of the shadow, at times leathery with overt woodiness. A tragic and ineluctable humor cloaks that revived game, ready to die, ready to be reborn.
Show of rare intelligence and great charm, of those that leave a profound mark.
Mario Bianchi, Eolo 30 September 2016
Of “TOPOLINO” the protagonist of the show is Sandrone, who for the holidays decided with his wife and son, Pulonia and Sgurghiguelo, to change the seaside holiday location and for the occasion he chose Greece. But unfortunately on his return he finds the borders closed, due to too many migrants who want to cross them and with them the terrorists, now they need a passport and theirs has expired, so they have to wait to return to Italy, content to sleep near the tents of the many desperate people looking for a place to escape from misery and war.
But what does Mickey Mouse have to do with all this? It has to do with it, it has to do with it! It is he who invites the puppeteer to tell something cheerful, to get out of reality to enter fantasy. And what's better than a holiday in Greece? Unfortunately, however, now reality has eaten the imagination and reality has swallowed up even the dream holidays, even those of poor people like Sandrone, who is hard on the uptake, does not understand what is happening to him, while his son plays happily with his friend. Syrian he has just met.
Obviously, as in all respectable puppet shows, the bad guy comes forward, in this case a smuggler who offers them a ramshackle boat, to pay for him poor Pulonia will have to deprive even of her gold tooth, but not only. They leave, but obviously after a while the boat sinks and our family risks dying, except Death, because here too there is death, if not death ...
As usual, Patrizio Dall'Argine with his mocking theater, often deliberately ungrammatical, which, however, always skilfully mixes reality and fantasy, high and low, opening the emotion to frequent glimpses of poetry, gives us a show of rare imaginative vitality and coherence , which, under the frequent laughter, hides a precise political and social tone, precisely because the traditional theater, due to its popular component, has always been and always will be current and communicative.