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Clown

freely adapted from the novel by Heinrich Böll

From the ancient tradition of storytelling, interweaving a place meeting, was born with the complicity of five characters who act out a funny red nose with their ingenuity messy history of Hans Schnier. "I'm a clown, official definition: comedian, I do not pay taxes to no church, I twenty-seven years and one of my number is called 'arrival and departure'."

Those who have not announced anything about him, see him; and those who have not heard, we understand it. Letter to the Romans, XV, 21

"I want to tell the story of a famous clown and of talent, taking coffee in the morning in the hotels, who loves his wife ever without the office of the marriage, smoking cigarettes, playing "not to Ludo" and toyed, which "takes the things as they come and count on the pavement. " Until the rise all the Catholics, his own consistency, and of course he loses everything. The ability to train, the measure of drinking, the gestures of every day, did not see them. "Catholicism in the book of stamp duty and the censor, to explain the hardship that is being debated in the clowns. The clown has his life and does not take any fanaticism. But he stumbled into a fanaticism that is rampant in Germany and makes it excluded. "

drama from Aaron Brancaleoni
live music by Marco Olivieri
directed by Chiara Tietto
clowns
Marco Fasoli
Cristani
Cristina Guido Scarmato
Francesco Zorzi Hope Marina


"I'm a clown, official definition: comedian, I do not pay taxes to no church, I twenty-seven years and one of my number is called 'arrival and departure '. "

The idea to stage Clown was born from a true love at first sight, as they call it in love for the book itself. When I read for the first time many years ago, maybe eight or ten can not remember, I immediately thought of a drama, but then I had the means and capacity to do so, and has remained a dream until now. The experience planted inside of quartaparete, my cultural and professional growth and especially meeting and working with Aaron Brancaleoni, who had the clever ability to make a strictly literary text in a play of many voices, have succeeded in realizing the dream. The enormous difficulties of this work lies precisely in the drafting of the text, adapting and directing a group of five people. In our setting, there is an actor who plays the main character, but on stage there are five clowns who are abandoned: a blue jacket and a suitcase containing items. They belong to Hans Schnier, a famous German clown, the label on the case itself demonstrates. Everyone knows who he is, because he turns in all the theaters of Germany, but now he will tell his story more intimate and private. It 's a continuous exchange of jacket, everyone wants to be Hans Schnier, even for a few moments, and all will suffer the melancholy and drama of his story. The clowns are complicit in creating the story and skillfully provide the ability to tell their stories to Hans, turning objects on stage now on a bench, then in a table, will be able to create a phone booth and why not a bathtub. Nothing comes out from the scene, nothing comes in, everything is already there, as if to be told. All accompaganato by live music composed and played by Mark Olivieri. Actors quartaparete had never worked on the clown, and some did not know of it, because the major difficulty of the clown is the fact that clown but was not made. We invited a clown in Verona, director, James Anderle, who worked with us on finding the right clown. We spent a lot of fun moments and beautiful, they did highlight the funny side and our childish and naive and anarchist, who made us understand, even if the job would be much deeper, the philosophy of the clown, his way of being thinking, and therefore gave us a new vision of the text and character, but especially for me, the director of the show. James was a very helpful person and above all very skilled in creating a good working atmosphere, gave us all our red nose, the same that we keep him through the show, and came a second time in Verona to see the development of the staging. I do not know if the show is really complete, and I do not know if Heinrich Böll has been complied with; cuts to the novel, the relocation of the scenes, the figure of the protagonist, Hans Schnier, shared, let me doubts. But I know who does not doubt his work is a fool. The uncertainty leaves open windows, from which they can enter or exit forms ideas, thoughts and dreams.

Chiara Tietto