Cagliari, "Arianna" by Agnese Fois debuts at the Teatro Massimo
On stage is a work deeply felt by the director
The first directorial work by thirty-two-year-old Agnese Fois, entitled “Arianna”, will debut on Sunday 15 October at 8pm at the Teatro Massimo. On one of the days of "FIND 41", International New Dance Festival, the show will have its premiere and, shortly after (Saturday 21 October at 8.30 pm) the curtain will open for the 2023 / 2024 Theater Season of L'Effimero Meraviglioso at the Teatro Civico of Sinnai.
On stage Brigida Cesareo, Roberta Crivelli, Soraya Secci and Sara Perra with choreography by Valeria Angela Russo. First experience behind the scenes, but only one of the many goals achieved by Fois in recent years. After having performed, as an actress, on the stages of theaters such as the Piccolo in Milan and the Angelo Mai in Rome, having worked with directors such as Gabriele Lavia, Briè, Davide Iodice and Fernando Rubi and having won numerous awards, she makes her debut in the world of directing and dramaturgy. A vocation felt intensely from an early age, that of Fois: «I always had the certainty that I wanted to be this in life. There were no alternatives for me, to the delight of my parents" he says while smiling.
«It's not an easy world, but I threw myself like a kamikaze into all the opportunities that came my way. I finally had the chance to create something of my own. Arianna is an incredible achievement for me."
The myth of Ariadne, Theseus and the Minotaur is known to most people, and Fois knows it. Having studied Classics and having always been fascinated by mythology, she had them all in mind. But this one in particular has always been something more: «I started writing about Arianna because I have always found contemporary themes very dear to me. The emphasis is on her feminine point of view, on family ties, on loneliness, on hunger and on the need for love." In this theater-dance show (co-production Asmed/Balletto di Sardegna – L'Effimero Meraviglioso), the language is far from everyday life. The limit that exists between singing and words is challenged, just as the choreographies are always balanced between gesture and dance. «I liked the idea that theatrical movement and dance were not separate: it's all choreography but there is never real choreography. Everything is centered on stage presence and body awareness."
In Fois' interpretation, the mirror is the structure of the show: «There is a continuous game of reflections and reflections between Ariadne and her half-brother, the Minotaur. Two exiles, two defeaters who continually exchange each other. To the point that it is no longer clear to anyone watching who the monster really is." An interpretation of the original Minotaur. Who doesn't kill out of cruelty, but because he wants to keep with him the human warmth he misses. «Arianna sees herself in her brother's hunger for love, until she transforms into him at the end of the show».
On stage is a work deeply felt by the director, brought to the public with the intention of sinking one's teeth into the spirit of Greek theater and myth, trying to squeeze out its essence, until finding a synthesis that speaks to us today, in a raw way , honest, profound and delicate at the same time.
