{"id":26034,"date":"2012-04-24T14:33:18","date_gmt":"2012-04-24T12:33:18","guid":{"rendered":"http:\/\/www.article-marketing.eu\/comunicati\/senza-categoria\/456-la-fiction-ai-tempi-della-crisi-intervista-a-massimo-de-lorenzo\/"},"modified":"2018-07-10T05:18:15","modified_gmt":"2018-07-10T03:18:15","slug":"456-la-fiction-ai-tempi-della-crisi-intervista-a-massimo-de-lorenzo","status":"publish","type":"post","link":"https:\/\/www.article-marketing.eu\/comunicati\/arte-e-cultura\/456-la-fiction-ai-tempi-della-crisi-intervista-a-massimo-de-lorenzo\/","title":{"rendered":"456, la fiction ai tempi della crisi. Intervista a Massimo De Lorenzo"},"content":{"rendered":"<p><strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">Dallo show di Serena Dandini, il Pater familias pi&ugrave; inquietante della tv<\/em><\/strong><br \/><strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><br style=\"clear: none !important;\" \/><\/em><\/strong>di Emanuela Sabbatini<br \/><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><img decoding=\"async\" src=\"http:\/\/www.inteatro.it\/wp-content\/gallery\/456\/9web-456_b-cristina-pellegrino-massimo-de-lorenzo-e-carlo-de-ruggieri.jpg\" border=\"0\" alt=\"456\" width=\"300\" \/>In &ldquo;Agrodolce&rdquo;,<\/em> <em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">fiction di Rai 3 ambientata a Lumera, paese di fantasia della Sicilia, vestiva i panni di Felice Randazzo, il professore goffo e un po&#8217; burbero del liceo Sciascia. In &ldquo;Boris&rdquo;, serie tv sui generis, impersonava invece lo sceneggiatore della strampalata fiction televisiva italiana &ldquo;Gli occhi del cuore&rdquo;. Oggi lo ritroviamo su La 7 all&#8217;interno del programma di Serena Dandini <\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">&ldquo;The show must go off&rdquo;<\/strong><\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">, con <\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">456<\/strong><\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">, spettacolo firmato da Mattia Torre. Stiamo parlando di <\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">Massimo De Lorenzo<\/strong><\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">, il Pater della famiglia pi&ugrave; soffocante della tv italiana.<\/em><br \/><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">S&igrave;, 456 come i metri quadri di campagna buia e desolante che circondano la casa di questa serrata microcomunit&agrave; del sud formata da padre, madre e figlio. Ironia e tragedia si mescolano per raccontarci il Vecchio Stivale, con le sue abitudini e le sue universali grettezze. Il desiderio di morte, la paura, la gerarchia patriarcale, l&#8217;ignoranza, il diverso come pericoloso, il cibo, la fede, i giovani, l&#8217;immobilismo&#8230;<\/em><br \/><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">Affascinati e insieme sarcasticamente preoccupati da questo inusitato spaccato, abbiamo voluto fare quattro chiacchiere con lui. <\/em><br \/><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><br style=\"clear: none !important;\" \/><\/em><\/p>\n<p><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><br style=\"clear: none !important;\" \/><\/em><br \/><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">456, la fiction ai tempi della crisi. E di crisi ce n&#8217;&egrave; molta nei vostri sketch&#8230;una fotografia desolante dell&#8217;Italia di oggi, di certe consuetudini che leghiamo al sud e dell&#8217;istituzione famiglia. <strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">Dal teatro al piccolo schermo<\/strong>. Come si spiega?<\/em><br \/>E&rsquo; un esperimento. Abbiamo estrapolato i personaggi, le loro nevrosi, i loro rapporti senza raccontare la trama dello spettacolo. Non &egrave; una necessit&agrave; ma il tentativo di raccontare le dinamiche folli di questa famiglia con un linguaggio pi&ugrave; sintetico ma non per questo pi&ugrave; superficiale. Raccontando anche il loro rapporto con molti temi dell&rsquo;attualit&agrave; e il loro strambo modo di interpretarli. Sono contento che non si &egrave; cercato per questo di renderlo pi&ugrave; comico e l&rsquo;effetto &egrave; spiazzante, rimane quella drammatica cupezza che c&rsquo;&egrave; nello spettacolo teatrale.<\/p>\n<p><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><br style=\"clear: none !important;\" \/><\/em><br \/><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">Un tratto fondamentale di questo lavoro sta nell&#8217;uso di uno pseudo <strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">dialetto meridionale<\/strong>. Sembra pi&ugrave; un &ldquo;socioletto&rdquo;, una lingua parlata da un gruppo con caratteristiche definite, caratterizzato da una situazione condivisa. Eppure non si corre il rischio di una interpretazione banale, e cio&egrave; legare la desolazione e l&#8217;arretratezza solo al sud?<\/em><br \/>Non credo, &egrave; chiaro che il linguaggio riporta immediatamente ad una realt&agrave; meridionale, ma credo che alla fine si possa immaginare questa famiglia in qualsiasi luogo e non solo in Italia &hellip; i temi della paura, della chiusura, della sfiducia, dell&rsquo;attaccamento al cibo come unica valvola di sfogo, delle dinamiche familiari generatrici di odio, violenza&hellip; sono tutti temi che potremmo ritrovare ovunque, non solo al sud.<\/p>\n<p><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">In 456, sei <strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">il Pater<\/strong>, quello che in certe parti del sud viene chiamato &ldquo;Tani&rdquo; proprio da tanathos, a delineare la potest&agrave; di disporre della vita e della morte dei componenti della famiglia. Quanto Pater c&#8217;&egrave; in quest&#8217;Italia, non solo nel microcosmo familiare, ma proprio nelle figure di potere?<\/em><br \/>Tantissimo. Qualcuno diceva che siamo un popolo che storicamente ha bisogno di un duce, di qualcuno che ci dica cosa fare, incapaci di assumerci la responsabilit&agrave; delle nostre scelte. In una realt&agrave; come questa il Pater &egrave; una figura che dilaga, in ogni ambiente. Sarebbe bello cominciare ad essere Pater di noi stessi&hellip;<\/p>\n<p>&rdquo;<em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">La famiglia &egrave; morte&rdquo;, dice cinicamente Ginesio. E spera che muoiano tutti i suoi componenti, lui compreso. <\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"><strong style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\">La morte<\/strong><\/em><em style=\"border-image: initial; outline-width: 0px; outline-style: initial; outline-color: initial; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: transparent; clear: none !important; padding: 0px; margin: 0px; border: 0px initial initial;\"> come &ldquo;la grande amica&rdquo; parafrasando Socrate.<\/em><br \/>Nello spettacolo Ginesio prega Dio di liberarlo dalla famiglia o di &ldquo;muorirlo&rdquo;&hellip;. La morte &egrave; la rinuncia ad una vita inutile, senza sogni&hellip; La sua richiesta &egrave; pi&ugrave; diretta, radicale, se non pu&ograve; sognare o ambire a qualcosa allora &egrave; meglio che tutto finisca. Non sa neanche lui cosa &ldquo;significhi&rdquo; sognare, non ne ha gli strumenti. E&rsquo; un istinto di sopravvivenza.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In \u201cAgrodolce\u201d, fiction di Rai 3 ambientata a Lumera, paese di fantasia della Sicilia, vestiva i panni di Felice Randazzo, il professore goffo e un po&#8217; burbero del liceo Sciascia. In \u201cBoris\u201d, serie tv sui generis, impersonava invece lo sceneggiatore della strampalata fiction televisiva italiana \u201cGli occhi del cuore\u201d. Oggi lo ritroviamo su La 7 all&#8217;interno del programma di Serena Dandini \u201cThe show must go off\u201d, con 456, spettacolo firmato da Mattia Torre. Stiamo parlando di Massimo De Lorenzo, il Pater della famiglia pi\u00f9 soffocante della tv italiana.<\/p>\n","protected":false},"author":10,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"cybocfi_hide_featured_image":"","footnotes":""},"categories":[27],"tags":[35265,31665,35268,10696,35267,35266,31459,35269,35270],"class_list":["post-26034","post","type-post","status-publish","format-standard","hentry","category-arte-e-cultura","tag-35265","tag-emanuela-sabbatini","tag-fiction","tag-intervista","tag-massimo-de-lorenzo","tag-mattia-torre","tag-popsophia","tag-serena-dandini","tag-the-show-must-go-off"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>456, la fiction ai tempi della crisi. 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Oggi lo ritroviamo su La 7 all&#039;interno del programma di Serena Dandini \u201cThe show must go off\u201d, con 456, spettacolo firmato da Mattia Torre. 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