Edipo e la Pizia (2007)

liberamente ispirato a
un racconto di Dürrenmatt

director Lucia Poli
choreographers Giorgio Rossi
interpreter Lucia Poli‚ Giorgio Rossi

property- man and wardrobe-man Tiziano Fario
original lyrics Andrea Farri
production sosta palmizi

“The priestess of Delfi Pannychis XI − tall and thin almost like all the previous Phithias − irritaded by her own oracle and by the childish credulità of the greeks‚ was listening to the questions of a young Oedipus who wondered if his parents are the true ones or not‚ as if it would have been easy to state clearly something like that……”

This bizarre “incipit” of Durenmatt’s tale “ The Death of Pythia ” is the origin of a playng and dancing performance by Lucia Poli ( Pythia ) and Giorgio Rossi ( Oedipus ) plus four musicians on stage. But the script immediatly moves away regardless of its original source and makes know gradually the eccentric relationship between Pythia and Oedipus rethinking the classic myth meanwhile. The performance is a disrespectful but it has no intentino of trating the subject as a joke‚ it only tries suggesting once again the eternal “dilemma” about the meaning of human fate making good of the deep lightness of irony. Who’s the one who leads our behhaviour: Gods, Free will or simply fate?

Oedipus after listening to the dreadfull oracle which Pythia herself declares a speech fabricated in a fit of rage‚ is very influenced by it so he goes towards his cruel destiny: he will kill his father and marry his mother. Why‾ We still keep asking it ever since. Whose will is concealed behind Oedipus behaviour‾ Mistery is on this earth and leads (drives) our History. Pythia is only a funny, mocking, impudent woman who fulfills her prophecies with a shameless sense of humor. She doesn’t trust human reason capable of modifyng the reality and doesn’t even trust Divinity. Than thanks to her agnosticism she becomes a modern character or a symbol of eternal doubt and priviledge of imagination. In the end the world appears as a monster undergoing a ch’ange by its ever moving grimaces.

The grotesque‚ monstrous‚ immaginative style spreads all over the performance using playing and mocking. Masks and puppets dance with actors or substitute them. But there are also moments of reflection‚ dark and confusion. Music goes along with gestures as much as the motions of the two main characters and the music all together help to embody and to comunicate emotions.