A performance by acclaimed duo Deflorian / Tagliarini, part of an overall project inspired by Federico Fellini’s 1986 film Ginger and Fred, conceived for a limited number of spectators.
The title of the work is inspired by the collection of poems by Andrea Zanzotto and his need to superimpose artifice and nature, mother tongue and neologisms, the relationship between things and flashes of thought. All this connects to the relationship(s) that the two theatre-makers have been weaving between personal biography and fiction, between the characters they engage with, to get to know themselves better; and both the present and historical contexts that compel, confuse, belie and confirm their choices.
In Fellini’s film two artists who have never come close to success, Pippo and Amelia, renowned for imitating the famous Ginger Rogers and Fred Astaire dance duo, return after many years to perform in public in a tv programme bursting with banality and vulgarity. Daria Deflorian and Antonio Tagliarini, after years of working with other artists, return to the stage as their original incarnation in duo. Successful in their own way, their enduring closeness has blurred some boundaries between the two and at the same time their long on-stage cohabitation has diminished their friendship and rendered their individual need to stand out more acute.
She doesn’t really like Giulietta Masina and finds the costume choice quite demode’, yet however negative the word, it turns out to indicate an opportunity, a goal. Consequently after feeling irritated by this apparently docile female she discovers unexpected similarities.
He, on the other hand, is afraid of ageing and believes – same as Fellini himself – that it can only happen to others. He considers Marcello Mastroianni’s approach courageous; purposefully having his hair thinned by his make-up artist who plucked each hair off one by one to mirror his bald spot with that of the director’s own.
What happens on stage takes place in the time between the two entering their performative space from the outside, from “their present”, to an hour later when they find themselves transformed into aged versions of themselves; not to resemble the two actors or characters, but to look the age they actually are which they cannot yet perceive from that outside.
Italian Cultural Institute, 39 Belgrave Square, SW1X 8NX London
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