Anyone who Sicily, they will be somewhere in person address: as restaurant decoration, the museum, in a junk, at best, on a stage. The sight of her enchanted and amazed we pause. We are talking about those brightly painted Sicilian puppets, a half to three feet tall, so very different experience than their counterparts in our latitudes. These are not funny dubs, fussy or Gendarme stars of children’s literature, but handsome knight in silver armor with plumed helmets. They carry shield and sword and watch with wide eyes sometimes strict, sometimes melancholic bargain.
Its high time that they moved with small traveling theaters across the island ended in the nineteenth century, but its tradition is still alive.
The hour-long spectacle that the pupari evening evening organized spirited in the village squares, was the popular condensed, varied varied version of a late medieval literary masterpiece, Ariosto’s epic poem “Orlando furioso”. It contains all the ingredients of a road Feger: tension, tragedy, humor, Fantastik, surprise sensuality.
Saracen heathens storm approach, Emperor Charlemagne calls his paladins to defend, bloody battles and fierce battles are fought, be made unheard of needs, and it is love that provides the greatest confusion. To restore order, the heroes must overcome space and time, even go to the moon
With its deeds the evocative names of the protagonists liable in Sicilian memories. Carlo Magno, foreign kings Agramante, Rodomonte, Marsilio, the knight Orlando, Astolfo and Gano, the magician Atlante with his mythical creatures hippogriff, half horse, half griffin, and finally Angelica whose unrivaled exotic beauty Orlando actually robs the whole mind.
For centuries, again revived the episodes values and behavior of Sicilians have affects how well art, music and literature. Even Andrea Camilleri commissario Montalbano temporarily loses his mind when he “here my review of Andrea Camilleri read:” a gorgeous beautiful bank employee named Angelica met [
The author Fabio Stassi (with Sicilian roots) have the puppets and the Orlando fabric complex fascinated since early years, but only now it has – after a few precursors – the finished story submitted. “Angelica e le comete” is a gentle, lovable and intelligent game with magic and reality, a small literary gem full of magic, drama, charm, sicilianità . The core motif of Stassis story is that he his puppets – like Collodi in his “Avventure di Pinocchio” [Lesen here my review of Carlo Collodi: “Le avventure di Pinocchio” on books Rezensionen” to keep the magic sphere between man and doll in the balance, the author sends a character in a sense the opposite approach.
Angelica is a young ballerina, marginalized because of their short stature in the bourgeois world, the itinerant puppet theater has connected and whose main attraction has become. For Cate, like all call it, is so small that it can perform on stage with the wooden dolls. Her spirited dance brings the audience to the lawn, and all puppets forfeited her beauty – the most intimate Ardesio, the unassuming, word and stateless outsiders. While the big dolls heroes remain one-dimensional types (even the “Orlando Furioso” is just a minor character) is Ardesio developed by the silent observer to courageously engaging ends. Robs the love Orlando his mind, they brought Ardesios awareness and elevates him to a higher level.
Another charming central figure is the theater director Lo Spagnolo, a brooding, obstinate genius and acting natural. He speaks several languages, often confused, and although he does not read and write, books are his passion. His miraculous synaesthetic talent describes Stassi like this: Dove chi sapeva leggere vedeva solo una sillaba, un verbo, una virgola, Lo Spagnolo immaginava tutta la storia che si voleva nominare. Le parole avevano per lui la mobilità di una marionetta, un’ossatura invisibile di Legno e di fil di ferro, come se fossero sostenute anche loro since chiodi e cordicelle. C’erano parole che si potevano appending particular a una bacchetta e altre che sembravano Arabeschi su uno scudo, alcune lucide e altre since lucidare, parole di rame e di acciaio.
Noce, di faggio, parole di stoffa e di piume verdi, parole a mezzaluna ea pinna di martello, parole disarmate e parole by parare i colpi, by inginocchiarsi o per tremare di rabbia, parole di pelle d’asina e parole transformerless rate, parole impazienti e parole nascoste dietro una visiera o chiuse in una conchiglia, parole che si spaccavano orizzontalmente e lasciavano uscire un liquido rosso … Ogni sera, Lo Spagnolo le traduceva in azioni, is in gesti in volti, e non sbagliava may. to narrow Stassis book, so artfully is its structure. Parallel to the action on the stage and between the puppets the lives of Spagnolo and his assistant, of the gigantic, coarse Bruciavento are woven; we see curiosity and enthusiasm of the villagers, and we read the drama of the theater itself. All this is the authorial internal narrative that is, edged all the way to classical models from a storyline. Which gives the material itself a kind of fantastic and magical own life.
Because a narrator named Fabio Stassi, a writer himself (though still unsure and inexperienced), found in a secondhand bookstore a pretty ribbon entrained entitled “Angelica e le comete”, written by a certain Fabio Stassi. The narrator does not have written that book of his knowledge, though he tried already to the fabric and even his future literary career has linked. The scene of the narrative framework Rome, where the works> real Fabio Stassi, born in 1962, wrote his books in the commuter train between Rome and his home in Viterbo.. He has been honored with numerous awards, and certainly you will not hear much from him. In his point striking fine language, compact, literary trained and highly evocative, he likes to attacks on ancient traditions and gives them new life.