"Vangelo" (Gospel) by Pippo Delbono


Pippo Delbono has been experimenting on stage for many years now, exploring the fertile ground between public and personal, between autobiography and history, shaping works that stand out on the international scene for their originality. Vangelo (Gospel) marks a further step along this path. In recent years, his experimentation has developed into an unusual form of musical performance: an investigation into voice and words which has taken Delbono to meet musicians such as Enzo Avitabile, Alexander Balanescu, Petra Magoni, Antoine Bataille and Piero Corso.
Together with these artists, he has created performances and concerts that tour in parallel to the Delbono group's repertory productions. His research delves into creation of a new personal language in cinema, and the commitment already revealed in his films (Amore Carne, Sangue, La Visite, Vangelo) can also be found in his more recent productions, Dopo la Battaglia, Orchidee and Vangelo, which are strongly influenced by this musical and cinematographic exploration.
Vangelo is a choral work, which began as a contemporary opera: it first took shape in Zagreb, performed by the orchestra, choir, dancers and actors at the Croatian National Theatre together with the acting company that has been working with Pippo Delbono for many years. Vangelo takes its cue from the atmospheres of Enzo Avitabile’s music. It is rich in poetic overtones but also markedly reveals the memories of its Croatian performers who lived through the traumatic events of a cruel war that has reshaped the history, places and boundaries of their native land. Boundaries that even during the creation of Vangelo were shaken by the arrival of ten thousand men, women and children desperately seeking a Promised Land.

VANGELO conceived and directed by Pippo Delbono
with Gianluca Ballarè, Bobò, Margherita Clemente, Pippo Delbono, Ilaria Distante, Simone Goggiano, Mario Intruglio, Nelson Lariccia, Gianni Parenti, Alma Prica, Pepe Robledo, Grazia Spinella, Nina Violic, Safi Zakria, Mirta Zecevic
with the participation - in the films - of the refugees of PIAM reception centre in Asti (Italy)
images and films Pippo Delbono

production: Emilia Romagna Teatro Fondazione and Croatian National Theatre in Zagreb
coproduction: Theatre Vidy-Lausanne, Maison de la Culture d'Amiens-Centre de creation et de Production, Theatre de Liege
from 28/06/2018 to 28/06/2018 hour 21.10
More than a theatre group, Pippo Delbono's company is a wandering community that has been creating a new language for the stage and for life, or rather, for that inextricable knot between art and life that only a few have the courage to tackle. This group of artists, which includes Delbono himself, is made up of people who first and foremost share a similar nature, in continuous precariousness where loneliness and isolation are prominent, and who have gravitated towards the theatre for its great scope for sharing. Pippo Delbono's theatre life, which is both aware and unpredictable, draws vital energy from the experiences he has tasted with Odin Teatret and Pina Bausch, and from studying oriental disciplines. Yet his true edge comes from avoiding rules and methods in order to instil a new level of honesty - that of feeling. A way of feeling governed by introducing distance, so that his theatre pieces emerge from stumblings, from feverish interpretations, from dreams. And they feed on mutual listening, improvisation, exploration of personal experience. This is the weft into which Delbono inserts – either dagger-like or as if they were delicate flowers – texts that are often well-known, thus generating new origins. Words reveal themselves like chasms through dance, they echo in silence, in a mute gesture. Instead, the dance measures space and sparks the rhythm that permeates it. Emptiness then concludes the text’s boldness, its courage. This is how physical dramaturgies take shape, where ‘bodies without lies’ write and where the codes of dance and theatre intertwine without losing fluidity. A fundamental role is played by music, whose absorbing grip transports onlookers away from their reality, to a disarmed state. Similar theatre precedents do not exist, and copying is not feasible. Delbono’s act of creativity is unique, effected through ‘reverse’ movement: he takes life, its fullness and its redundancy; he undresses life, throws it into disarray and plumbs it until he finds the crux of beauty hidden within its darkest parts. And then he looks at this, fearlessly. And it is always an act of resisting death.
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