Sunday, October 3, 2010

Thoughts of An Italian Writer: Marcello Colasurdo a Dionysus of Agro Pomiglianese (1)

Who Compares With Courage, With the Globalization of the World

Dr. Antonio Castaldo, Sociologist and Journalist, Brusciano, Italy

Sunday, January 21, at the Nuovo Teatro Nuovo in Naples, we attended the world premiere of "A Global Dionysus in Naples-The (un)real story of Marcello Colasurdo" with English text, the result of an ethnographical research on Marcello, Naples and its rural area.

Projected against a black backcloth the Italian words that are magnified by the projector in parallel with the amplification, we hear the voice of Vernon Douglas that, in English, introduces us to the show.

Between the ethnographic data, the warm participation, artistic and testimonial of Marcello Colasurdo and the engineering processing of the custodial sound of the third millennium, Marco Messina, sets in motion the theatrical fabulation.

A star in a television studio announced by the presenter as "The virus of the feast," bursts into "ladies and gentlemen the Dionysus of today is__Marcello Colasurdo!" an acknowledgement that invites the guest to complete his only words in English throughout the show loaded with his old husky Neapolitan pronunciation "Oh yes, I enjoy."

Then, the whole audience to follow, sometimes accompanied by hand, occasionally sending out some explicit exclamation, but mainly concentrating on the listening of the story which is in a manner rather journalistic in its coverage. However, it also contains an anthropological research; a court in the history of peoples; an agora cathartic of oppression; an aspiration to the entire human emancipation, with nostalgic streaks and courageous flights toward the assertion of identity against the challenges of modernity.

The artistic panorama, that the same Nuovo Teatro Nuovo untiringly innovates with Igina Di Napoli and Angelo Montella, enriched by a staging that, as a whole, is a proposal for an experimental mix of old and modern languages and challenge for a new theatrical pedagogy.

So here we are in the history of anthropological transformation of an area that in a few decades has been traveled across by the acceleration of the times of life and work related to agriculture and industry today and to its transformations amid the birth of a new historical subject: the factory worker. Thus, I pass about the years, with Pomigliano D'Arco at the center: in 1938 Mussolini offers to present the first stone of the new establishment of the Alpha Romeo barehanded and 1950 saw the emergence of the "Cassa del Mezzogiorno," which will last until 1984. There is also the Alfa Sud in 1972 with the production of cars having "the Vesuvius in the engine" which promises to roar years then oxidizes; then the oil crisis of 1975 and the unemployment fund with the protest of the workers. To say the least, the artistic and dramatic expression of memory and group character of the "Gruppo Operaio E' Zezi," with which the voice of history, Marcello Colasurdo, formerly Alenia worker, has served for 18 years.

To be continued: Page: 2

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