Society is very pleased to collaborate once again with The
Dante Alighieri Society as part of Sydney Italian Festival
2010 in presenting another reading by the very talented Bianca
Bonino and her group of actors in the Chapel on Saturday 29 May,
2010 at 7:00pm.
Read more about Bianca and the company at http://www.foolsinprogress.org
This year they have chosen a work by Giovanni Testori (1923-1993)
entitled “Interrogatorio a Maria” (“Dialogue
with Mary”), a very beautiful and reverent dialogue with
the Mother of God and a chorus. It will be performed in Italian
and a new authorised translation by Dr Maria Teresa Piccioli
will be available. Dr Piccioli has written some notes about the
author which are available below.
There will be musical accompaniment on the newly restored Puget
organ played by Pastór de Lasala, who is the Assistant
Consultant to the organ restoration project. You can hear more
of Pastór’s fine organ playing, including some pieces
on rare and historic French instruments on http://uk.youtube.com/user/tormus1 -
just follow the links.
The readings will be followed by refreshments in the Notre
Coeur Performing Arts Centre at the School.
The work is poetic
and the dialogue is powerful and moving as Mary reveals the depth
of her love for her Son and His love for all. We believe that
this will be the first performance in Australia, and as it is
frequently performed in Italy in churches, the Kincoppal-Rose
Bay Chapel is a particularly appropriate venue.
It begins with the Chorus waiting –
“Will she come? Is she likely
I did call her.
I have invoked her lovingly,
Brothers, let us repeat the invitation:
Christ does not want a single voice in prayer,
He expects faithfulness every instant,
within the hour, here, this golden evening,
come our beloved Mother,
do come consecrated dwelling place.”
We look forward to welcoming all of you who have supported
the two previous readings and all those who have not yet visited
the beautiful Chapel for another memorable evening with exceptionally
The Chapel Society,
Kincoppal-Rose Bay School of the Sacred Heart,
Notes by Maria Teresa Piccioli on Giovanni Testori
Giovanni Testori was born at Novate Milanese in 1923 and died in 1993.
He is undisputedly a brilliant, problematic Italian novelist, art critic
and dramatist and very much part of 20th century Italian literature.
It has been suggested that initially his work was influenced by the
A great experimenter and inventor of imaginary language, including
a mix of Milanese dialect, French, English and even Latin, he often draws parallels
with Dario Fo’s play with language and semantics.
Testori’s use of language can be defined as functional and represents
the author’s need to delve deep within the viscera of human
nature. His use of language could also be described as an expressionistic
distortion which is recognizable in his early texts, not only
the literary texts but also art critique. From the very onset there
sense of depth of meaning and anguish that are focal points in his
writings. In his essay “The Belly of Theatre” (1968), Testori
describes the function of theatre as one of adjustment and likens it
to a womb where questions regarding truth and existence are sought.
Characters struggle with moments of hallucination, questioning and
the metatextual elements. They attempt to approach the mystery of life
which to some extent remains unsolved.
It was the well established Italian author Elio Vittorini who” discovered” Testori
in 1954 and published the novel “Il Dio di Roserio” and following
that “Il Ponte della Ghisolfa “ and “La Gilda di MacMahon” which describes
the harsh reality of the Milanese hinterland. “Maria Brasca” Testori’s first play dates back to
1960. The next two plays”’Arialda”
and “La Monaca di Monza” were both directed by the famous
Luchino Visconti. In the seventies he produced Ambleto and Macbetto.
Testori was to later replace Pier Paolo Pasolini as commentator and
art critic for Il Corriere della Sera.
The play that will be presented by Carboncopy in 2010 on May 29th is “Interrogatorio a Maria”,
published in 1973.
In form and structure it is quite reminiscent of medieval “cantari”or
canticles and “laudi” –mystical texts charged with
an inner tension and spiritual dimension.
Testori, as Henri Bremond suggests, is able to mediate prayer and poetry
and words are exalted beyond convention and literary schemes.
“Interrogatorio a Maria" deals with the fundamental themes of
the Genesis, of being and existing and that of creation with a spiritual
sensitivity that goes beyond religious creed.
At the epicentre of the play is Mary, in all her human simplicity.
She agrees to answer all of the questions that the chorus of actors surrounding ask
of her .These focus on the very foundations of man’s being, his identity and
the meaning of life.
Finally in Testori’s own words:
“Beyond all historical judgement. It appears undeniable to me
that theatre constitutes a sort of similitude with Christianity, as it is a form of catharsis.”
Notes by Maria Teresa Piccioli