IL QUADRO DI SLIM E INFLUENZE TEATRALI NELLA SUA POSIZIONE

 Oggi vi lascio questa analisi, emozionante e tecnica nello stesso momento circa il quadro di Slim e l'influenza del teatro nella sua posizione.

Questo quadro rappresenta, nel presente, una finestra nel passato che Candy rivive in quel pomeriggio sull'Avon attraverso le lettere contenute nel suo cofanetto e che culmina con l'ingresso nella stanza di anohito. Il quadro sembra quasi la scenografia di un palcoscenico in quel pomeriggio di ricordi che ci raccontano la storia di Candy...

Vi ricordo che Nagita scrive cose molto precise e particolari relativamente a questo quadro:

1) Anohito lo ha SORPRENDENTEMENTE riconosciuto alla prima occhiata (quindi LUI non è una persona che ha visto la Casa di Pony innumerevoli volte in tutte le stagioni dell'anno)

2) Nagita di indica chiaramente le dimensioni del quadro, in modo molto tecnico... perchè? Aggiunge che LUI lo ha sapientemente posizionato in un punto tale da renderlo visibile da qualsiasi angolazione della stanza e che rappresenta l'orfanotrofio visto dall'alto, nella sua interezza. Gli attori di teatro hanno una percezione molto particolare della luce e dello spazio perchè devono sapersi muovere mentre recitano, seguendo una vera e propria coreografia. La posizione sul palco va a braccetto con la recitazione e il coinvolgimento del pubblico... stessa cosa vale per la luce. Chi può avere una sensibilità tale da ragionare sulle dimensioni e sulla posizione del quadro se non un attore? Sensibilità che deve aver utilizzato anche per imprimere nella mente la Casa di Pony nella sua interezza dall'alto della collina.

3) CRIS, che ha una formazione teatrale, ci fa sapere che sin dall'antichità gli uomini di teatro visitavano i mercatini delle pulci in cerca di oggetti di scena )e i mercatini di Londra sono tra i più famosi al mondo... Terence non si sarebbe fatto scappare un'occasione del genere)

4) Nagita non è solo appassionata di teatro, ha fatto teatro da giovane... e ha riversato in Terence le sue passioni artistiche: la recitazione e il pianoforte.

******

Vi lascio il saggio di Cris De Pa' che merita davvero attenta lettura...

Terry and the influence of theatre, in Slim's painting position 🎭💛

🔸🔸🔸🔸🔸🔸🔸🔸

Dear terrytanas:

Some know I have drama knowledge and have been forming outside the academy. What does this mean? Learning with teachers and teachers who train and teach, through courses, workshops, residences, among others. The truth is, academia graders generally continue to be perfected with courses that teach career-high theatre people.

A few weeks ago I was on an Instagram Live, where they interviewed my teacher and teacher, with whom I learned a few years ago at a multi-day intensive theatre residence, with accommodation, in a beautiful town called Yotala, in Bolivia. Alice commented on something that I consider very interesting and related to the actor's craft and stage space. I transcribed your words, because the screen recording audio is not good, but I'll leave the video in the comments if anyone wants to see it.

🎭 Words from Alice:

′′ Well, the workshop is Gonzalo's and I'm involved in helping with some things, like the historical perspective As I come from the academy, I tell a little bit of the story of the scenography that has been transformed, to understand that a little bit. (...) This workshop is interesting, because it isn't exactly scenographic technique, but it is of creation: Where creative impulse is born!

I think it's a useful workshop, not only for scenographers, but also for directors and actors; because this is also something that the Theatre of the Andes has. I, for example, am an actress; I'm not a scenographer or an illuminator, but I do have a great awareness of these elements that participate in the scene. I can do a reading, I can understand, I can relate to them; so, I think it's an interesting workshop, generally, for everyone who does theatre. The management of space, the feeling of how I relate to something, bringing that something to life: an object, a scenic artifact."

Personally, I read several resources that I consider theatrical, in Nagita's history, and as a theater lover, make history more attractive to me. And when I read in the novel that Candy's husband placed Slim's painting in a way that looks from anywhere in the house, I added it to the thousand arguments we have Terrytanas to claim that Terry is Anohito, because as an actor has managed stage space. In addition to imagining him as a very observant, even before studying theatre; remember that Candy, in his present, says Terry studied to be an actor (p. 314). It is worth mentioning that since ancient times, theatrists turn to antiques markets or fairs to get locker rooms or items for their staging.

🎭 CCLHD Paras

′′ There I have the oil <<Number 10 >> with a handmade frame. My beloved has placed it in such a way that it looks from anywhere in the house. He found it many years ago, in a London market." (Pag. 10-1rd CCLHD edition).

′′ What a wonderful gift.

With one look, he saw the <<Number 10 >> among a bunch of old paintings, and instantly knew it was Pony's Home. It wasn't just a painting: it was a landscape with the Pony Home seen whole from the perspective of a nearby hill." (Page. 11-1rd CCLHD edition).

′′ Oh, Terry... I came back to America in a desperate attempt to haunt you, but time doesn't stop. You don't know how I wish I could make it back... If I could have made it to the harbor before you left... What if I had been at Pony's Home when you were visiting...

I remember the time you told me someday you'd like to see the place I grew up. I remember your smile too.

Thanks for the visit. I know you were very short of time, but the directors told me you went to see the big on top I always climbed, the apple tree I learned to throw the bow and Pony Hill. Those trees you may have caressed and that hill you might have stopped on, now they mean so much more to me." (Page. 307-1rd CCLHD edition).

I hope the week ahead is excellent for all.

Greetings.

Autore:Cris ✨

(I made the edition, with an image from the Stratford-upon-Avon theatre, early 1900. Terence's image is of Romijuri, based on the manga. Diary is from The New York Times).

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