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the Betrothed

usual ingredients, it seems at first sight. plot a cornerstone of our national imaginary. staged with a company of actors which is a great classic, and so the mixing of the dynamics between the actors and representations Manzoni's characters. thus appear "the betrothed to the test", text by Testori, directed by Tiezzi, with the great Sandro Lombardi and iaia strong.

all have seen, it seems. but the mechanism is not obvious, far from it.

does the scene on several levels. stairs leading to the stage, moved up and down tables, chairs and thrones for seats with Formica aristocratic: it is a bustle of objects, but a few symbolic. as well as costumes and disguises. simply imitate the comb of the hairdressing lucia fingers behind his head, or near contemporary clothing a coat that resembles a habit. This creates a physical link with the two temporal dimensions.

also the threefold vision of the authors and director offers multiple levels of enjoyment and allowed to mix multiple expressions. Manzoni presence with His providence and omnipotence of God, with key episodes and characters that are part of the our cultural DNA (how many words are derived from the novel, we turn to the shyster, do i don abbondio, as the perpetual gossiping). Testori to point out the cynical image that adds to the mouth of the players, emphasizing new characterizations of the characters. Finally Tiezzi. As I like this film (even in opera). utmost attention to detail are her expressive features. Manzoni and moves between characters Testori, giving evidence of ability of individuals and the whole.

missed some scenes. choose between all the farewell to the mountains. actors are placed on the table (that was the kitchen of Agnes, yeah), now became a boat, and are arranged as in a classical "pity". the sound of water is evoked by the hand of Agnes stuck in a bucket full of liquid. the sound is clear and exciting, the steady rhythm of rowing in counterpoint to the voice declaims. light shaded to emphasize the lurid beauty. exciting.