Mamma, small minimal tragedies by Annibale Ruccello
with Eva de Rosa
Hannibal Ruccello is without a doubt the most interesting voice in the second half of the twentieth century, his dramas, can reconnect to Genet, Beckett, or the theater of illness and discomfort, but it is definitely in Viviani theater that the first symptoms appear this deviance, and that’s why although the works are presented as theater after Eduardo, it should be emphasized that it is with Viviani, and not only that Ruccello constitutes one of the first steps of his significant cultural background.
“Mom” small minimal tragedies, is the last work staged by Ruccello in 1986, there are three women, three mothers precisely that fail to confront the outside because “caged” in a world that makes them unique protagonists. Viviani is defined as a “great connoisseur of feminine psychology,” even in Ruccello theater trace some very analytical psychological profiles in which the female population is central to the representation of dramas. Both born in Castellammare di Stabia, these authors seem to draw from the streets and by the Neapolitan characters, mood and blood humus that characterizes them.
The three micro stories are interspersed with music and poems from Viviani, who by choice have contextualized the Ruccello’s monologues, thus creating a strong synergy between the two authors. Under each story it hides a tragic element, sometimes bitterly ironic, that makes these mothers even more complex than you might perceive in theatrical immediacy.
The entire show revolves near to a crucial scenery piece, an ingenious idea that his director and performer Eva De Rosa has personally made: a tree shaped like a woman. The choice is not random, but dictated by two important elements: Scenic requirement on which to lay the costumes of the three characters played and create a set design, minimal as Ruccello himself loved, but contextualized to the work to be done.
The tree is the symbol of individuation archetype in life that grows and then responds to the “Mummy” theme, a Savage Mother, definitely a pagan vision, but proposed to the public, at the same time listening to a sweet Christian prayer in Latin dedicated to the Virgin Mary, the Mother of mothers. Each micro-history begins and ends from the tree, three women, three mothers, all played by the same actress Eva De Rosa, beyond the worn costume, it will tell through facial expressions, gestures and words, the individual dramas that sometimes can also be bitterly ironic.
“Mary of Carmel”, the life of a woman visiting a mental hospital because she presumed to be the Madonna.
“Toothache”, from “Nocturne of women with guests”, a mother suffering from a toothache, on Good Friday, Adriana discovers that the daughter is pregnant. Her considerations ranging from the common sense of shame / rage rejection of the thought to get off a social step, having to imparentare with the son of a factory worker, and end with a tragedy, the suicide of her daughter.
And finally, “The call” a mom who cares about the greatest human systems namely tv series and gossips.
Eva De Rosa about the work done has been expressed by saying: “I will try to outwit and nail the audience with extreme simplicity and humility, basic elements, that the theater boards have taught me in these 25 years of love … I hope to not to disappoint! ”