[automatically translated] The sulfur mine, for situations, types, staging, pace and dialogue, it is so to speak, the most realist of the Sicilian realist dramas, having condensed and in some ways anticipated, strengths and weaknesses. No coincidence that the drama reached its peak of success when it was represented in Sicilian and not coincidentally the actors were hailed as true theatrical geniuses, because the truth of the everyday language, so painstakingly sought by the author, emerges only through what remains unspoken, and the same dramatic text is achieved more through the gesture that word. The unusual extent of captions, which is a constant theater of Righteous Sinopoli, it exposes the risk to the drama of being translated into narrative dialogue, which is the most authentic expression of the epic nature, dominated by the fragment, from the taste of the sketch , the disarticulation between social being and consciousness of men reflected the reality that presents itself as a language. To reconcile this conflict, granted "the absence of a goal and the sterility of bourgeois ideals" (Lukacs), the naturalist dramatist are only two paths: either the harmonic and stereotyped portrayal of the relationship between man and environment, clear expression of desire and smug a-temporal and a-legitimization of this dialectic, or the negative eschatology, basically super-human and hyper-romantic, the increasingly violent confrontation with the outside world, but in the vain pursuit of soothing aesthetic sublimation of their infertility and its historical impotence.
|Publication status||Published - 2005|