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September 1, 2003, the birthday of Carmelo Bene in Rome.

di Mauro Marino

C’era Roma, Carmelo, il Salento e la Francia. Lunedì 1 settembre, la città di Roma, nel giorno del suo compleanno, ha reso omaggio a Carmelo Bene. La bellissima sala milleduecento dell’ auditorium Parco della Musica progettato da Renzo Piano ha ospitato l’evento che ha visto nella capitale il debutto della Fondazione l’Immemoriale, presentata purpose of disclosure in its total work of Carmelo Bene, by Piergiorgio For, above all, said it needed, the city of his theatrical debut, to confirm the link with the work of the Master. That emotion, feeling there! Salentino, fellow of the teacher, part of the land that he is the highest quality expression. What honor his poetic caliber, his noble thoughts together and plebeian, who is a theater, gym time to celebrate the work of a continually betrayed and denied in its relentless flow. That voice in the absence of attorale masterpiece, returns to vibrate the strings of our love and our passion. The evening Has Opened es'è closed by listening L'Infinito Leopardi. The verses, came from a lectern and a microphone empty craftsman, working tools in the absence, evocative of his practice and his dedication. The presentation of the translation by Jean-Paul Manganaro who worked chasing the sounds of words - of Our Lady of the Turks, the first written work of the master and first to be published today in France, opened the meeting and the words around beniano work. Silvia Pasello actress with him in Macbeth Horror Suite has read some parts. The Moorish palace of Santa Cesarea, the rocks, the sea, the skulls of the martyrs in the cathedral, on the run big screen and even the membership never reach rhetorically, it turns out, that relentless weaving of a strong state roots in a baroque disorientation, anarchic and brilliant. Then, the vision of Lorenzaccio, removed from the scene CB in 1986, when he decided to operate a solitary released from the commitment to support, motivate and manage a company The drammautopia De Musset which debuted in 1896, impossible to represent, crossed from 39 scenes and a hundred characters, traditionally done by women, is presented in a digitized version of which Caramel has worked directly, his last engagement in life, wanting to reappear in this work. Chiara, his power is critical, its history to deny the proximity to humans, the work for beauty. Listening, clear, came the opportunity that the Salento has to say with Carmelo quality of its culture, is therefore a necessary concrete responsibilities of the institutions that are the foundation for law, to serve humbly in his last will that ' immemorial provides the opportunity to remain alive and active.

E 'need to emphasize this, because in Rome, was inexplicably absent from the Puglia Region and the City of Otranto. Alone to represent the attachment to project continuity, entrusted to the foundation by Carmelo Bene, the Province of Lecce, represented by the Culture Remigio Morelli. I do not know what are the reasons for this absence, but as Salento, I felt offended and worried. It is not I think of presenteeism, these tools and confidence to entrust to an organization that is in place for ultimate will of the Master. The statutes of the foundation coincides with the will, a political act and transverse, provocative and stressing that relies on people near and profits have been in recent years, the fate of his work, when necessary, and open and promote contact and the comparison of Italian culture and European Union with the work of the man who more than any other with a consistent and stubborn in the theater won a never-ending work in research. A gift at the end of the evening, liked, strengthen memory, was done to all participants: A CB, Carmelo Bene , a book edited by Joy Costa collecting images, songs of life, flashes of memory , suggestions and words born when his voice is off, and involving friends and all those with whom he wrote, composed, performed, designed the sets, lights, music and image of his art.

September 2003

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Theatre and Clouds

The job of the actor

for a sentimental education

Craft practice.

There is growing attraction for crafts related to the show. Media propagation of viruses, the suggestions' success glossy 'conveyed by television formats,' provinature 'and casting disenchanted that the truth,' passionate, that seed, which generates and propagates, the fact that slow sedimentation of curiosity , sacrifice and perseverance, research and experimentation.

try on, to define the self, its style, its own language. Penalty

, strange word. Necessary word that is part of the trade, the foundation and enclosure of doing, creating. I'm talking about job because I believe that this is the condition of the actor, the dancer, singer, creator of the art. Trade, craft because it is in a position that reinforces that knowledge, the only one that gives shape to an interpreter. Artist. There is therefore a 'profession' to learn, but a training program to adhere to correspond to that impulse, that desire / need to give of themselves in the creative act, in an effort to verify and match the right talent, to 'certify' their vocation. Actors themselves, build theater, is to build practices of attention and listen, to enhance life with his urgent, damages, needs, values \u200b\u200bbeauty, wounds and opportunities. The construction going on in this theater, right in there that broke the siege of view, of not feeling comfortable, embarrassment, shame, fear. The theater

game is cathartic, lever nature of a relational process that can detect stimuli, fragments of meaning, attitudes, languages, held together, give body to action, make the scene possible, practical close to the needs of

say that motivates and makes it credible, beyond the rhetoric and affectation, beyond any coating. Yeah, to say! L 'creative act feeds of meetings, skills and vocations that choose to interact, to give themselves goals and territories. The

theater is a place that welcomes you with a summary

poetry poetry to communicate. The word, written and spoken, the floor shakes, the body flow: the poetry - complexity in 'approach with the world view of life. Place a sensitive communication and other , capable, in the attempt to ferret out the secret that experience life holds. E 'therefore necessary for the actor, dancer, singer, for the creator of art work around that threshold fleeting catharsis that makes the experience of the word, the voice heard, spoken, written. The sheet, the body, with his recall, with his take stock of practices, poetic. to the story that is always (symbolic, never abstract) of the feel of each. Poetry is a concrete act, underwear. E 'above notice. E'accoglimento of feeling, of the statement, the reveal, first of all to themselves what resonates with say, lighten that load capable of when he manages to track down birth and speech, svelante, vibrant, lyric and epic, which is easy to comfort outburst, prayer and song. why I believe we need a return to the experience of theatrical practice, such action to each individual in a profound tension choir - a group that is put to the test, along with play, experiment, research, refines it were, its unique language - capable of bringing into play the body and presence. To hear him and the chorus is open to the dynamics in the attention that the choice of staging processes, to be there Agent as a body, to action, also the feeling of the limit. Act the scene is forgetfulness of self, dépense (Carmelo Bene), is pure act, ceremony, breath and sweat. It is, above all, turn off the claim to appear, showing the beautiful, without discomfort. You become humble, close to their anxiety. It is common experience, technical assistance to the weaning of personality, which are part of vocations in the game to stage. In the group. That shares responsibility and care in doing together, attention and oversight, and critical thinking of a self that finds its abandonment in serving the creative intent, the common work, where one is because it is another.

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Rossano Astremo

The Poetics of Caramel Well. One possible reading After "

work" , ie Orpheus for Eurydice

, novel, published by Besa, that actualizes one of the great icons of the legendary Greek mythology, the director and playwright Stephen Lauro back in bookstores with "The Fly in the glass - The Poetics of Carmelo Bene", book edited by Icarus. The work in question, essay aims to trace the elements of poetry that served as the theoretical substratum of the master actor at work Fields of Salento, owes its basic idea and its articulation of the thesis written by Lauro many years ago. To this was added a necessary work of rewriting, redrafting and revision that led to the drafting

now been published. In "The Fly of the glass" by Lauro, through his writing always edgy, sometimes complex, emphasizes the sources of the thought of Carmelo Bene, through an analysis of the whole book and its appendix, more specifically,

of his theoretical writings. The author divides the parable of Fine Art in four moments: the beginning of his career in 1968, from 1968 to 1973 (during the film) since 1973 the 80s (the Shakespearean great season and beyond, but also the "concert" with amplified voice and the resulting research phonè
), 1988-1990 (

the machine

actor ). Little space is given to the last period of life Well, that goes from 1990 until his death on 16 March 2002, considered "decades of neglect, disease, and autoreclusione, punctuated by shooting, except for a few innovations but not add nothing to its path that can be said to be accomplished with the ' Achilleid (1989 and 1990, only resumed again in 2000). On this trip in stages between the sources of poetic beniana, the thrust of which repeatedly states that Lauro is the absolute link with the eight-twentieth-century European culture. Hence the appearance of references to Baudelaire, Byron, de Sade, Bataille, Nietzsche, Schoupenhauer, Lautreamont, Leopardi, Kierkegaard, for an essay that aims to be informative, the first act to get in touch with one of the greatest artists of the Our twentieth century, which will, of course, as has happened elsewhere, turn up their nose to the "purists beniani", not at all convinced of this interpretation of complexity theory forced the Good thinking.

Article published in the monthly "Salento Express" in November

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Eliana Forcignanò

“La mosca nel bicchiere”, ecco la poetica di Bene

Perché di Carmelo Bene (Campi Salentina, 1937 – Roma 2002) non si potrebbe o dovrebbe parlare? Forse, perché si tratta oramai di un mito, tuttavia i miti si costituiscono proprio attraverso la parola che li tramanda di gente in gente e la mitopoiesi è un’attitudine irrinunciabile dello spirito umano. Il razionalismo critico, però, ci suggerisce anche che i miti vanno indagati e contestualizzati al fine di comprendere the roots of their size and, if necessary, revised without falling into a sterile hagiography. In other words, the context, the cultural climate within which the myth of the "coming out" is essential and should be investigated with scrupulous. This is the work of Stefano Di Lauro, for Books of Icarus, published "The fly in the glass," an essay on the poetry of Carmelo Bene contextualized in the cultural landscape in this century. The book was recently presented to the City Paper by Maurizio Mauro Marino and Nocera. A search

deep, committed, crystalline that the author has conducted placing the goal of analyzing "explicit poetics" of good, namely that evidenced by the writings of him have survived. Addressing Good thinking - as Lauro calls it - is a tall order, especially since there are numerous references to the decadent culture and philosophy of the nineteenth and twentieth centuries. Di Lauro, and exposes them to identify clearly, going upstream in a river whose course seems to be endless: "The paper medley in this study - Di Lauro writes - has none of the treatises, the material examined, although libraceo to form asistematicità and recalls certain notebooks in which are mixed haphazardly notes and reflections. " It is true, however, that Good has always pursued the idea of \u200b\u200ba "Synthesis of all Wildean art and criticism" and the two poetic - implicit and explicit - have gone hand in hand until the last few years, "except at the end of his career when the intent theorists are so ambitious and rare that it can not be met reasonable that the price of silence. " It is impressive to see the philosophical background from which it draws nourishment Good thinking: Structuralism, Nietzsche, Schopenhauer, Deleuze, with whom he has even collaborated Good writing the booklet "Overlays." Now, why is this important essay on the poetry of Carmelo Bene? Because until now, few had bothered to examine the antecedents Well of philosophical thought, simply locate small scales only implicit in the poetry. Di Lauro, however, deep down, that comes to sceverare issue as important as the "super human" Well, on which he based much of his work. Needless to say, "over the human" immediately calls to mind the well-man of Nietzsche that rises above the chaos of the everyday, to find a proper order that goes beyond the common Homunculus. Well known is the exemplification of the eternal which shine in all its power the well-Man who says yes to life, yes to the 'aion " against the "chronos", yes to the 'ambition to exceed the human eternizzante through the power of Art ". Art, of course, is one way of deliverance from the Will enumerated by Schopenhauer's pessimism that he reappears in the sample, a conversation with Carmelo Bene scholar Umberto Artioli, quoted in the book "The fly in the glass." But Di Lauro flees from a position of general philosophical thoughts that inspired Well Schopenhauer and give the rightful place in Good thinking, namely that of "educator" How much art as liberation from Will, Good points out: "The art really it sucks. I am interested in the most pathological, that is not daily but what, say, psychoanalysis is called, called imaginary. " Di Lauro interprets this statement as a gesture of fatigue the last Fine pointing to the 'surplus in itself, ending with theorizing a "regression at the intersection" in an attempt to escape the tyranny of the symbolic. " Along with Nietzsche and Schopenhauer include other big names like Stirner, De Saussure, the Italian poets Leopardi and Manzoni. But if the pessimism of Manzoni is a consolation in life after death and that of Leopardi in solidarity between men, there is nothing that Carmelo Bene man can do to improve his condition. "The horizon of brotherhood Leopardi - writes Di Lauro - has no place in Good thought, irrevocably affected by a structure (psychological, linguistic) inert to the reasonableness of the compromise and that does not include mutual aid as a way of universal and lasting."

Another issue that can not fail to fascinate the reader is the religion of Carmelo Bene: Di Lauro defines an "agnostic restless, very restless." For Salentino is the Socratic "oiomai eidenai me," I do not know, but his research, his hunger for transcendence does not cease. In the theater of Caramel Well, according to Alberto Signorini, there is an endless, impossible "nostalgia of the Other" and when you say nothing else you can not think of God That Carmelo Bene - Signorini's opinion - which is a baroque religiosity back to a negative theology. God can not say anything because they "have to say is compromise." Carmelo Bene iconoclast, a Catholic not in the traditional sense, but in the sense of being aware of their finitude, to live perpetually uncomfortable as Kierkegaard wrote in "The deadly disease." This feeling perpetually guilty reminds devotion Old Testament, when the man, Far from putting in an equal relationship with God, he prostrated himself before the Supreme Ente who would not even mention.

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Carmelo Bene in Campi Salento - October 1995

photo Claudio Longo

Caught My Little Sister

Splinters a genius

Stefano di Lauro

The fly in the glass


the poetics of Carmelo Bene


Books Poetics of Icarus 1



Beyond the stage, behind the masks of the actor, "through the looking glass." The intellectual structure of a revolutionary genius, rigorous, unruly, mocking. And inevitably misunderstood. Rough but not impassable are the paths along which runs the Good thought, firmly anchored in the European decadence, the French cultural climate of the '50s, no less than to a mystical-theological horizon despite the vaunted atheism. With this essay, by Laura gives us a scan of the writings of CB, so dotandoci of a "precious kit" to understand its poetic, rethinking the work, as well as to better enjoy the extravagance of some memorable television appearances. The author weaves, with painstaking delicacy, a sort of dialogue between the artist Salento and thoughts that have defined his aesthetic, and try to reconfigure an organic mental landscape from splinters of genius, bringing to light much of the detonators 'creative urgency that the incurable pain of living. A scorched his life, "un-wanted" yet so desired.