Carne da macello: (im)mobilità, silenzio e tragedia nell’opera di Emma Dante

The Emma Dante’s theatre − with its language and its primordial and archetypal themes − is a paradigmatic example of how the tragedy has metamorphosed itself into the contemporaneity, though has retained some of its characteristics. In fact, it confronts itself with boundary situation at the border between life and death, redemption and immobility, rebellion and despair, family and incest, giving rise to iterated and symbolic gestures that, in their power take on a cathartic value. In addition, Emma Dante’s works are based on a originary language that retrieves the voice of the body, rhythm and silence, touching emotional and sensory spheres which the verbal language word cannot achieve. The use of dialect (Sicilian, Neapolitan and from Bari) responds to this need of an instinctual and actorial ‘truth’, and doesn’t take form as expressionistic choice, but as a rediscovery of the language.