In a time when the abuse of power and the reduction of man to an object available for the entertainment of his owner, in a time when private, virgin islands in distant America, are turned into hellholes for immature young souls, while here in our country they are constantly increasing the revelations of sexual abuse of minors, at a time when we are still confronted not only with historical fascism, but with the fascism and violence lurking all around us or
even among us, the transfer by the National Opera of Pier Paolo Pasolini’s emblematic film, “Salo 120 days in Sodom”, almost fifty years after its creation, is a political act.
A political act for which ELLS and its artistic director Giorgos Koumentakis take full responsibility, with bravery and responsibility, as today, when the egg of the snake hatches again and again internationally, the investigation of the root of this beast called fascism, is duty of every anxious artistic body. In fact, ELS is the first to undertake this
ambitious undertaking of bringing Pasolini’s film to the stage, as no matter how hard we searched we could only find one staging from a regional, small theater in London. For this reason, this performance must become an exportable product for ELLS that will travel to the great opera theaters of Europe and the world.
The director
The excellent result of the performance-experience, in the full sense of the term, which we saw at its premiere on Saturday night at the Alternative Stage of the ELLS, owes the main part of its success to the iconoclastic director Aris Biniaris. His performances, not by chance, become the talk of the town. Subversive, intense, heretical, he even created and signed the theatrical adaptation and
dramaturgy, together with Elena Triantafyllopoulou, a captivating performance, a true immersion in hell, which is not only seen, but also embodied, by its spectator, who often feels his stomach tightening, his pulse rising, his head turning and his agony peaking.
The strangest thing, what is unbearable when watching the show is the thought that these things are still happening today, as Aris Biniaris very correctly made his show timeless, freeing it from references to the Second World War. It was just as well that the speech is not spoken in song, although we are in a lyric theater, as this would take away from the
cruelty of the show, which is suitable for viewers over 18 years of age.
The three circles
The show unfolds in three cycles, just like in the movie.
First the cycle of rage, with its strong sexual references, rampant violence and child abuse, puts you in the hideous, violent, raw, cruel, merciless, perverse environment of the spectacle.
Second comes the cycle of faeces, even more disturbing, a clear reference to consumer society, where human excrement is represented by chocolate that is forcefully “stuffed” into children. This is followed by the climax with the circle of blood, where the children are executed in many different ways, with the blood pouring out and making the spectacle even more
abomination and fear to dominate.
Amazing performances
At the same time, during the performance, two narrators, performed exceptionally well by Ioanna Mavrea and Agoritsa Oikonomou, tell daring, shocking love stories taken from the unfinished work The 120 Days of Sodom by the Marquis de Sade. It is their own introduction to the world of violence, when one was seven and the other was nine. Very fitting also that the show was grafted with Nazi speeches and manifestos, which added even more value and depth to what we saw.
“The only way to serve nature is to blindly follow her wishes whatever they may be… We must satisfy ourselves, without caring who will pay her! In essence, nature creates its laws because it thirsts for crimes
which itself obliges us to commit!.. Crime is a system within nature!”. How sick, unnatural and ultimately convenient for the three in charge of the situation the Duke, the Excellency and the Highness, who are also the ones who have gathered a group of boys and girls in a cold room and subject them to extreme physical and mental torture. Yiannis Kotsifas gives the above reasons catalytically, in an excellent interpretation that meets that of Kostas Berikopoulos, who is disarmingly terrifying in his role (although often unfortunately we couldn’t hear him well). The other villain Hieronymos Kaletsanos uniquely completes the shameless triplet with the hosts!
We bow to the actors who played the unfortunate children of this show, as well as the executioners who carry out the orders of the three hosts. A real feat. A challenge to which they responded with mental fortitude.
Congratulations to E. Agaitsis, Al. Vardaxoglou, G. Ziaka, Ap. Kamitsaki, N. Katsoura, M. Kritikopoulos, L. Bozaki, N. Douro, E. Oikonomou, A. Ormeni, E. Tsellou, G. Harkoftaki and K. Phoenix. They all moved very correctly with the instructions of Alexandros Vardaxoglou.
Music, the other protagonist
The other star of the show is undoubtedly the music, the electronic, sonic universe created by Greek up-and-coming composer Jeff Wager. The music is indeed omnipresent, often deafening, so much so that you sometimes struggle to hear the speech, and turn to the simultaneous English translation.
Mikaela Liakata’s setting is a cold place, with minimal furniture, of an ecclesiastical or gothic character and all the paraphernalia required for torture. The costumes of Ilena Douladiri are the most suitable, which perfectly serve the performance.
A truly masterful theatrical adaptation, a performance experience by the hands of Aris Biniaris.
We left with the words of the play overwhelming us: “When people are equal without any difference there can be no happiness. The pleasure of comparison comes only from the sight of the unhappy…What an enigma indeed man is!”
The public
He watched the performance in silence, transfixed, and at the end burst into applause and cheers. In fact, only one woman left the first cycle, probably she had not been informed about what she was going to watch. Upon entering, a sticker was placed on the cell phone camera to prevent photos being taken (just as some may unfortunately be tempted
transferring the image of the naked actors). The performances continue until March 10 and are sold out.
A new cycle is expected.
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#Salo #days #Sodom #directed #Ari #Biniari