Bestia da Stile

As Carmelo Alberti suggests, Bestia da stile is an experiment in total theater, a form-drama that moves between multiple coordinates among myth and contemporaneity, between poetic life and the history of societies, between subjectivity and populism. The drama follows the events of the young philosophy student Jan Palach, the Czechoslovak dissident who on January 16, 1969, in Wenceslas Square in Prague, set himself on fire in protest against the Soviet invasion, which had ended the reformist season of the "Prague Spring" of Alexander Dub?ek on August 20, 1968. After an agony of three days, during which Palach remained lucid amidst excruciating pain, his funeral was celebrated, attended by 600,000 people. In the staging, it is sound that directs the dynamics carried out by the actors. The sound of poetic words, memories of other words that have been the framework of a whole life, of words spoken and heard, words of war and nature, of Revolution and Freedom. Pasolini's text, a dense fabric of connections determined by chains of words, where each word is a multiplicity of other words, endlessly reproduces sounds upon sounds, in an overlapping of significant forms, sometimes inevitable, as in a score by Henri Chopin, where the "sounds from the body" are regurgitations from the depths of the soul. In this sound spelunking, where meaning is the result of conflict, we discover the true essence of an ideal, from the words of an autobiographical text that was written like a Greek tragedy, rebelling against the loss of existential sense, for the dream of conquering Freedom, as opposition to consumerist Capitalism that, today, drags us into its unstoppable whirlpool, transforming us and "changing state," physically, inevitably, passing through the fire in the change of matter that will make us immortal.
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