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sheet produced by the participants at the workshop for theater at the CRT about Twins Giorgio Marini

Valentina Ciardi

During the presentation meeting that preceded the first night of The Twins, held Monday 25 February at the theater CRT, the director Giorgio Marini said the work with this new interest in the text by author Fleur Jaeggy. True to every word, every punctuation to the story - said Marini - the director wanted to play with language by developing a kind of musical score which could be reflected in the theme of the double spread around which the entire representation.

The twins seem inextricably linked, as by the words in their sentences in half to stop one of the other terms or overlapping of lines spoken in unison tones evoking the singsong prosody of some nursery rhymes. However, this goal is lost, at times, a score in verbal contemporary syncopated, with the speech, struggling to find its own rhythmic and meaning, loses vigor and poetry, dying in a kind of lament broken, broken.

The choice of the two female performers for the Twins invokes the theme of the ambiguity, the duality through the form of disguise, but the difficult subject of ambivalence and double intimately belongs to human nature, hard to find a coherent development.

The first association to the term "double" is the other ego-I, the uncanny as Freud called it, that aspect of us that upsets us because it corresponds to our objectivity, because in him we see ourselves outside of ourselves and why in the perception of "double" start to think we themselves. The double
this is like a shadow or double, twin or not. In any case, is a way to start thinking about themselves. The representation of Marini does not always allow the viewer to participate in the reconstruction of the story dialectically, thus denying the possibility of triggering the mechanism of recognition and, therefore, of critical reflection.

paroxysmal The interplay of two lives incapable of subjectivity to the inevitable conclusion of a perverse incestuous relationship just mentioned, you might lose in the difficult adaptation of the text of Fleur Jaeggy for the theater. The feeling is that they have been touched on several issues but could not develop. In the end even the center of the dyad seems to get lost constantly in the presence of a third party that may prevent its presence with the clarification of this issue.

The use of light cutting, sharp, with the changing atmosphere of indistinct in the gloom have created a place without any indication of time and space, characterized by the mere presence of a blanket of snow white to cover the entire stage and two masts vaguely reminiscent of Beckett. The staging was so very impressive, even if self-complacent at a certain stage where it is hard to see the urgency of artistic expression.