Il Labirinto pittorico, mentale e umano di Vincent Van Gogh

Van Gogh a teatro, un commento di *Marta Sbranti

3febbraio 2019 di Marta Sbranti

Grande successo per lo spettacolo Vincent Van Gogh l’odore assordante del bianco, di Stefano Massini, andato in scena sul palco della Fondazione Teatro Verdi di Pisa.

A dare vita al tormentato pittore è stato l’attore Alessandro Preziosi, con la regia di Alessandro Maggi. Il testo Vincent Van Gogh l’odore assordante del bianco ha vinto il Premio Tondelli a Riccione Teatro 2005 per la scrittura limpida, tesa, di rara immediatezza drammatica, capace di restituire il tormento dei personaggi con feroce immediatezza espressiva (dalla motivazione della Giuria).

La trama

È il 1889 e l’unico desiderio di Vincent Van Gogh è quello di uscire dalle austere e fredde mura del manicomio di Saint-Rémy in Provenza, nel quale è stato internato dopo numerosi episodi di instabilità psichica ed emotiva. Curvo, tremante e tormentato dalle allucinazioni, Vincent ha il divieto di dipingere a seguito di un tentato suicidio con l’ingerimento dei suoi tubetti di colori. Tutto intorno a lui è bianco ed i colori sembrano solo un ricordo. Questa assenza forzata non fa altro che accentuare la sua forte depressione. «In manicomio tutto è bianco. Anche i fiori». Ed è qui che riceve la visita dal fratello Theo (Massimo Nicolini). Inizialmente il dialogo sembra essere reale, ma quando entra il Dottor Vernon-Lazàre (Roberto Manzi) con gli infermieri Roland (Vincenzo Zampa) e Gutave (Alessio Genchi), tutto si ribalta. Realtà, ricordi e allucinazioni convivono sul palco fino all’arrivo del direttore del manicomio, il Dottor Peyrone (Francesco Biscione), che cerca una “cura” alternativa alla malattia mentale mediante l’ipnosi.

Il labirinto pittorico, mentale e umano di Van Gogh

Lo spettacolo è come un “thriller psicologico che ruota attorno al tema della creatività artistica”, portando lo spettatore alla riflessione sulla condizione dell’arte e dell’artista nel mondo contemporaneo. Dalla vicenda biografica di Van Gogh, Stefano Massini mostra “il labile confine tra verità e finzione, tra follia e sanità, tra realtà e sogno”. L’immagine che tutti noi abbiamo di Van Gogh è quella di un outsider, che lo ha reso il prototipo del genio incompreso, dell’artista pazzo ed intuitivo. Attraverso la vicenda inquieta e tragica di Van Gogh, lo spettacolo ha indagato il labirinto pittorico, mentale e umano dell’artista, afflitto da un disagio esistenziale in un mondo sempre più alienante.

Realtà, allucinazione e catarsi

Immerso in uno spazio bianco, accentuato da una luce fredda, la scena si apre con Vincent (Alessandro Preziosi), seduto sopra un pavimento scosceso. Tutto sembra distorto, come la pazzia che domina l’artista. Un’interpretazione di Preziosi che con grande studio e maestria ha saputo dosare le energie, mostrando le varie sfumature dell’artista: follia, rabbia, speranza, solitudine, lucidità. Le inquietudini di Vincent, sospeso in uno spazio acromatico e senza tempo, hanno preso forza nelle domande incalzanti rivolte a Theo per essere sicuro della sua esistenza o nei moti di rabbia contro un mondo che lo etichettava come schizofrenico. Anche le gestualità hanno avuto un grande valore drammaturgico, come i passi incerti ed il muovere le mani con impazienza e nervosismo sia nello spazio, che sul proprio corpo. 

L’incontro con gli infermieri e il Dottor Vernon-Lazàre è decisivo: la realtà viene svelata e Theo si mostra essere un’allucinazione. Il crollo psicologico di Vincent, ormai giunto al limite, avviene dopo aver assistito alla distruzione di una sua tela da parte del dispotico dottore. Il tentato omicidio di quest’ultimo da parte dell’artista avviene al rallenty, come se anche il tempo fosse alterato e distorto. Durante l’ipnosi del Dottor Peyrone (Francesco Biscione), incalzante ed intensa, Vincent mostra le proprie emozioni ed i suoi pensieri più profondi. Per la prima volta la luce cambia posizione e l’ombra del suo corpo viene proiettata sulle pareti bianche, come un disegno. L’ipnosi si interrompe e una luce gialla avvolge il protagonista. Il pittore, dopo una lunga catarsi, ritrova la speranza, la sua creatività e quel giallo tanto desiderato dei suoi amati girasoli.

Fragorosi applausi per gli attori che, spossati da questa intensa esperienza, hanno aperto il sipario mostrandosi in un breve raccoglimento a testa bassa, per dare il tempo ai loro personaggi ed alle forti emozioni appena vissute di defluire. Marta Sbranti marta.sbranti@libero.it

*Marta Sbranti, classe 1989. Dopo il Diploma presso l’Istituto d’Arte Franco Russoli di Pisa mi sono laureata in Scienze dei Beni Culturali curricula storico-artistico. Ho conseguito la Laurea Magistrale in Storia delle Arti Visive, dello Spettacolo e dei Nuovi Media, presso l’Università di Pisa. La mia tesi di laurea “Musei e Danza”

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