Pagliacci-life should be Opera
directed, choreography, dramaturgy and costumes by Beatrice Panero
Premiered and performed:
Theater Ulm, Germany in 2017.
Life often feels hard. Nevertheless, "the show must go on" with each and every life an original and unrepeatable performance. The artist's life begins from the idea that artistic expression is something neither artificial nor innate, but rather the unavoidable direction of life and that through art every person can discover their own direction.
Man is distinguished from other living things by his love of art and every man can be the artist in his own life.Those who perceive in themselves the spark of artistic vocation have at the same time an obligation not to waste this talent but to develop it, to put it at the service of others and of all humanity. The artist has the need to express himself in the same way as he has the need to breathe. The stage is “his life style”, and alongside it, "the outside world" which merges and overlaps.
With “Pagliacci -Life Should be Opera”, an interdisciplinary choreographic project composed of singing, acting and dance. I intend to stage the conflict that exists in an artist as a state of schizophrenia, that leads him to confront his loneliness among a multitude of varied humanity. Exploring the relationship between the real “me” and all the characters he plays, whether actor, singer or dancer and the risks of becoming lost in them.
The perfect example of an opera in which this theme is in evidence is Pagliacci by Leoncavallo, where the protagonists are the artists of a touring company who have to embody their characters and at the same time be themselves. In this situation the first state must necessarily take over because the public "pays and he wants to have fun” with real life being set aside, at least for the duration of the show ... but then, what is real life? Artists are often confused about what this is. They do not feel like the audience in front of whom they perform, and wider society cannot view them as everyday people, with typical needs, dramas and emotions offstage. Unable to draw a clear distinction between the real and imaginary worlds of the artist they reach the point of not considering art as a profession to live from and "to live for."