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The Canzone di Zeza and the carnival of E’ Zezi worker group

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ZeziThe Canzone di Zeza is a form of ritualized lament through which we celebrate the death of Carnival.

It is a popular comedy, staging, until the mid-fifties, groups of actors improvised: it develops the contrast, entirely sung, between a man and a woman, between the old and the new in an intergenerational conflict in which celebrates the defeat by castration of Pulcinella, who in vain against his wife Zeza, is opposed to the marriage of his daughter Vicenzella with don Nicola.

Since the beginning of his career, in 1974, the group worker E Zezi from Pomigliano d’Arco, worked on the Canzone di Zeza, reprocessing it and presenting it outside of the carnival period. With the Canzone di Zeza – as indeed with many directories replicated by Zezi over the years – the aim has always been to recreate a moment of collectivization, an area of extraordinary social, within which to place the problem of inner meaning, structure, the ritual, but with different intensity. His reflexes are more relevant than ever, both culturally and politically.

This year, in the days of carnival, the Zezi represented the comedy in the streets and farms of Pomigliano, and also in the historical center of Naples, meeting great participation and enthusiasm.

The writer, with a team of researchers and practitioners of ControSguardi Association and the University of Perugia, followed all the shows.

In these lines converge some brief reflections on the experience.

 

I followed the booming company of the worker group – who sang the song for streets and squares which tells the drama of all time, mirrored in Pulcinella castrated by future son ‘ro Nicola and opposed by his family, his wife Zeza and daughter Vicenziella – with the usual discomfort that bites me when I reach the worker group.

An uneasiness that is the transfiguration of wonder, the amazement of those who are enchanted by a firm that freezes your eyes and cracks the static definition. But what tradition? The dynamic unfolds now – the fight, but also the story, the representation – and the prospect that opens takes shape from the mouths of Zezi and is knotted around those who look at that and move on. There are no extensions. Do not enter in the corners chipped this show piercing. Imagine longings and hopes rhetorical: we are in Naples, Pomigliano, alleys, squares, in doorways, close to the ruins (urban) of the farms. We plow the space contracts and marginal reinvented burned fiercely in the suburbs, which is overlooked by terraces and empty walls cracked by illegible writing.

We are in front and in the Canzone di Zeza, arm in arm with Zezi screaming the glory of a carnival tradition from which they took out the nerve alive. And which take the form of new contradictions that Zezi embrace, as always, to break the line of a false consistency and deafening.

Against policy coherence – the extent to which the administration of resources does not allow for the surpluses of public goods and common for Pulcinella. Against social consistency – to the extent that the ‘ro Nicola proclaim and tear, shoot and void, delegitimize, isolate and cripple dissent. Against consistency in costume. A costume dominated by the expectation, on which orders the whole life experience (and not just imagined) on the tips and the neck forward in hope (even) to see someone come to save us (the prince, the technical government, Lent). Against this new form of consistency that calibrates and measures the expectations based on the disposition to experience and position in the ill-omened gray area (they are like that but I want to be like that, I’m here but…) – to the extent that the Zeza and Vicenzielle biting ‘s love of a state (public) craving for. And for this blunder, which leaves only sterile sparks, amputate the sphere of concrete relations of basic constraints. Amputations that create confusion: and you know, who is disoriented should be guided, cared for (and it is easy to do), which means also ruled, because it is in a state of need.

In the Canzone di Zeza Zezi tear this joint and this fake headlines. And their carnival amplifies their propensity – tried and tested in a movement and tactics outside the convergence and compromise – to overturn the alignments, to rewind the beam hardened rules, until it finds a clue from which to start, the tatters of inform a new scene, where every element comes together with a new meaning disenchanted.

 

Autore: Daniele Cestellini

Daniele Cestellini ha scritto 752 articoli.

Questo post è disponibile anche in: Italian



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