Giuseppe Cederna modern ‘Tartufo’ at the Quirino theater in Rome

The actor on stage with Vanessa Gravina: “I play a sort of mysterious guru with a shameless ability to lie, with an ‘I’ that surpasses God”

“There is always a great risk in ‘modernizing’ or rather in transferring the temporal sphere of a classic in the contemporary world. In this case, the directorial idea moves the family in crisis from a small and narrow bourgeoisie of the seventeenth century to a closed small and middle bourgeoisie, we could say ‘Pasolini’, of the twentieth century, more precisely of the sixties of the economic boom “. observes Giuseppe Cederna in describing his to AdnKronos ‘Truffle’ of Moliere than in the version directed by Roberto Valerio and flanked on the stage by Vanessa Gravina, will be on stage from tomorrow until Sunday at Quirino theater in Rome.

“In this crack of total insecurity of the head of the family, of the male of the house, of the husband, ignored by his wife and children, this ‘snake’ creeps in, this little man, intelligent and at the same time vampire and rapacious, with his undeniable charm as a curator of souls, who is Tartufo, a kind of mysterious and wonderful guru, with a shameless ability to lie which makes him devoted only to himself and to his own gain, to his acquisition of power, with an ‘I’ that surpasses God“, underlines Cederna describing his character.

Tartufo, it is underlined in the director’s notes, “is shrewd, fascinating, dangerous; his gestures and expressions betray a sanguine, depraved, obscene nature, he sails in the restless waters of dissimulation swinging between an affected elegance and a raw materiality: it is sensual and disturbing, so much so that it reminds us of something diabolical. Most of the time, the scenic versions of the ‘Tartufo’ focused on the hypocrisy of the character, but today this equation needs to be partially changed: not a simple impostor but a nonconformist prophet, a dark angel or a merciful demon that breaks into a family, upsets it, punishes it, revolutionizes it, to the point of absorbing it “.

Every subterfuge will always be the justified means to reach the ultimate goal of conquering women, with the corollary of resorting to any ‘truffle’ lie to deny even the most apparent of truths and the very reality of things. “The public laughs at something they know and at the same time they are afraid of”, observes Cederna, almost evoking one desire of the viewer to ‘exorcise’ the atavistic fear.

“Among other things, I am a very measured actor also physically, with ‘Tartufo’ I am discovering a new tension and a new exuberant dimension, first kept in a gray area, who is ‘freed’ from the transport with which he lives the adventure of conquering the woman of others, until it is he who is seduced by her, who accuses him of abusing her charm: what more bewitching compliment for a man? “.

(from Enzo Bonaiuto)