Hypokrites Teatro Studio: Curriculum Vitae


metamorphosis that becomes experience. The unfinished that is research, the threatening rush towards what is the deepest, the most Unexplored and the most dangerous because of its impenetrability: HYPOKRITES acting company is the Over  of its present, the passage  towards the not-said of Theatre, the feelings’ subtitle.

HYPOKRITES Teatro Studio was founded  in 1994 by the actor and director Enzo Marangelo, who had been producing amateur performances,  lived in the clandestine underground of the local culture, since 1986, with the Compagnia Teatrale Solofrana.
Word Theatre, Eduardian Theatre, Dialect Theatre: after this first phase, Marangelo created HYPOKRITES Teatro Studio,  with the consciousness that it was the moment to compare his work with a more mature experience and, above all, from a more professional point of view.

After the first shows, that still rotate around the Neapolitan repertory, Marangelo, the Company’s soul and mind, trained himself to the “construction” of performances, basing his work on an analytic study inspired to the last Stanislavskji’s method. The theatrical education and production path followed by HYPOKRITES, then, immediately finds its leit-motiv in the total opening to the contemporaneity and to the complexity that derives from it.

The precious heritage of the Greek theatrical culture, re-lived in the Aeschylus’, Sophocles’ and Euripides’ verses, cannot prescind from modern review, being sure that being faithful to the intentions of the past necessarily means to “recontextualise” them into the contemporaneity. Sartre, Pirandello, Cechov, Miller become the new protagonists of HYPOKRITES’ scenes and the fil rouge tighten towards a Theatre that becomes something different: from that scenario was born the need to make the stage a breaking space, a space of annoying intrusiveness for the audience, that is still too rigidly built and emptied in its too long silence.

In 2000, there was the birth of the Confrontation Performances, a kind of shows that is an appendix of a tradition that sees Theatre as a democracy alcove, as the present elaboration. “Confronto Rosso 5”, “Confronto paradossale” and “Global Forum” are the three forum, the three interactive meetings during which, in addition to Pirandello’s text, the Company experiments the theatricality of poetry, novel and original texts.

It is just the novelty of language, not properly dramaturgical, that brings to the experimentation of new creations  and that marks the progressive and gradual abandoning of words. Artaud and Grotowski become the new teorethicals of reference. The nuduty of theatrical action and the poorness of fiction inspire a kind of direction and acting fed by Truth and Instinct.
“Scritture private”, put on scene in August 2002, inaugurates the HYPOKRITES’ “workshop method” in the theatrical ideation and creation: aphorisms, thoughts in verses, tales of a woman’s travels are the fertile ground to create gestures, steps, movements that reveal more authentically the “transfiguration” of Theatre to the “disposability” of the audience.

This further HYPOKRITES’ metamorphosis tests itself into the mystic proposal La Passione di Cristo that empties the stage and entrusts Jesus’ icon to the audience’s imagination, into the film La Passione di Cristo..Oggi that melts theatrical language with the media’s one to actualize Christ’s sufferings in a everyday parade of children without  a face, slaves of clothe crosses, brothers in abuses and impotence; and finally La cantatrice calva by Ionesco that denounces in characters’ immobility and in a pendulum’s dance the vacuity of words, so damn actual.Simultaneously the text by R. Cavosi “Rosanero”, choosen for its being so essential and keen  in denouncing the alibis of infected psychologies, lives its success.

In 2003 HYPOKRITES’ production follows an experimentation path on the “theatrical body”, held in partnership with Università degli Studi di Salerno, deeply fed by the strong trust of Marangelo in the truth of Instinct, in the essentiality of gestures, in the eloquence of the not-said.

“Il Corpo Teatrale”, in July 2004, was born as an open rehearsal  and a new path of research of the potentials of the actor’s body. Long and intensive workshops allow the actor not to “pretend” a character but  to “generate” it from himself , as the result of an inner sacrifice. The actor recognizes his metamorphosis, like when he IS  an animal in “La Zoologia Fantastica”  or the wound of a chipped stone in “Anime dello Spoon”, when he IS the desperation of mechanistic in “Quad” or the perimeter of a geometrical figure in  “Geometrie esistenziali”.

A Theater based on civil investigation on everyday life is the new metaphorphosis HYPOKRITES compares with. From this new evolution were born the last works: “L’ospite inquietante: il nichilismo e i giovani”, performance inspired to the book by U. Galimberti about a the social plague of youth’s unawareness due to the influence of global market; “Numeri”, a theatrical study based on “Raw Economics” by Loretta Napoleoni, a reflection about the consequences and the influences that Economics has on our globalized civilization.

In HYPOKRITES’ artistic evolution, the latest performances demonstrate, then, the full adherence to the Idea of Theatre as a visionary and instinctive metaphor of the protean everyday life.