La tautologia in scena e la morte del Fato : il teatro di parola di Alberto Moravia

TAUTOLOGY ON STAGE AND DEATH OF FATE: ALBERTO MORAVIA’S SPEECH THEATRE di Gianni Turchetta At first sight, Alberto Moravia’s theatrical works look like minor works. But, if we look at them more carefully, we can easily see how Moravia was almost obsessed, all lifelong, by the idea of writing something similar to a tragedy. In the same time, Moravia was fully aware that tragedy has become impossible in the 20th century: so he always represented men split between a vain need of action and a deep lack of feelings. Even if all his works touch on these subjects, Moravia devoted himself to the theatre only in the second half of the Sixties, building an original proposal of philosophical, dialectical theatre. His Beatrice Cenci (1955) already twisted the well known bloody history of Cencis’ family in the frame of the problem of boredom, seen as a problem of relationships between the subject and the reality. But expecially Il mondo è quello che è and Il dio Kurt (1966) were able to put on the stage more directly the problem of human language itself, always risking to become a “tautology”, in Wittgenstein’s sense, from one side, and, from the other side, the destruc-tion of classical tragical “Fate”, reenacted in the more than tragic context of Nazi extermination camps.