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LA MIA ILIADE – Una conversazione con Baricco di Michele Infante

Sono diversi anni che Alessandro Baricco cerca di operare una mediazione sui testi letterari, per favorire il contatto tra la letteratura e il grande pubblico: attraverso la televisione, gli articoli di terza pagina, gli eventi live. L’idea di letteratura promossa da Baricco lavora con e su i topos, con gli effetti ed i temi della tradizione letteraria, all’interno di una ricerca anche espressiva e d’innovazione. Abbiamo incontrato l’autore per parlare del suo ultimo lavoro, una lettura dell’Iliade, adattata per la scena, in cui Baricco si spinge oltre i territori che finora ha privilegiati: quelli del romanzo ottocentesco (vorrei ricordare il bel saggio che noi stessi abbiamo pubblicato sul n°5 di questa stessa rivista, e che ora si può leggere sul nostro sito www.rivistaorigine.it) sulla figura dell’Altro nel Dracula di Bram Stoker.

Come nasce questa nuova idea del nuovo progetto Illiade?

L’idea è quella di leggere in pubblico l’Iliade. Un reading lungo una dozzina di ore, diviso in tre serate. Una scena essenziale, costumi appena accennati, una fonica impeccabile. Un grande schermo e il primo piano del lettore. Spesso, ma non sempre, musica, in parte live, in parte registrata. L’idea è questa. Ovviamente è qualcosa che per me continua il lavoro fatto prima con Totem e poi con City reading Project: provare a mettere la narrazione orale, forse addirittura la pura parola, al centro dell’attenzione, e farne una forma di rito, di emozione collettiva, di spettacolo. C’è del pubblico che mi segue in questa ricerca: così ho pensato che un’altra tappa si poteva fare: e l’Iliade, tra i tanti viaggi possibili, è quello che adesso mi affascina di più.

Molte sono state le critiche che ti sono state mosse, per aver riscritto l’Iliade, qualcuno ha detto ma Omero è un’altra cosa. Cosa pensi di rispondere a chi ti accusa di falsificare e usare il grande classico greco?

Leggere l’Iliade, oggi e in pubblico, significa inevitabilmente riscriverla. Adattarla per quel gesto particolare. Questo tratto del lavoro, ovviamente, è quello che mi riguarda più da vicino. Ho lavorato a un testo più corto, in prosa, in un italiano normale (non poetico né falsamente antico); e ho pensato a una dura storia di uomini in guerra, dove dei e creature mitiche sfumano sullo sfondo, ormai divenuti inutili. So che tutto questo suona tremendamente ambizioso (scrivere Omero?) ma in realtà io lo interpreto come un modesto lavoro di servizio: è come un traduzione, o un adattamento. Nell’ottocento, in Italia,si traducevano i poemi epici in poesia, con il gergo e le tecniche della poesia del tempo. Lavoro che oggi sembra assurdo, ma che in realtà era un modo di appropriarsi di quella storia dandole lo sfondo sentimentale e le forme stilistiche di quel tempo. Perché non dovremmo fare lo stesso noi? Perché non provare a cercare la nostra Iliade?

Come hai lavorato sul testo, come hai cercato di ricreare e far sentire una voce, che come dici tu stesso …

Ho riorganizzato il testo omerico in tanti racconti in soggettiva (per dire, il primo canto diventa il canto di Criseide: è lei che racconta). In pratica ne è venuta fuori una sequenza di una ventina di monologhi. Quanto a me, leggerò tre di quei monologhi(uno a sera) e cercherò in scena di introdurre gli altri, di legarli insieme.

La lettura si serve di effetti scenici, musica, suoni, immagini spesso proiettate sullo schermo che f a da fondo alla scena. Che ruolo ha tutto quello che è potremmo dire la “non-parola”, nella tua lettura?

La musica certamente gioca un ruolo importante. Il progetto musicale l’ho affidato a Giovanni Collima, perché è un musicista anomalo, uno di quelli che confondono le idee sui confini tra musica colta e musica altra. Ho lavorato con lui al City reading project, e lì ho scoperto che abbiamo un modo molto affine di inseguire le emozioni: così mi è parso naturale continuare con lui. Quello che gli ho chiesto è di riversare nel fiume della narrazione il suo mondo musicale, non necessariamente la sua musica: quello che gli suona nella mente, magari scritto o suonato o cantato da altri.

È un lavoro che poteva essere strutturato su molto classici della letteratura e anche su altre opere antiche, perché ha scelto l’Iliade?

Beh, questa è una domanda che mi pone spesso la gente mi chiede: perché proprio l’Iliade? Alcuni vorrebbero l’Odissea (che io non amo, tranne il finale), o magari Dante o Ariosto. Ho due risposte: la prima è che l’Iliade mi sembra una storia bellissima. La seconda è che godere del racconto di una guerra mi sembra una cura efficace per allontanare il desiderio (tragico ma legittimo) di godere facendo la guerra”.

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