"It mimics to show what has been borrowed, to show that you do not have anything as a gesture of humility." This is the incipit which Franco Branciaroli introduces his personal Don Quixote. The actor Milan behind the voices, movements and defects in Vittorio Gassman and Carmelo Bene and through them, revealing their Don Quixote and Sancho Panza. In reality, however, his real purpose is to draw an imaginary line between reality and imagination, between audience and stage, among a finite time (the viewer) and an eternal time (one of the symbols, art, death) between himself and these two, and, after accounts, is of itself speaks to us. Here then is the Quixote and his squire are against windmills, write imaginary letters, drink only "fair friend of the night" the first and the second gin, with amused ease. of Don Quixote 'champion against injustice' Very little remains, if not an interpretation of the fiction-reality ever humble, but rightly in constant motion, like a wandering journey. While Branciaroli "makes the voices: that of Gassman, aperture and all that good, the whole nose, suddenly jumps to mind the powerful parable that shows the actor in the scene. That subtext of the show that he, better than anyone another, you know say, "The Knight of the sad figure personifies the drift, which is the last resort forced the theater. We risk no longer see it as an inn a castle, but to see an inn as a theater. "From here we can then start to be guided by the evocative scene designed by Margherita Palli recreated the atmosphere and the beautiful lights of Gigi Saccomandi, where, in perpetual harmony with one another, spying on first, then live, so promising an afterlife, but thanks to a aldiquà , where the Masters are, right now, forgotten.
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