"Investigations metaphysical Savinio evoke ancient Greece, Renaissance recover elegance, appropriate of baroque splendor. And, together, offer surprising openings in the direction of the contemporary world: even you could see Reports - indirect, accidental - with the world of cartoons. This is a kinship on which historiography has never paused. For a moment, forget the complex underlying cultural iconography saviniana warp. And we look naively the mother-hen or ostrich, the father-giraffe, camel-Aegean, Roger-cock, Psyche-pelican, centaurs, and poltromamma poltrobabbo. There are clear similarities with the heroes that fill the gallery created by the most extraordinary tale of the twentieth century, Walt Disney.
A mere speculation? Let us read an article in La Stampa on 25 July 1934, which recognizes the top Savinio surrealism humanistic in Mickey Mouse. A minor hero, quickly, penetrato «nei costumi del cinematografo, o come dire nei costumi del popolo»: mentre si svolgono sullo schermo, le sue gesta suscitano negli spettatori reazioni di compiacimento. Mickey Mouse non è solo divertissment. Incarna una «forma di surrealismo volgarizzato, un surrealismo alla portata di tutti, un surrealismo per piccole borse», scrive Savinio, anticipando un rilievo di Dalí, il quale, in una lettera a Breton, confesserà non senza enfasi: «Sono venuto a Hollywood e ho incontrato tre grandi surrealisti americani: i fratelli Marx, Cecil B DeMille e Walt Disney». Topolino, secondo Savinio, «risveglia e rende plastico l’animismo degli oggetti», trasformando le «abituali finalità della life ". With confidence, we understand that everything can be herself and others. "Tame the depths of the sea and the sky, the planets approximation, reduces the mysteries not only to human proportions, but childish." Sa beat 'the darkness of generating terror and superstition, "showing that between poetry and caricature is a short step.
Battler, wild, outrageous, elastic, transposition of autobiographical Disney: Mickey Mouse here. Almost a Mercury of modernity, too agile, anarchic, dynamic, tramp, irreducible, protean energy. Savinio makes it a eulogy, using words that might remind one of Walter Benjamin, who, in a short essay del 1931 , enuncia l’estetica di Topolino. Il suo percorso non è una corsa, ma un labirinto tortuoso, «come una pratica burocratica dentro un ufficio». Riesce a infrangere «’intera gerarchia delle creature basata sulla supremazia dell’essere umano», diventando metafora per «ritrarre, smascherare e rendere possibile la critica all’ideologia della borghesia». Vive avventure, prendendosi gioco della civiltà della tecnica e della cultura. In che modo? Ridendo. Mette sottosopra la realtà. L’esito più sorprendente è che «tutte queste meraviglie, senza trucco alcuno e del tutto improvvisate, saltano fuori dal corpo di Topolino, dei suoi compagni e dei suoi persecutori». We are in the middle of a narrative devoid of drama, that "almost rhythmically directs viewers to an entire room." Thanks to Mickey Mouse, we can "get to know the fear."
's position compared to Savinio cartoon is rather ambiguous. Simply focusing on a review of 1947 dedicated to Fantasia. Disney? Excessive. He has no sense of proportion. It is entirely devoid of the "principle of simplicity." His cinema is like "a meal consisting only of sweets saccharinate mean a" mixture of vulgarity, stupidity, stupidity, amorality, "drowned in an" iridescent coloring "which refers to bright metropolis like New York and Los Angeles. It is "the perfectionist most dramatic of our time: its just postcards.
Supported by its Greek, Savinio is wary of the cartoons. But it shows he knows the Disney philosophy. It also captures aspects unexplored: the charge subtly surrealistic. In painting, he makes a very similar to that carried out by Disney during those years. Between 1926 and '27, for example, retrieves photographs faded by time, and zooms: it leads to a source acquired in color, with effect from billboards. Sometimes it takes already-made reproductions, paintings to create collages. High and low contamination: painting and popular press, managing to destabilize the perceptual and communication systems. In this way, goes so far as to anticipate that proceedings will be experienced in the seventies, a pop artist like Roy Lichtenstein, famed for its rewriting of the strips. While far
sensitivity, training, attitudes, culture and intent, Savinio and Disney have in common the need to elaborate fairytale atmosphere. Here's what the author had written a hermaphrodite: "Art brings the memory of the lost paradise in itself but together brings the promise of paradise regained." And here in that way as sophisticated as a director Eisenstein explains the philosophy of the creator Hollywood: "The Poetics of Disney [is] the" Paradise Found. "Just Heaven. That is not done on earth. Materialized only by design. It is the absurdity of the contrast between the conceptions of a child wandering type and the reality of adults, but the comic effect generated by their inconsistency. And what is sad to know that the children for the man, the golden age for humanity, are lost forever [...]. [...] Disney is the complete return to the world of total freedom [...], a world freed from the need. "
Eisenstein says enthusiastically before offering film directed" against the break-up and legal, against the gray and lividity. "Art Disney is wonderful, joyful, "and sought ways to spark shines a blinding purity." It is dedicated to the transformation, the transmutation. "The characters pass each other 'a little' animals, a little 'men. Metaphors plastic "enriched form, primitive [...] interaction of opposites." One way to dig into the strings of the most secret heart. "(From Vincenzo Trione , Mickey Mouse: Surrealism and irony of a Mercury of modern times," Corriere della Sera ", 25/02 / '11)
Alberto Savino, the commedia dell'arte (Palazzo Reale, Milano)
Milan, his amore della maturità ("Corriere della Sera")
Un visionario a Milano ("La Repubblica")
A Palazzo Reale di Milano va in scena il gran teatro dell'arte saviniana (da "Il Sole 24 Ore Domenica")
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