Nicola D'Ugo
Tuesday, April 13, at 13.00, held a meeting with Vincenzo Cerami The Aula of the Faculty of Humanities University "Tor Vergata". In the presence of some 150 people including students and teachers, in a simple and familiar, Cerami outlined some reasons for creative writing, from time to anticipate the communication transduce such as "certain special characters in words from memory, feelings etc..." When you want to tell the signs need to bring quick thinking in a new code, with "words-fitted," as "a computer, a computer," through a "process of thinking in slow motion." In this sense, we must "be lying to tell the truth," since our mind is not made of words and phrases according to languages, but those personal signs that everyone should build in their mind, stored, processed and taken from the memory. The language from this point of view, it is simply a "prison" in which the writer (and also those who do not is) is inevitably constrained.
Going back over the years, Cerami said of when, after a year of blindness due to diphtheria, he found himself as a teacher of letters of an average professor "torn" as he and his companions, who made them play football, very joking and smiling: Pier Paolo Pasolini. A Ciampino, in the school in Via Pignatelli, the author of A Very Little and nasty business, and co-author with Roberto Benigni as a screenplay The little devil and Life is good, he made his first encounter with poetry. The teacher, no doubt exceptional, while it was familiar to children at school, on the other evoked in their minds a magnitude of particular importance because they could hear not only read poetry in class, but on the radio. During this period Cerami including the desire to show off among his peers and in the eyes of the young professor could find satisfaction in writing, that allowed him to escape from a sort of inner isolation which are often prey to the children. Faced with school subjects such as "Indigestion" and "The Holiday," the child, who ate what little he could find on the table and that the holidays had lived yes and no at once with one leg broken glass looking at the mountains from a hospital, had to resort to force things to the imagination, almost at straws. He understood that his stories were not credible and that the teacher would immediately exposed. It is then put to work, trying to make them more credible as possible. This resulted in an operation that would have accompanied him throughout his life as a writer: the-fulfillment.
For a story to be credible, "I must materializes", narrating "inverature seeding," says Cerami. In the process of transduction by the imagination to the language (whether it be from one language or another), movements (such as Surrealism, etc. Group 47.) "took note of a real change of language", through "a narrative [...] morphology suited to tell the new 'condition (' [...] the past fifty years we have gone from people in mass ") and meet the new demands of thought. But this is not a theoretical process by which one could sit down. The groups made a coffee table, as was the case of Group 63 (Eco, Pagliarani, Sanguineti, etc..), Although they have pulled out of "important things" can not work, because first you have the awareness of the change within us, then we meet. A priori theorizing is misleading and does not produce that "means poets."
on Dante, Cerami emphasizes that it is not possible to write a scope as Divine Comedy no fun, because otherwise the author would die before it has been completed (comes to mind about what you once said Stephen D'Arrigo, his nervous breakdown and discomfort eased by his wife during the twenty-year composition Horcynus Orca). The romantic idea of \u200b\u200binspiration is rejected by Cerami, in any way. He says roughly: "The inspiration is a flash that lights up and makes you see the entire work for a while. Then go off and do not see anything. The rest is machine work. "That sense that art was the first of Romanticism, in the shops, in laboratories and, later, in the factories care to Pasolini, that the" machine "narrative Cerami. The tone of the co-author of Life Is Beautiful of hilarious sobriety, never histrionic or easy to effect in bars, features a way of understanding art and the relationship with others who do not enticed by the frivolity and vanity of fame making passionate seriousness of the issues (poverty, love incorrisposto, heinous crimes, genocide, the game, communication), through a colloquial speech that puts aside provocation and is willing to dialogue and construction of ideas. It is clear that the idea put forward by the Councillor Enzo Lavagnini years, to open a school of creative writing at Ciampino Cerami can not find the consensus of many who aspire to the realization of an initiative that the writer might, with great skill , for its valuable contribution lies not only in the work published, but in the ability to make family issues more closely and ponder the exciting adventure of thought in writing.
[published in: News ... Backlight, No VIII / 5, May 1999, p. 7.]
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