Pellegrina per l’arte

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Pellegrina per l’arte

Era l’ora del vespro, il momento esatto in cui i fedeli si raccolgono in preghiera, fedeli che contrastano la frenesia del mondo per dedicarsi alla contemplazione divina, sibilando ogni singola parola, chi lasciandosi trasportare dal silenzio sacro, chi affidandosi alla memoria passiva.

Nel momento della giornata in cui si volge il capo in basso, si chiudono gli occhi e ci si genuflette, sentendo il peso del corpo sulle ginocchia e insieme ad esso il peso dei pensieri, quelli che succhiano la nostra linfa vitale mentre siamo risucchiati dai ritmi del mondo nuovo e globalizzato, una fedele insolita si addentrava nella Chiesa di Santa Maria della Vittoria.

Per anni si era lasciata affascinare dalle narrazioni di Santa Teresa d’Avila, non aveva dubbi sul perché Bernini avesse scelto proprio lei come soggetto della sua scultura.

Vederla in foto le aveva procurato diverse sensazioni, ognuna percorrendo la sua colonna vertebrale e questo era bastato a renderla devota a tanta bellezza, a tanto genio.

La fede di Santa Teresa d’Avila le aveva penetrato il cuore e tutto il vissuto di quella donna le si era rivelato immediatamente, le sue confessioni scritte ne furono soltanto la conferma e un’ulteriore esperienza, sempre sacra.

E così, la pellegrina, noncurante di quanto stava accadendo in Chiesa, entrò con passo leggero, ma determinato, l’andamento era lento, preparatorio alla visione di cui aveva fatto un culto.

La gente si voltò, come se la donna diffondesse le sue energie, miste ad agitazione e gioia, tanto forti da risucchiare chiunque.

La osservarono attentamente, chi più pudico o riverente riportò lo sguardo sull’altare. La tracolla della borsa scivolò lungo il braccio della minuta figura, entrambe le braccia erano cadenti, le mani, invece, completamente distese, rimasero immobili, ma puntate verso l’alto, come a creare una barriera per proteggersi.

Le labbra non ressero il turbamento, tremavano, dischiudendosi lievemente, rappresentando sconcerto e incredulità allo stesso tempo.

La donna divenne i suoi occhi, spalancati come fari umani su una nave in tempesta. Pur bruciando come se fossero trafitti dagli stessi raggi che colpivano la Santa, le palpebre non osavano chiudersi, neanche per compiere il consuetudinario movimento meccanico, nello stesso tempo le lacrime scendevano dagli angoli con una lentezza quasi scenica. I suoni, invece, non erano distanti, ma assenti, nonostante il chiacchiericcio generale e la ripresa dell’omelia. La donna aveva la sensazione di sentire la pressione dell’aria sul corpo, di essere chiusa in una campana di vetro, finché il terreno sotto i piedi non le mancò: svenne.

Sembrò che, dopo la collisione dei due mondi, quello passato e quello presente, la scultura e le parole della Santa si fossero fuse per trasformarsi nello stesso dardo d’oro di cui lei parlava, penetrando il cuore della pellegrina, privandola del medesimo stato, perché quel dolore che le dava piacere, percorrendo il profilo di ogni organo e dandole così delle scosse ripetute, finì raccogliendosi soltanto intorno al cuore e come da lezione millenaria, tutto ciò che tocca il cuore è tuo per sempre. Così, appartenendo a quel momento, a quelle sensazioni multiple e devastanti, poté abitare la propria anima, senza che le mancasse nulla. L’arte, nelle diverse manifestazioni del genio, aiuta a ritrovare la fede, che si traduce in attaccamento alla vita e appartenenza al mondo, il quale, per la sua vastità e frenesia, conduce allo smarrimento, perciò la cultura, dal suo canto, può diventare facilmente materia e un luogo sicuro in cui abitare, può mettere fine alla condizione di pellegrino smarrito senza toglierci il piacere del viaggio.

Carmela Deo
@carmeladeo

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