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Gomorrah - Roberto Saviano, Mario Gelardi

U na Camorra Gomorrah. Genesis of our living qu otidiano. The stage version of the book by Roberto Saviano brings to the stage only five (all male) characters in the novel, the more the representation of the same author, played by Ivan Castiglione. In the film version of Matteo Garrone (Roman Summer, The Embalmer, First love) in which, more that individual human affairs, was the climate of terror that is breathed throughout the projection period, was the lump in my throat that characterized the movie theater instead, are the individual stories, individual men to lord it. A continuous series of characters and stories. Where masks (never as in this case real) is exceeded, there are also, to stop panting with fatigue. After publishing and thanks to the success of Gomorrah, the task of a theatrical transposition is to go beyond the book. Saviano, who returns to the Casal di Principe to speak in the square, that square hostile, where there are men who want to "elsewhere" that would slam the mouth, it seems a good ploy to link the individual stories of them live in a universe absolutely. A sign of hope in a world devoid of rebirth. The air nice guy, but naive to think, enabled by Jiminy Cricket conscience, however, a little 'less. The city envisioned by the designer Roberto Crea, still under construction or still in decline, shows well in the break-up scene of a place, lightning rod of an entire nation. A side note we like to give it to Ernesto Mahieux, superbly lowered into the tailor (Garrone's film starring Salvatore Cantalupo) who humiliated by the Camorra, is used in a factory run by an illegal straw boss of the Camorra make clothes that will wear the stars of Hollywood. to make clothes that will wear the stars of Hollywood.____________________________________________________________________ _______________________________________________________________________________________________________________________________ There are two levels of narration, the most instinctive, animalistic, violent, consisting of the armed wing of the Camorra and the business, which does not dirty your hands directly, the coordination distance and has interests around the world. Both question us closely.

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Henry IV - Ugo Pagliai Paola Gassman

After twelve years of madness, the king, awakened by his condition, aware that "it was all over": that he was aged without having lived his life. "He arrived with a hungry wolf at a banquet ready-cleared." "I preferred to be crazy and live more vividly aware of my madness," in contrast "get upset with those who live without knowing how and without see his madness. " Nell'allucinante the final monologue, madness appears to be unconscious wisdom, and wisdom as folly. The party game. Freud's concept that "normalcy does not exist," live with the unsettling knowledge that the other something very different from what we are for ourselves. Everything revolves around all'inestinguibile contemporary existential discomfort, the search for authenticity. The crime committed against the rival in love Belcredi, the gesture will be so extreme, given the inevitable forever condemning the part of Henry IV, our protagonist, who would have to start living again but instead is was forced by its author to serve the sentence to be mad king forever, in his personal hell. A side note we like to dedicate it to the scenery created by Graziano Gregori. An essential part of this show, the original in terms of functionality, there is spying on Henry's madness in all its nuances. Thanks to 'fifth forces', the scene is dissected in several compartments, where the individual masks are unable to scrutinize the reasons for the choices of others. Both within it, which at its edges, we see the characters scramble in a box made of claustrophobic walls. They move like puppets kept alive only by the threads of the unfathomable event. The curtain then fell on the scene just before the final Henry in a trap on this side, where it is not difficult to empathize.

Colourful Running Tights

Alberto Massazza in Orphic Songs of Campana

Theatre Foyer Morley - Monday, November 24

Only a fool, but a poet!
Through the interpretation of the text they are played and the vicissitudes of artistic biography of Dino Campana, a true maverick of Italian poetry of the first twentieth century ("the only true crazy" When he had to say, the critic Carlo Bo.) stems directly from the word campaniana his biography made with mental health problems, religious conflict and social alienation.





thank Stefano Doctors for the photos.