Women On Japanese Subway

VESUVIOTEATRO

presenta

Teatro di Legno

in

La parola “madre”



Libero tradimento da “Emma B. vedova Giocasta” di Alberto Savinio



Contributo straordinario alla produzione, progetto Nuove Sensibilità

Regia e drammaturgia di: Luigi Imperato e Silvana Pirone


con: Danilo Agutoli, Fedele Canonico, Domenico Santo


Tradire è forse nella tradizione, ma il tradimento non è di tutto riposo.
Ho dovuto compiere un grande sforzo per tradire i miei amici: in fondo c’era la ricompensa

Jean Genet
Una notte dopo quindici anni di
assenza, Emma B. incontrerà suo figlio. E’ una notte di attesa, ma anche di festa. Savinio immagina la sua protagonista sola in scena, in un monologo allucinato; noi le affianchiamo altri due personaggi i quali insieme a lei danno vita ad una danza dell’attesa e nello stesso tempo si fanno narratori-testimoni di un segreto profondo e impronunciabile: l’incesto compiuto dalla protagonista con suo figlio per sottrarlo ad una ispezione nazista. Ma la condanna dell’incesto resta sulla soglia dell’ambiguità: Emma infatti è madre, ma pare scorgere nel figlio il suo uomo, o ancora meglio il suo complemento, l’essere umano da lei generato and that alone can make sex ever owned, and not linked to the sex-slavery. Disappointed by a daughter because the first female and ordered to move from one host to another (mother, father, husband) seems ready to carry it permanently if that son, who for too long looked for in other women and happiness struggled to "pronounce the word" mother "out of certain meanings."

Our construction explores this world through breast men three actors who play women. The denial of the role of femininity is pronounced by male voices that attempt to reverse its sex, just like the Emma
which also our eyes in vain attempts to redefine the status of the mother. Emma seems to face a bleak reality that does not accept his non-screams, and tries to escape through what he considers his most powerful act means making the world a man, male. The reality of this man and what for her has meant and means (including the statement as sin) seems tenuous at any time and close more like a ghost than a person. Her world seems to be a staged ritual of waiting mother in order to escape from a deadly solitude.

Imperato Luigi and Silvia Pirone

Mop Shower Walls With Shark Mop

Wood Theatre and Officinae Hephaestus

, in collaboration with Eruptions Festival
Ship of Fools
directing and dramaturgy: Luigi Imperato and Silvana Pirone
with: Anna Palomba, Silvana Pirone, Veneruso Salvatore, Domenico Santo
Director's Notes

Ship of Fools welcomes foreign-wrecks, stories of outrages, of humanity repudiated. Anime survivors themselves, nameless characters in a nameless: fragments of lives belonged to some, but perhaps now rejected, as they refuse old objects that no longer recognize and denounce a part of himself. That part is not easy and certainly not show look. Our crazy

aspire to wander in our minds and in our skin, have to put in front of a doubt, a distorted mirror that asks questions and who can not give answers. They themselves live in constant doubt of the reality that is beyond them at times hesitant in believing in themselves: they are surprised to pretend, to play dual roles or feel involuntary. They are alone, yet united by their common loneliness, hold hands, hug each other in a common embrace of evil, but are also the war, hate, love and hope. Are men. There is a language to which they belong and a level of comedy that is steeped in their language is one with the deformation of their bodies. The comedian does not want be a solution but a limen beyond which it would be possible to go and you will cross instead aware of the abyss. Our attention is focused on insanity as a mental state, but on stage ritualization of exile which turns slowly in the ritual of remembrance and despair.
Luigi Imperato, Silvana Pirone

"... it is the Ship of Fools, a strange drunken row boat along the rivers Rhine and Flemish rivers ... Can you believe that, in some major cities, transit sites and markets, the insane were conducted by merchants and sailors in very substantial number, and there abandoned, thus purifying their presence in the city originated. It 'may happen that these sites of "counter-pilgrimage" is confused with the foolish ones where the contrary were conducted as pilgrims. They met as a concern to heal and to exclude, to be contained in the sacred space of a miracle ... " Michel Foucault, History of Madness in the Classical

2009 Salary Of Sport Psychologist

Tetro Wood With the support of
Stop Palmizi _ project Junge Hunde

The Consul
Directed and text: Luigi Imperato and Silvana Pirone

By: Viviana Agretti, Faithful Canon, Ilaria Cecere, Luigi Imperato, Anna Palomba, Silvana Pirone, Cira Sorrentino, Salvatore Veneruso.

Costumes: Recommend Serpe Lighting design: Alessandro Massai

Director's Statement "It 's dead." "Dead? ... The subject of ladies who do you speak? "
" The Count Francesco Cenci "

The show" happens "during a wake: the night of the ritual.

A rite of mourning with the pain where living grotesque moments that, while not resolving the drama, set as their atti di celebrazione ironica in nome di una angosciosa ma consapevole accettazione. Il rito diventa a tratti festa, baldoria, ma pur sempre tragica.
Il consolo è cibo. E’ alimento consolatorio offerto in dono al luttuato. E’ rito da consumare, consumando così il dolore della perdita della persona cara... Ma quanto caro è un padre incestuoso?

Beatrice Cenci, figlia del conte, subisce violenza e con violenza reagisce. Ma per coprire il suo delitto è costretta a piangere la morte del padre. E’ parte sconvolta di un rito che aspirerebbe all’oblio, ma non riuscendo a dimenticare cerca un modo per evadere dalla sua colpa. Cerca una giustificazione nelle parole della Bibbia e nell’atto “tirannicida” Judith, look for a solution carnival upside down and detached the drama, but the game around his story exploded in a cry of truth. Search in vain to trust in God's will, but we read in his face the despair of an unresolved grief.
The show was born from the need to deal with different stimuli related to the theme of death and the values \u200b\u200bthat are assigned to it by man.

Our desire is to break it when crossing the classical tragedy and through our questions and our memory. The result that we have reached is a reworking of the story (mythos) of the Cenci story, already told by Dumas, Steandhal, Artaud. We wanted to transfer the story that we tell in an undefined space and in time (it will have to not give a historical account but a symbolic transfiguration), and we wanted to compress it into a night of the wake. We wanted to make the tragedy rite, a ritual, however, not shared and not based on common values, but on empty, doubt and disorientation.