The Napoli Teatro Festival Italia continues its program, directed for the third year by Ruggero Cappuccio, with the world premiere of Il motore di Roselena on Tuesday, June 18th at 9:00 pm. This monologue-style play about the emancipation of a woman with a passion for motors is written by Antonio Pascale and performed by Gea Martire, directed by Nadia Baldi. (Gianluca Carbone's exhibition, Sportime, is open from 8:00 pm until June 20th.) Also at 9:00 pm, the Osservatorio section continues in the Cortile delle Carrozze of the Royal Palace with Samuel Beckett's Primo amore – Atto senza parole 1-2, directed by Costantino Raimondi, who also performs alongside Sergio Longobardi. The director relies on physical movement to restore meaning and poetry to the world described by the Irish playwright. As part of the Festival's Special Projects, the presentation of the anthology "Journey through Contemporary Greek Theatre" is scheduled for 5 pm, hosted by Made in Cloister: seven Greek playwrights, some already established and others making their first steps in the theater, will present their works to the Italian public.
Repeated at 17, 19 and 21 pm at Palazzo Venezia-A'Mabasciata, Essere Dylan Dog (continues on 22 and 23 June at 12, 17, 19, 21 pm; on 19, 20 and 21 June at 17, 19, 21 pm); at 18 pm Underground – Roberta nel metrò by the Italian-Australian company Cuocolo/Bosetti (meeting with spectators at Sala Assoli; still on stage on 19, 20, 21 June at 18 pm and on 22 June at 11.30:21 am); at 3 pm at the Trianon-Viviani theatre, Vita a rate written and directed by Riccardo Caporossi, with Nadia Brustolon and Vincenzo Preziosa. Not just theatre: Rai Radio 3 Zazà, the programme on culture, society and entertainment broadcast on Rai Radio 21, will be a guest, from XNUMX pm, at the Dopofestival bookshop in the romantic garden of Palazzo Reale, which will welcome the curators Anna Antonelli and Lorenzo Pavolini, and the presenters Piero Sorrentino and Lea Nocera, for a meeting open to the public with some of the protagonists of the twelfth edition of the Festival including the Syrian writer and director Wael Ali, the Syrian-Palestinian set designer Bissane Al Charif, the director Mohamad Al Rashi, and for Italian prose Elio De Capitani and Ferdinando Bruni, and Davide Iodice. The evening of events concludes in the evocative location of the Romantic Garden which hosts the Dopofestival with the concert Incontri: Ivo Parlati, Alessio Bonomo, Matteo D'Incà.
At the Teatro Sannazaro on Tuesday 18 June, Il motore di Roselena, a play by Antonio Pascale, debuts at 21 pm, for the Sportopera section of the Napoli Teatro Festival Italia. The show is a story in the form of a monologue about the emancipation of Roselena, a woman born and raised behind Vesuvius. The tone is tragicomic, like her. Roselena is inflamed by a great passion for cars: some dream of her in a wedding dress, some in a managerial suit, she in a racing suit. The important thing in life is to have an engine and she has had it in her head like an obsession, since she was little. With great wonder, her mother realizes that the noise of car engines calms her like no lullaby and puts her in a good mood. As she grows up, her dialectal language, often ungrammatical, colorful and not very refined, becomes adequate, fitting, perfect if she finds herself talking about engines, carburetors, cylinder heads, pistons, aerodynamics. The reactions of those who know her range from amazement to perplexity to mockery. “Because the people around her are ditches full of water — we read in the show notes — in which her engine drowns. They block her, they break her down. But Roselena knows how to fix broken engines and trick them out properly, and every time she puts the pieces back together and starts again. Will she be able to reach the finish line and beat every record? Or will she take other directions, led by that machine that everyone calls destiny and that proceeds ignoring our commands? In any case, Roselena will have won because she challenged, fought and, for sure, she was not bored”.
The show uses costumes by Carlo Poggioli; the stage space is curated by the students of the two-year course in Scenography for the theater of the Academy of Fine Arts of Naples; the lighting project by Nadia Baldi and the production by Ente Teatro Cronaca Vesuvioteatro. Also at 21 pm, at the Cortile delle Carrozze of Palazzo Reale, for the Osservatorio section, the debut of Primo Amore – Atto senza parole 1-2 by Samuel Beckett. Costantino Raimondi, an artist trained at the Ecole Internationale de Mimodrame in Paris with Marcel Marceau, brings three texts by Samuel Beckett to the stage, entrusting physical movement with the need to restore meaning and poetry to the world described by the Irish playwright. The project begins with Primo amore, written in 1946 and remained unpublished for twenty-five years, performed by Sergio Longobardi. The protagonist is a homeless man, who talks about his father's grave, the cemetery where he rests and his love for Lulu. The work is a journey-memory, full of disenchanted humor and dreamlike aversions, which leaves room for direct and unexpected physical interventions: the lack of action is movement.
This is followed by the staging of Act Without Words 1, starring Costantino Raimondi, a play in which the protagonist ironically attempts suicide in a neutral space, failing due to some objects orbiting around him, bordering on the tragicomic. The bodily action here makes the invisible visible. In Act Without Words 2, the characters A and B, played by Raimondi and Longobardi, are similar but opposite: the first is lazy, the second is scrupulous. Both locked inside two bags, they repeat everyday gestures. “My language starts from the body,” explains Raimondi, “a means that expresses through gesture, thought and emotion, a collective, theatrical and contemporary imagination. The aim is to recover the lyrical resonance through silence, to give the performer voice, weight and density, with a theatre of mask and flesh, pragmatic and not psychological. The shows intertwine and act in actions of wanting or not, leaving or staying, between dream and reality.” Enriching the theatrical work, the stage space curated by Mediaintegrati, the lighting creation by Gaetano Battista and the costumes by Tata Barbalato.
At 17 pm at Made in Cloister, the cloister of the Church of Santa Caterina a Formiello transformed into an exhibition space, the publishing house ETPbooks presents the Italian edition of the anthology volume Journey into Contemporary Greek Theatre, thanks to which seven Greek playwrights, including some already established authors and others taking their first steps in theatre, present their works to the public in Italy, a neighboring country but with which the encounter at a theatrical level is much less frequent than one might imagine. The presentation includes introductory reports by Marianthi Nikolopoulou (responsible for artistic programs of the European Cultural Center of Delphi), Elina Daraklitsa (teacher of Theatreology at the Open University of Athens), Ruggero Cappuccio (artistic director of the Napoli Teatro Festival Italia); Nadia Baldi; interventions by the authors Akis Dimou, Elena Penga, Sofia Kapsourou, Andreas Staikos, Nina Rapi, Tsanatos Tzimaras, interspersed with short excerpts from each work performed by Francesca Minutoli. The works in the anthology clearly show the intent to avoid the most extreme realism, so that the human situations and conflicts represented take on a more generally symbolic meaning. Of particular note is the intertextual and cosmopolitan aspect of the works, which on the one hand connects them to contemporary reflections developed at a global level and on the other to the diachronic traditions of theatrical expression in Greece, as well as in Europe, from antiquity to the modern era. Current Greek drama reveals the link between the avant-garde and ancestral origins, within a cultural tradition that it addresses in a critical and sometimes irreverent way, renewing and expanding it in directions that are sometimes unexpected, but always effective from a scenic point of view. At 22.30:XNUMX pm in the Romantic Garden of Palazzo Reale it will be the turn of the usual appointment with the Dopofestival which presents the concert Incontri: Ivo Parlati, Alessio Bonomo, Matteo D'Incà. Ivo Parlati brings the idea of the encounter to the stage of the Napoli Teatro Festival Italia: the encounter between sounds and songs, words and improvisations. On stage, voice, acoustic and electronic sounds with Ivo Parlati on drums, Alessio Bonomo (voice and guitar) and Matteo D'Incà on guitar and electronics.
As part of Dopofestival, the Pinzimonio catering service returns with the show Cooking Gastronautica, in which it will try, in the name of the multiplicity of musical genres and styles, to respond blow for blow to jazz, swing and ethnic music. Pinzimonio, consistently with its philosophy of "perceptible quality", will invite producers and supporters of excellence, giving them the opportunity to disseminate and promote their products. On the evening of June 18, the companies Norita - Salmoneria, Scaramurè and DOCG HIRPINE will be guests of Gastronautica.
EDITORIAL TEAM
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