Tenor Francesco Formicola guest of the 'Cilento festival - Pollica'

The events of the third edition of the “Cilento festival – Pollica” continue, held in the spaces of the Teatro Sala Keys. The event is dedicated to Angelo Vassallo, thirteen years after his murder. Many quality meetings will enliven the program conceived by the founder and artistic director Girolamo Marzano.

On October 12th, space for “Nuovo concerto per voci single” with the reciting voice of Girolamo Marzano and the tenor Francesco Formicola. On stage, two men and a woman with a small orchestra behind them. A tenor, a singer and a singing actress. Together they build a dramaturgical/musical path that includes poems, opera arias, monologues. A sort of song theater linked by a common thread that is the theater and its most varied components: prose, music and songs. From Brecht to Eduardo, from Viviani to Karl Valentin, with songs taken from shows by these and other authors. “It is a format that we created last year in the second edition of the festival and that, changing the contents, we repeat on this occasion, counting on doing one every year – anticipates Marzano – This year the new edition will see the light in the recently restored Chapel of S. Marco that overlooks the port and was the first church that from the 600th century onwards welcomed fishermen returning from work”.

On Saturday 21 October the public will be able to attend “A proposito di Eva”, a text written by Girolamo Marzano.

On October 27th, Caroline Pagani will take the stage with "Mobbing Dick." This performance won the 2009 Italian National Women's Union Award, the La Corte della Formica Award for Best Actress, the 2010 Audience Award, Naples, the 2022 Teatri Riflessi Award, best actress for "Idee nello Spazio" (Ideas in Space) 2021, best performance, and the 2022 Ginestre Award. Mobbing Dick uses gags and surreal situations to ironically and humorously describe the plight of female artists in the workforce. It's the story of a stage actress who finds a newspaper ad for an audition for a play about Eros. She goes to the audition and offers a repertoire of erotic Shakespearean female characters. But she encounters a different Maestro than she imagined... a porn director. The two don't understand each other; they have different languages ​​and imaginations. Thus, the reality of one of the proposed Shakespearean texts, Measure for Measure, will shift, like a hall of mirrors, to the surreal context of the audition. The actress will suffer a series of humiliations from the director, like Shakespeare's heroine in Measure for Measure with her executioner, which will turn her into a being destroyed by the system, a monster. Will she give in?

On Saturday, November 4th, the theater will host Rosalba Di Girolamo in "2984," inspired by Margaret Atwood's The Handmaid's Tale. An old tape recorder in the foreground, a woman's voice: a rediscovered testimony. In an unspecified future, humanity has been decimated by atomic radiation, and the world has ultimately transformed into a single totalitarian state, a theocracy based on the control of man over man. Or rather, of woman over woman. Because at the heart of this system of power is control of the female body: women's sole task is to ensure offspring for the ruling elite. Women capable of reproduction are called Handmaids. Those charged with their surveillance are called Aunts; household servants are called Martes; those too old, frail, or infertile are called Unwomen. Alongside these is the hierarchy of males, guardians of order, headed by the Commanders, each of whom is assigned a Handmaid. Offred, or rather, Fred's woman, is a handmaid. Wearing a red dress and a red suitcase, Offred enters the stage and tells her story, in a play of intersecting memories and voices. A single figure gives voice to all the actors on the stage, because, despite their apparent conflict with one another, they seem to represent the various faces a human being can assume when they surrender their freedom. More than physical fertility, the play questions inner fertility.

On November 10th, Roman actor Francesco Montanari arrives in "Play House." A man and a woman. Love, boredom, family, sex, bickering, resentment. In 13 scenes, Katrina and Simon explore small moments of everyday life, digging into their relationship, building and destroying it. The world outside is just an echo, and when it enters their apartment, it excites and destabilizes. But who are Katrina and Simon really? What roles do they play? Have they ever really met? The viewer constantly feels like they're peering through a keyhole into the sterile room where a man's life unfolds—dramatically exhilarating, desperately lonely.