directed by Giorgio Flamini
by and with the inmates actors, singers, dancers, playwrights, stage and costume designers and pulcinella from the company #SIneNOmine
Diletta Masetti, Sara Ragni, Marcello Gravina, Alessandra Cimino, Enrico Cattani, Adrio Feliziani, Loretta Buonamente, Giorgia Fagotto
the dancers Margherita Costantini, Serena Perna, Livia Massarelli
choreography Laura Bassetta, Mariolina Maconio
music Fabrizio De Rossi Re
sound designers Fabrizio Chiostri, Maurizio Bergman
scene construction, laboratory of scenography at the artistic lyceum directed by Giuliana Bertuccioli, Giorgio Flamini and Giuseppe Mascaro
costumes Sofia Verna, Pina Segoni
research on text elaboration and adaptation Roberta Galassi, Rita Cerioni, Luciana Santirosi, Giorgio Flamini
adaptation English-based texts Silvia Matricardi and Sofia Verna
contribution to promotional trailer Azimut and Cesp Roma
hair and make-up Sandro & Antonello and Pina Segoni, Sartoria Sofia Verna
texts by Solone, Livio, Virgilio, Eduardo De Filippo, Antonio De Curtis Totò, la Smorfia, Massimo Troisi, Pino Daniele, Gaetano Filangieri senior, Eleonora P. De Fonseca, Johann Wolfgang von Goethe, Oscar Wilde, Hermann Hesse, Derek Walcott, Giorgio Agamben and #SIneNOmine
performance supported by Casa di Reclusione di Maiano di Spoleto, IIS Sansi Leonardi Volta, Fondazione Francesca, Valentina e Luigi Antonini
and under the patronage of Antigone Onlus
Giorgio Flamini and the Company #SIne NOmine take us on an imaginary trip to Naples, a journey into its history, its characters, even those less popular, which have created a capital of European culture and politics with its music, its vocality, its movements, and its comedy that not only make it a real place, but one belonging to the rank of the abstract universals.
A living image of Goethe, viewer who marveled at Naples in his Italienische Reise, guides the spectator among different frameworks, while a multitude of masked and dumb Pulcinellas, escort him and lead him toward the ever more intimate and dark meanderings (as they have never been opened up, until this opportunity to a "free" public) of the prison city: to make the different passages more intelligible, the public is told that they will meet the De Filippos, figures from La Smorfia, Gaetano (Tanino) Filangieri, Eleonora Pimentel De Fonseca, Queen Maria Carolina of Hapsburg-Lorraine, Totò, Cimarosa (with his "Serenata") and the Neapolitan neo-melodic songs.
The focus on Pulecenella is nothing coloristic and farcical for Giorgio Flamini, but derives from an emergency: the ascertainment of the importance, the prominence, the intensity of the Neapolitan presence within the Company. Almost every show has given space to "Neapolitan" moments, references, tarsias, but this time the director, always in close cooperation with his Actors, has decided to leave the field open to the basis (linguistic, cultural, sentimental) which, in each case and almost unintentionally, nourishes the work of #SIne NOmine. But this process does not only want to offer the spectator a hundred pieces which, in most part, will reverberate as known, or already celebrated; Giorgio Flamini, with the harshness that even more clearly distinguishes his work as a "concentrated" director, imposes a reading of second level where the truth of the process is sought: to force ourselves to think what the thoughts, feelings and memories are, of those who in that moment in front of us recall that sort of Naples, which is not for fiction – but by birth and they carry the language, the odors, the venues with them and inside their soul.
The performance is innervated on a Neapolitan thread, but constantly open to the question "what does it mean, really" to live the experience of imprisonment, therefore, necessarily embraces other voices: those dedicated to the theme of Justice (just after entering, and before leaving the place, emerging from enormous boxes where some actors are closed in; half way through the show, with the incursion of a totally "out of place" Walcott) and to the theme of Art (proposed in a grimly "non-redeeming" framework).
The key to the interpretation can probably be perceived in an extract by Herman Hesse recited by an Actor/inmate (in this case, necessarily Neapolitan): a passage where the writer (that is, the Actor-inmate) describes the beauty of Spoleto, its many wonderful landscapes, the possibility to establish a serene existence there: the short circuit of the meaning of ’A città e Pulecenella is probably definitively transparent in this choice of the director.
For the accomplishment of the show and for the sharing of this educational and civil path, we express our thanks to the Director of the Correctional Facility in Spoleto Dr Luca Sardella, to the Commander of the Penitentiary Police Dr. Marco Piersigilli, to the staff of the Penitentiary Police and to the Educational staff.
Naturally nothing would have happened without the work of Giorgio Flamini and without the helpfulness of the Performers of the #SIne Nomine: they deserve a very big thank you for willing and allowing us to share such a large part of their very intimate existence.
The project is based on a real historical-anthropological research conducted by the Neapolitan inmates of Maiano on the city of Naples, the capital of a South that is the birthplace of the majority of the guests confined in the country’s prisons.
The study was organized with the same spirit as the dramaturgical and scenic constructions of the previous shows, produced by the Institute Sansi-Leonardi-Volta and the House of Detention, directed in general by the smaller group of the company #SineNOmine and Giorgio Flamini.
The show is dedicated to the poets and heroes not known by the chronicles and history that have defended and still defend the values of the Neapolitan city and people, and to Neapolitan men and women.
The show draws from an infinite universe: the viewer crosses the Maiano/Naples inhabited by various pulcinellas who lead him to the shadow of the Vesuvius, in a diachronic dimension, to enjoy the past and present Neapolitan language, among festive mime and exuberant gestures.
The play is configured as a promenade into art and history along the prison corridors, in order to build a dialogue between the inside and the outside of a space in society otherwise abandoned.
The theme of the journey will take the viewer through a series of paths for the senses with fantastic interpretations of texts by Totò, Pino Daniele, Troisi, la Smorfia, De Filippo as well as ancient, modern and even authorial songs, contaminated by Goethe, Hesse, Wilde, d’Annunzio, Pasolini and Walcott.
In recent decades, literature, theater, cinema and journalism have shown the worst in relation to Naples: every flaw, every crookedness; the Naples of Maiano faces a different path, we want to redeem the many clichés together with those who are considered the worst of Neapolitans.