by Andrea Camilleri - Giuseppe Dipasquale
and also with
and the musicians
scenes Giuseppe Dipasquale
original music Mario Incudine
with the collaboration of Antonio Vasta
costumes Elisa Savi
lighting Gianni Grasso
sound engineer Paolo Cillerai
the song La crapa avi li corna is by Antonio Vasta
director Giuseppe Dipasquale
Promo Music-Corvino Productions
Contemporary Art Centre Teatro Carcano
Town of Caltanissetta
Among Camilleri’s tales, Il Casellante is one of the funniest and moving of the so-called mythological cycle. After Maruzza Musumeci and before Il Sonaglio, this story set in Camilleri’s Sicily, which is a land of contradictions and paradoxes, tells the tale of a metamorphosis.
But this Sicily is Camilleri’s Vigàta which each time becomes a metaphor for a way of being and reflecting on things in Sicily.
After the success of the adaptations for the theater of Il birraio di Preston, La concessione del telefono, which together with La Cattura, Troppu trafficu ppi nenti, La Signora Leuca, Cannibardo and la Sicilia constitute the dramaturgy of the last few years, the author of the novel and the work’s director are back together again to propose a new adventure from Camilleri’s stories to national theater audiences.
This is a story immersed in Camilleri’s mythological world, which speaks of real people, transfigured in his great imagination as a storyteller. An emblematic incident that draws the traits of an archaic and modern Sicily, which is comic and tragic, fiercely logical and paradoxical at the same time. Il Casellante is the story of the transformation of the pain of denied motherhood and war, but it is also an amusing and mocking story in music of the fascist period in Sicily in the forties.
The charming feature of this project, placed mainly on the novelty of the text and its possible fulfillment, is latched to the prospect of finding always new and different paths for contemporary drama.
The word, and the possible play on words engaged, makes this text a natural object to be initiated and developed within a vital and creative theatrical alchemy.
Another aspect is Camilleri’s language. It is a personal, very original language, that treads and re-treads, within an amused and theatrical symphony of parlances, a marvellous linguistics of sicilianism, composed of neologisms, disguised syntax, linguistic uses borrowed from the dialect that enhance the acting of the possible actors designed to play the role in the world of Camilleri’s characters.