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Luca Marinelli
La cosmicomica vita di Q
In a dual role as actor and director, Luca Marinelli brings to life Le cosmicomiche by Italo Calvino—a collection of stories that blend science and fantasy to explore profound themes such as the vastness of the cosmos, the passage of time, and the nature of existence.
At the heart of the narrative is Qfwfq—an ageless being, both witness and storyteller of the universe’s evolution. After billions of years of existence, he now finds himself in a modern city, living like any ordinary man. He has a mundane job and, most significantly, he has forgotten (or chosen to forget?) who he is, who he was, where he has been, and what he has seen.
Through a journey into memory, Qfwfq retraces his past—a past that mirrors the history of the universe and of humanity itself: from the Big Bang to the formation of the Milky Way and the Solar System, from the birth of the Moon to the abyss of emptiness, only to return full circle to the present day. Yet upon his return, he carries a newfound—or rather, renewed—awareness: vivid, awakened, fully present in time and space.
In his portrayal of Qfwfq, Marinelli delves into the depth of Calvino’s world, drawing from its rich “cosmicomic” universe to craft a cosmogony that remains true to the spirit of the original stories. For Marinelli, Qfwfq is a complex and layered being, a guardian of the world's memory—scientific, experiential, and cultural.
from Tutte le cosmicomiche by Italo Calvino
dramaturgy Vincenzo Manna
with (in o.a.) Valentina Bellè, Federico Brugnone, Alissa Jung, Fabian Jung, Luca Marinelli, Gabriele Portoghese, Gaia Rinaldi
set and lighting Nicolas Bovey
original music Giorgio Poi
costumes Anna Missaglia
sound Hubert Westkemper
conceived and directed by Luca Marinelli
co-director Danilo Capezzani
chief electrician Matteo Rubagotti
wardrobe mistress Daniela Patacchini
assistant director Giulia Bonghi
volunteer assistant Alice Sellan
photography Anna Faragona
set construction RomaScenotecnica
costume workshop D’Inzillo Sweet Mode
footwear Pompei
light service Isatec srl
sound service Opera Festival
rehearsal venues Pigneto Off, Spazio Cosmo, Iociprovo Studios
general management Federico Le Pera
special thanks to Giovanna Calvino and Francesca Infascelli
produced by Spoleto Festival dei Due Mondi, Fondazione Teatro della Toscana, Società per Attori
World Premiere
INFORMATION
Please note that a blank gunshot will be fired during the performance.
We also remind our audience that, in order to ensure the proper unfolding of the show, late entry will not be permitted once the performance has begun.
I would like to thank the Festival dei Due Mondi for this opportunity. I will always be grateful to Monique Veaute. I thank her sincerely for placing her trust in me from the very beginning, accompanying and supporting my directorial debut. I am happy to return to the stage, and to do so with this group of actors, whom I thank and to whom I am deeply indebted. I also thank the production company Società per Attori, which, together with the Festival dei Due Mondi and the Fondazione Teatro della Toscana, supports me in this new adventure. My heartfelt thanks go to Andrea Paolotti, a dear friend and now producer of the show, for his emotional and artistic support. I thank Danilo Capezzani, with whom I found the balance needed to bring this show to life, and our indispensable assistant directors, Giulia Bonghi and Alice Sellan.
Luca Marinelli
__________
Interview by Gianmaria Tammaro
After thirteen years, Luca Marinelli returns to the theatre as both actor and director. He does so with a production he co-directs alongside Danilo Capezzani and an original script by Vincenzo Manna, freely adapted from Italo Calvino’s Cosmicomics. For this undertaking, Marinelli chose to surround himself with a group of colleagues and friends. They let themselves be guided by imagination, he says, sharing every step and committing fully to the story. La cosmicomica vita di Q is a show grounded in simplicity, and speaks of humanity, memory, and time.
Why did you choose Italo Calvino and Cosmicomics in particular?
When I started exploring different texts, I wanted to find one that would allow me to bring a company together. Many things had already been done and proposed, and I wanted to do something new. During this search, Calvino kept coming back. In a way, he has always accompanied me in my personal and artistic path.
In what way has he “always accompanied” you?
During the admission exam at the Silvio d’Amico Academy, I was asked to select a text for a reading test, and among the suggested titles, I chose Six Memos for the Next Millennium. That was my second encounter with Calvino. The first had been years earlier, when I was still in school, with The Nonexistent Knight. I remember those readings struck me in a unique and powerful way, putting me in dialogue with myself and with the very fabric of the world. And that feeling has recurred often in my engagement with Calvino’s art: in the Academy, as I mentioned, at school, and later, years ago, when Cosmicomics fell into my hands.
What convinced you?
Something, if you will, rather simple. I thought it would be beautiful—and a bit risky, and therefore fun—to create a text starting from there. And that’s what we did. The collaboration with Vincenzo Manna, our playwright, was a moment of great imagination and exchange, which allowed us to clarify what we wanted to tell.
Going back to what you said about wanting to gather a company around you—how did you choose your fellow performers? I’ll name them: Gabriele Portoghese, Federico Brugnone, Alissa Jung, Valentina Bellè, Gaia Rinaldi, Fabian Jung.
I chose them because they’re people I know very well and have already worked with. They’re dear friends as well as colleagues. I respect them deeply, and I couldn’t wait to work with them again. They all gave themselves completely to this production.
What can the audience expect from La cosmicomica vita di Q?
What has always moved me most about Cosmicomics is the way Calvino opens himself to the universe. He places life in relation to space and time. And so, as he said in an interview, one realizes that we are but a fleeting moment, and everything can vanish in a puff of smoke. But just before that puff of smoke, Calvino gives us stories that are at once distant and profoundly human. Through comedy, there is a kind of hymn to humanity.
Who is the protagonist, Q?
He is someone who has always existed, who was part of that mass of matter that triggered the Big Bang, and who, in recent years, has erased all memory. He is lost in the oblivion of human form. I must admit it reminds me of a quote by Pasolini, who said that Italians tend to forget. Human beings seek the company of others, perhaps precisely to not lose their memory entirely. In La cosmicomica vita di Q, we are in 2035, in a very near future, where people have let go and chosen to erase their experience of the world and of beauty.
And what do you expect from this production, as actor and director?
I expect it to be a profoundly beautiful and enriching experience. This text is something we are creating together. So yes, La cosmicomica vita di Q is also a communal experience. I’m returning to the stage, to theatre, after thirteen years. Almost a lifetime.
What role do light, costume, and set design play?
To me, three things are essential in a performance: space, the actor’s body, and the wonder of light. This is a lesson I learned from a great master like Carlo Cecchi, who always gave priority to the text and to acting. In the case of La cosmicomica vita di Q, thanks to Nicolas Bovey, who is in charge of sets and lighting, we were able to work with a stripped-down visual language. Sometimes, very little is needed to spark the imagination. With Anna Missaglia, we worked on the costumes. Again, we focused on detail. There are seven of us on stage, but we play many more characters. So it was essential to find distinct features. What I’m looking for is a kind of magical realism. The stage will be simple, sometimes nearly bare. The tone we’ve given ourselves is the seriousness with which children play: constantly ready to transform.
It sounds like this show invites the audience to participate actively.
I believe it’s best not to explain everything and to leave room for imagination. I think it’s important to remain with the emotion. I only ever work on things that move me.
The music is by Giorgio Poi. Why did you decide to involve him?
I always want to work with Giorgio. When I thought about this piece, he immediately came to mind. I’m very happy he decided to be part of our crew.
What makes theatre so important to you?
I believe theatre is a space for sharing: no one steps onto a stage to tell stories to themselves. Theatre is a space that can be risky, because one can express ideas that not everyone shares. But it’s also a place of respect and growth, where we can share ideas and emotions. And I think theatre must also be a place of joy—a place capable of shifting our perspective. Because things are never identical. Every night is a new beginning. Theatre is a ritual that closely echoes the rhythm of life.
He graduated from the Accademia Nazionale d’Arte Drammatica Silvio d’Amico in 2009 and made his film debut the following year with La solitudine dei numeri primi by Saverio Costanzo.
In 2012, for his role in Tutti i santi giorni, directed by Paolo Virzì, he received his first nomination as Best Leading Actor at the David di Donatello Awards.
In 2014, the film Lo chiamavano Jeeg Robot, directed by Gabriele Mainetti, earned him a Ciak d’Oro, a Nastro d’Argento, and the David di Donatello Award for Best Supporting Actor. In 2015, for Non essere cattivo by Claudio Caligari, he received his third David di Donatello nomination.
Directed by the Taviani brothers in Una questione privata, he was awarded the Globo d’Oro for Best Actor. His international work includes Trust by Oscar winner Danny Boyle, and in 2022 The Old Guard alongside Charlize Theron.
In 2019, for the film Martin Eden directed by Pietro Marcello, he received the prestigious Coppa Volpi for Best Actor and was nominated for Best Actor at the European Film Awards.
In 2020, during the 70th Berlinale, he served on the International Jury chaired by Jeremy Irons.
In 2023, together with Alessandro Borghi, he received the Nastro d’Argento for Best Actor for Le otto montagne, a film that also won the David di Donatello for Best Picture.
In 2024, he portrayed Benito Mussolini in the series M. Il figlio del secolo, based on the novel by Antonio Scurati and directed by Joe Wright. That same year, he returned to the stage directing Una relazione per un’Accademia by Kafka at the Festival dei Due Mondi.
He stars in the film Paternal Leave, directed by Alissa Jung and presented in the “Generation” section of the Berlinale 2025.
Vincenzo Manna nasce a Roma. Studia Letteratura e si laurea in "Stilistica, Metrica e Retorica" a Firenze. Inizia il percorso d'insegnamento universitario ma lo interrompe per frequentare l'Accademia Nazionale d'Arte Drammatica "Silvio d'"Amico" dove si diploma in Regia nel 2009 con "Fari nella nebbia", spettacolo che è anche il suo debutto come drammaturgo. Da allora Vincenzo Manna lavora come regista teatrale, traduttore e, soprattutto, drammaturgo. La sua scrittura spazia tra forme e generi, dal monologo all'opera lirica, dal realismo alla fiaba fantastica, ma porta avanti da sempre una ricerca artistica personalissima che fonde letteratura e linguaggi della modernità con la tradizione teatrale del teatro elisabettiano e della Commedia dell'Arte. Vince numerosi premi, tra cui il Premio Scenario e il Premio Siae assegnatogli durante il 53° Festival di Spoleto
Valentina Bellè nasce a Verona e studia recitazione nel 2012 alla Lee Strasberg Theatre & Film Institute di New York. Tornata in Italia, entra al Centro Sperimentale di Cinematografia di Roma. Inizia la carriera con ruoli nella serie Gran Hotel e nei film La vita oscena (2014) e La buca (2014). Nel 2015, interpreta Lucrezia de’ Medici in Medici: The Masters of Florence, accanto a Dustin Hoffman e Richard Madden. Nel 2017 vince il Premio Biraghi ai Nastri d’Argento per Il Permesso – 48 ore fuori e lavora in Amori che non sanno stare al mondo di Cristina Comencini e nella serie Sirene.
Nel 2018, è Jacqueline in Genius: Picasso, con Antonio Banderas. Nel 2019, recita in Dolceroma di Fabio Resinaro, nella serie Volevo fare la rockstar e nella miniserie Catch-22. Appare anche nel thriller L’uomo del labirinto di Donato Carrisi e in Il Divin Codino su Netflix. Interpreta Dori Ghezzi nel biopic Principe Libero su Fabrizio De André e recita in Una questione privata dei fratelli Taviani, entrambi con Luca Marinelli.
Nel 2022, è protagonista di The Good Mothers, vincitore dell'Orso d’Oro al Berlinale Series Award, per cui vince il Nastro d'Argento come miglior attrice non protagonista. Nel 2023, recita in Ferrari di Michael Mann e Lubo di Giorgio Diritti, entrambi a Venezia. Vince il premio come miglior attrice protagonista per Miranda’s Mind e appare in Sei fratelli.
Nel 2024, è tra i dieci giovani talenti europei agli European Shooting Stars al Festival di Berlino. È nel cast di ACAB per Netflix e dei film Il maestro e Primavera. Recita anche in La vita accanto di Marco Tullio Giordana, presentato al Festival di Locarno. Nel 2025, sarà coprotagonista in Permafrost di Lucia Calamaro.
Attore, regista e autore siciliano, diplomato all'Accademia "Silvio d’Amico", si forma con Valerio Binasco, Carlo Cecchi e Anna Marchesini. Nel 2009 vince il Premio Scenario Infanzia con Hansel e Gretel, co-fondando la compagnia Cassapipe con Vincenzo Manna. Nel 2012 ottiene nuovamente il premio con John Tammet fa sentire le persone molto così :-?, tradotto e rappresentato in Francia. Scrive per il Teatro Ragazzi Il Bambino della Luna (Teatro delle Briciole).
Lavora con Carlo Cecchi (La Dodicesima Notte, Enrico IV) e Fausto Paravidino, interpretando Johnny in La Ballata di Johnny e Gill e prendendo parte a produzioni internazionali come Il Macello di Giobbe e Peachum. Nel 2018 vince il Premio del Pubblico al Festival Inventaria per la regia di Pramkicker.
Nel cinema ha collaborato con Daniele Vicari in Prima che la Notte e Ammazzare Stanca, con Paolo Taviani in Leonora Addio e con Roberto Andò in Solo per Passione.
Da anni si dedica alla formazione, conducendo laboratori in Italia e all’estero. Ha insegnato all’Università di Teatro e Cinema di Hanoi, con progetti attivi in Thailandia e Marocco. Dal 2024 insegnerà Commedia dell’Arte al Teatro Azione di Roma.
Fondatore delle compagnie Estella e Cassapipe, nonché dello spazio teatrale PignetOff di Roma, crede nel teatro come luogo di creazione e dialogo. Autore de L'ultima live di JumboBimbo87, esperimento di ibridazione tra teatro e live chat, con cui vince il bando Live Streaming Theatre.
Alissa Jung ha scoperto la sua passione per la narrazione fin da bambina, partecipando a radiodrammi e recitando in teatro. All'età di 16 anni è stata scoperta per il cinema durante uno spettacolo teatrale e da allora ha lavorato con successo come attrice. Dopo una pausa per completare gli studi di medicina e lavorare come pediatra, torna al cinema nel 2020 e ottiene una nomination al Grimme Award come attrice protagonista. Nel febbraio 2025, ha festeggiato la prima del suo debutto alla regia di un lungometraggio, "Paternal Leave", alla Berlinale nella sezione Generation 14+. Il film è stato premiato come miglior lungometraggio con il premio „Cinema Vision 14plus" alla Berlinale.
He was born in 1984 and grew up to Leipzig. In 2009 he studied acting at the "Ernst Busch" art academy in Berlin. In 2012 he was invited to a theater festival to St. Petersburg where he discovered his interest in international theater productions. At that time he met Luca Marinelli and the idea of performing Kafka's play An Affair for an Academy was first born. Jung joined to be part of a theater ensemble to Chemnitz, and then worked at theaters such as the Schaubühne am Lehniner Platz, Staatstheater Saarbrücken, Schauspielhaus Hamburg, to name a few. In 2018 he taught a theater course for students at the German school in Barranquilla, Colombia. Upon his return he returns to working with Luca Marinelli on Kafka's text, to present it at the 66th edition of Festival dei Due Mondi in Spoleto.
Gabriele Portoghese, diplomato presso l'Accademia Silvio D'Amico, ha iniziato il suo percorso sotto la guida di Carlo Cecchi.
Ha lavorato, tra gli altri, con Andrea Baracco, Giorgio Barberio Corsetti, Giacomo Bisordi, Valerio Binasco, Ferdinando Bruni, Fabio Condemi, Fabio Cherstich e Gianluigi Toccafondo, Daria Deflorian, Giorgina Pi, Roberto Rustioni e Federica Santoro.
Nel 2019 ha interpretato il ruolo di Amleto, per la regia di Valerio Binasco. Nello stesso anno, assieme a Fabio Condemi, ha curato la drammaturgia di Questo è il tempo in cui attendo la grazia (regia di Fabio Condemi). Nel 2020 interpreta il monologo Tiresias, da Kae Tempest, regia di Giorgina Pi. Nel 2021, assieme a Giorgina Pi, scrive Guida Immaginaria (regia di Giorgina Pi) e con Cristiano De Fabritiis compone alcune delle musiche della Guida. Nel 2023, assieme a Federica Rosellini, dirige lo spettacolo/reading Orgia, di Pier Paolo Pasolini. All'interno della performance site-specific Termini. In una qualunque parte del pianeta, progetto di Daria Deflorian, Muta Imago e Antonio Tagliarini, idea e scrive Noi vogliamo essere una faccenda leggera.
Nella stagione 24/25 è interprete in La vegetariana, regia di Daria Deflorian, tratto da Han Kang. Nel '25 partecipa alla drammaturgia di Atomica, nuovo progetto di Muta Imago, di cui sarà interprete.
Nel 2017 vince il Premio Stampa Siracusa. Nel 2021 vince il Premio Ubu come miglior interprete, il Premio Ivo Chiesa - Futuro della scena e il Premio Mariangela Melato.
Gaia Rinaldi, toro ascendente bilancia, si è diplomata presso la Scuola del Teatro Nazionale di Genova. Vive a Roma.
In teatro ha lavorato con Roberta Torre (As you like it di Shakespeare), Giacomo Bisordi (Giunsero i terrestri su Marte), Teatro Mobile (Amleto, il tempo impossibile nel ruolo di Ofelia), X Elettra (nel ruolo di Elettra), da Sofocle, a cura di Gabriele Portoghese Assieme a Giulia Scotti ha presentato e interpretato Dopo il lavoro (Festival Immersioni/Piccolo Teatro di Milano). Ha collaborato a Tender progetto finalista alla Biennale College di Venezia '24.
Nell'ambito della performance ha preso parte aTermini. In una qualunque parte del pianeta a cura di Daria Deflorian, Muta Imago e Antonio Tagliarini, Niente passioni divoranti soltanto queste lunghe e malinconiche giornate di Alexia Sarantopoulou, Breviario di Gabriele Portoghese,Brama Brecht performance/concerto ispirata a Ascesa e caduta della città di Mahagonny di Brecht, con Dimensione Brama.
Al cinema ha lavorato in Paternal leave, regia di Alissa Jung, presentato alla Berlinale '25, nella sezione Generation (film vincitore del Prize AG Kino – Gilde –Cinema Vision 14Plus).
Scenografo e disegnatore luci, collabora regolarmente con Leonardo Lidi il “Progetto Chechov” Festival dei Due Mondi Spoleto -Teatro Stabile dell’Umbria (2022-23-24), “Medea” di Euripide, Teatro Stabile di Torino (2024), “Il Misantropo” di Molière, Teatro Stabile di Torino (2022), “La Signorina Julie” di A. Strindberg, Teatro Stabile dell’Umbria-Festival dei Due Mondi (2021).
Per la regia di Luca Micheletti disegna scene e luci per “Aiace” per il Teatro Antico di Siracusa (2024).
Per Valerio Binasco disegna scene e luci per “Cose che so essere vere” di A.Bowell, “La Ragazza sul Divano” di J.Fosse, Teatro Stabile di Torino (2024), “Le Sedie” di Ionesco (2022),“Sogno di una Notte di mezza Estate” di Shakespeare (2021), “Il Piacere dell’Onestà” di Pirandello (2020) sempre con lo Stabile di Torino.
Con Valter Malosti collabora per “Lazarus” di D.Bowie/E.Walsh, prod.ERT (2023) “I Due Gemelli Veneziani” prod. Teatro Stabile del Veneto (2020), “Cleopatràs” di Testori prod. TPE (2020), “Monaca di Monza” di Testori produzione Teatro Franco Parenti 2019.
In campo operistico collabora con Davide Livermore, Ricci&Forte, Fabio Cherstich, Andrea de Rosa, Francesco Micheli, Mario Martone.
Premio Ubu 2021 per la Migliore Scenografia per “La casa di Bernarda Alba” e “Le Sedie” , Premio Ubu 2022 per il Miglior Disegno Luci per “La signorina Giulia” e “I due gemelli veneziani”, Premio Le Maschere del Teatro 2022 per la scenografia per “Le Sedie”, Premio Ivo Chiesa “Arti del Teatro” 2024.
Cantautore, polistrumentista, produttore e compositore, Giorgio ha vissuto esperienze internazionali tra Londra e Berlino prima di pubblicare il disco “Fa Niente” (2017, Bomba Dischi/Universal), accolto con favore da pubblico e critica. Nel 2018 partecipa al festival Eurosonic di Groningen e intraprende un mini-tour europeo, tanto da farsi notare dai Phoenix, che lo scelgono per aprire i loro concerti a Milano, Parigi e negli USA. Sempre in quell’anno, Giorgio produce il disco d’esordio di Francesco De Leo (Bomba Dischi) e stringe collaborazioni importanti: con Frah Quintale per “Missili”, prodotto da Takagi e Ketra, e con Carl Brave per “Camel Blu” contenuto in “Notti Brave”. Contribuisce inoltre al nuovo album di Calcutta “Evergreen”, suonando le chitarre durante eventi live a Latina e Verona.
Nel 2019 pubblica il secondo album “Smog” e parte con la sua band per un tour italiano che registra numerosi sold out, scrivendo anche “Prima di partire” per Luca Carboni (disco “Sputnik”) e collaborando con Franco126 su “Stanza Singola” (2019) e “Multisala” (2021). Firma la colonna sonora originale di Summertime (Netflix) e torna nel 2021 con i singoli “I Pomeriggi” e “Giorni Felici”, ispirato all’omonimo libro di Zuzu, prima dell’uscita dell’album “Gommapiuma” (dicembre 2021, Bomba Dischi/Island Records/Universal Music Italia).
Nel 2022 collabora con il duo francese Rob & Jack Lahana per “Haute saison”, con la partecipazione di Gordon Tracks (alias Thomas Mars dei Phoenix) e con videoclip diretto da Natalie Portman. Nel 2023 co-produce il disco “Relax” di Calcutta, pubblica “Chromosomic Avenue” con León Larregui e si esibisce a Città del Messico e a Parigi (Fiore Verde Festival al Le Trabendo e Cinéma Paradiso Louvre Festival). Nel 2024 esce “Tic Tac” in collaborazione con il cantante svizzero Muddy Monk e intraprende un tour asiatico, con tappe a Pechino, Tianjin e Hong Kong.
A theatre and film costume designer with experience in research, concept development, and the creation of stage costumes. After graduating from the Deutsche Schule Rom, she studied Fashion and Costume Design at the Accademia di Costume e Moda in Rome.
She has collaborated with prestigious opera and theatre productions, working with leading directors and costume houses in Italy and abroad. During her academic studies, she began working as costume assistant to Andrea Viotti on several drama productions directed by Gabriele Lavia, and participated in various opera productions at major venues such as Teatro alla Scala in Milan and Teatro San Carlo in Naples.
She has refined her skills in organising educational workshops and managing creative teams. An expert in fabric selection and transformation, dyeing, and material aging techniques, she has actively contributed to the creation of costumes for visually impactful productions.
She has worked as assistant costume designer for directors such as Peter Stein and Daniele Abbado, and has collaborated with the Farani costume house. Since 2015, she has signed the costume design for productions directed by Giacomo Bisordi and has worked extensively with Gianluca Falaschi on numerous opera productions.
She won first prize in the Embroidery category of the Riccione Moda Italia competition in 2010 and continues to stand out for her creativity and professionalism in the world of theatrical and cinematic costume design.
In addition to her work in the performing arts, she also works as a sailing instructor, developing solid skills in education and group management.
He graduated in sound engineering (Tonmeister) from the University of the Arts in Berlin and has lived and worked in Italy since the early 1980s. His main focus is sound design for theatre productions.
He has collaborated with many Italian and international directors, including Luca Ronconi (da Ignorabimus a Lehman Trilogy), Robert Wilson (Come in under the shadow of this red rock, Persephone), Jerome Savary (Blimunda), Peter Stein (Tat’jana), Mario Martone (Operette morali, La morte di Danton), and Roberto Andò (Minetti, Ferito a Morte, Clitennestra).
He has also worked with composers such as Luciano Berio (Cronaca del luogo, Salzburg Festival), Azio Corghi (Blimunda, Tatjana), Luca Francesconi (Gesualdo considered as a murderer, Amsterdam), and Fabio Vacchi (Il letto della Storia, directed by Barberio Corsetti), contributing to major institutions including Teatro alla Scala, Piccolo Teatro di Milano, La Biennale di Venezia, Festival di Spoleto, Maggio Musicale Fiorentino, and the Salzburg Festival.
In 2005, he received the award from the Associazione Nazionale dei Critici Teatrali and the UBU Prize for the sound design of Elettra by Hugo von Hoffmannsthal, and in 2019 won another UBU Prize for Best Sound Design for the productions La Classe and Lo Psicopompo.
A founding member of AGON, he teaches at the Civica Scuola Paolo Grassi in Milan and at the Accademia Silvio d’Amico in Rome.
Born in 1994. After earning a degree in Law, he graduated in Directing from the Accademia Nazionale d’Arte Drammatica “Silvio d’Amico” in Rome, attending both the three-year course and the two-year specialization program. He studied directing with Lorenzo Salveti, Andrea Baracco, Massimiliano Civica, Valentino Villa, Arturo Cirillo, Giuseppe Piccioni, and Francesca Archibugi.
He has worked as assistant to Glauco Mauri, Giorgio Barberio Corsetti, Piero Maccarinelli, and Mauro Avogadro. Since 2018, he has collaborated as assistant and associate director with Andrea Baracco on numerous productions.
He directed a trilogy of plays by the tragedian Euripides (Alcesti, Eracle, and Oreste) at the Teatro Greco di Segesta. In 2022, he opened the season of the Globe Theatre in Rome with Pene d’amor perdute by Shakespeare, directing a company of twelve actors.
In 2023, he was assistant director to Carlo Cecchi in Sarto per signora at the Festival dei Due Mondi in Spoleto. He made his opera debut in 2022 with Cavalleria rusticana at the Fondazione Teatro Goldoni in Livorno, and in 2025 he will direct Orfeo by Claudio Monteverdi.
In 2024, he won the Premio Andrea Camilleri with the production La commedia dell’amore by Henrik Ibsen. That same year, he curated the project Racconti romani for Teatro di Roma.
He is currently a PhD candidate at the Accademia Nazionale d’Arte Drammatica “Silvio d’Amico” with a research project titled “Classici nel teatro del futuro. Quale spazio?”.
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