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67

Liv Ferracchiati, Alice Raffaelli

La morte a Venezia

Tickets: 40 €
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2024
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2024
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Sunday
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Sunday
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2024
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Duration 90 minutes
Theater

Synopsis

Looking and being looked at: the perception of looking at others and at ourselves.

What does it mean to look at someone and what is the effect of our gaze on the recipient?
In Thomas Mann's Death to Venice, amidst the shores of a sick and deadly Venice, there is the polarity of old age represented from Aschenbach, which tends until to consuming itself toward that of youth and potential, represented from Tadzio. Who is Tadzio for us today? Why does Aschenbach seem to remind us of our inability to live, to create, to act?

Why do we sit in front to a screen to watching indolently, without grasping the object of beauty and life, until we become sick of absence and inaction?
Watching and being watched, then, in a perpetual pull between Dionysian and Apollonian, art's creative drive and maintenance of order.
The writer's gaze is transformed into streams of thoughts outside and inside the scene, while theOpera d'Arte, Tadzio, expresses himself through dance, in an insoluble conflict between word and body, between flesh and thought.

Tadzio is a possibility of beauty, a way of escape and imagination, perhaps even of action, but he is untouchable and unattainable. Gustav Von Aschenbach's metaphor of illness investigated for Mann the crisis of contemporary man, and for us it means exploring the passivities of today, the real or presumed decadences.
Word and dance, then, meet and clash against the backdrop of an ambiguous, dangerous, pestilential Venice, like the cholera epidemic that seems to be spreading mysteriously in the lagoon.

Credits

Program

loosely based to Death to Venice by Thomas Mann

dramaturgy and direction by Liv Ferracchiati

with Liv Ferracchiati, Alice Raffaelli

Alice Raffaelli movement

dramaturg Michele De Vita Conti

assistant director Anna Zanetti

assistant dramaturgy Eliana Rotella

scenes Giuseppe Stellato

costumes Lucia Menegazzo

lights Emiliano Austeri

red shoulder sound

Spoleto production Festival dei Due Mondi, MARCHE TEATRO, Teatro Stabile dell'Umbria, Fondazione Teatro di Napoli - Teatro Bellini

in collaboration with Piccolo Teatro di Milano -Teatro d'Europa

Premiere

Please be advised that dates and times may be subject to change.
See www.festivaldispoleto.com for updates.

Dates & Tickets

Tickets: 40 €
TICKETING INFO
Fri
12
Jul
2024
at
20:00
St. Simon's
Sat
13
Jul
2024
at
21:30
St. Simon's
Sun
14
Jul
2024
at
15:00
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
at
St. Simon's
Event Times
June 28
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
June 29
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
June 30
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
01 July
10:00
11:00
12:00
13:15
14:15
15:30
16:30
17:45
20:30
21:30
02 July
10:00
11:00
12:00
13:15
14:15
17:30
18:30
19:45
20:45
21:45
04 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
05 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
06 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
07 July
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
19:45
20:45
08 July
10:00
11:00
12:00
13:00
14:15
15:15
16:30
17:30
18:30
20:45
21:45
09 July
10:00
11:00
12:00
13:00
14:15
17:30
18:30
19:45
20:45
21:45

Playlist

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Biographies

Liv Ferracchiati

Italian author and director. He debuted in 2016 with his first writing and directing, Todi is to small town in the center of Italy. In 2015 he founded the theater company The Baby Walk and began to writing and directing the Identity Trilogy, exploring the theme of gender structuring: Peter Pan looks under the skirts (Chapter I, 2015), a show awarded the National Young Theater Realities Prize, Stabat Mater (Chapter II, 2017) with which he won the Hystrio Nuove scritture di Scena 2017 Prize, Un eschimese in Amazzonia (Chapter III, 2017), winner of the 2017 Premio Scenario. In 2017, Antonio Latella selected three of his works at the Theatre Biennale. Again at the 2020 Theatre Biennale, a special mention was given by the jury to Tragedy is Over, Platonov, his rewrite of Anton Čechov's text of the same name. He is among the selected authors to participating in the special edition École des Maîtres 2020, dedicated to European playwrights. He is currently an associate artist at the Piccolo Teatro in Milan, for which he created Hedda. Gabler. Like a Loaded Gun (2022) from Ibsen and How Things Reflected in Water Quake (2024), based on Chekhov's The Seagull. In 2021 Marsilio Editori published his fiction debut, Sarà solo la fine del mondo. With the production of MARCHE TEATRO, CSS Teatro Stabile di Innovazione del Friuli Venezia Giulia, Teatro Metastasio di Prato he staged in 2022 the text A science fiction play _quante ne sanno i trichechi.

Alice Raffaelli

Born to Rovereto in 1991, in 2010 she moved to Milan to attend the training course for dancers at the Paolo Grassi Civic School. In addition to the three-year course she participates to various international workshops. Over the years he has worked as a performer for Enzo Cosimi and collaborated with authors with varied paths and languages such as Cristina Rizzo, Luca Veggetti, Francesco Marilungo, Irene Russolillo, Camilla Monga, Ariella Vidach. Since 2015 she enters the world of prose thanks to the collaboration with the company The Baby Walk (in the project Trilogy on Identity). In 2018 she is among the finalists of the Ubu Prize in the category best performer under 35. She is part of some Milanese realities accumulated by the interest in transdisciplinarity (in the performative field) such as Kokoschka Revival, Fragile Artists and muovimi.

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