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Liv Ferracchiati
The tragedy is over, Platonov is the latest work signed by Umbrian director Liv Ferracchiati, who was awarded a special mention at the 2020 Theatre Biennale. After Trilogy on Identity, Ferracchiati established himself in the panorama of new dramaturgy. With Čechov's Platonov, he confronts the protagonist of a classic text in a direct, convincing and touching way. His contemporaena view of the role of characters is also an interrogation of the role of classical texts in today's theater.
"Platonov, understood as a dramaturgical text, always and only read, never thought from of representing itself, was an encounter for me." - says Ferracchiati - "I found refuge in Platonov's inaction, in his paralysis between attraction and repulsion, between fear and excitement, in his non-acting and shirking. In his not choosing between the four women offered to him, as if each could provide a solution to his existence. He does not choose because, in the end, one cannot. How can one choose only one possibility?" In the play Ferracchiati is also a performer as Reader of the text, in an ironic and illuminating dialogue between himself and the Russian author that makes from counterpoint to what happens on stage.
BY
Liv Ferracchiati
WITH SCENES FROM PLATONOV'S
Anton Chekhov
WITH (IN ALPHABETICAL ORDER)
Francesca Fatichenti, Liv Ferracchiati, Riccardo Goretti, Alice Spisa, Petra Valentini, Matilde Vigna
assistant director Anna Zanetti
COSTUMES
Francesca Pieroni
PAPER COSTUME DESIGN AND CONSTRUCTION AND ASSISTANT COSTUME DESIGNER
Lucia Menegazzo
LIGHTS
Emiliano Austeri
SOUND
James Agnifili
contributing reader Emilia Soldati
Production Teatro Stabile dell'Umbria
in collaboration with Spoleto Festival dei Due Mondi
Duration: 1 hour, 30 minutes
How can a'opera art affect a life?
Platonov, understood as a dramaturgical text, only ever read, never thought from of representing itself, was an encounter for me.
Over the years I have continued to thinking about his main character, his frailties, his charm that is a chasm, and the other figures that revolve around to him. Figures that somehow became to part of my imagination. The confrontation with Platonov's human type was a dialogue with a real organic matter.
In short, one reading influenced a life, mine.
I found refuge in Platonov's inaction, in his paralysis between attraction and repulsion, between fear and excitement, in his non-action and avoidance. In his not choosing among the four women offered to him, as if each could provide a solution to his existence. He does not choose because, in the end, one cannot. How can one choose only one possibility?
A non-fluid identity definition?
And how, then, does one curb liberated Chaos if it can lead, as it does to Platonov, to self-destruction?
Everything is confused, cheated, perhaps it is worth observing Platonov indulgently, because in his outbursts, miseries, fears and inconsolable sorrows, we find our own.
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.
Accademia Nazionale
d'Arte Drammatica Silvio d'Amico
Massimo Recalcati
European Young Theatre