Turn your Smartphone
(or widen your browser window)
Turn your Smartphone
(or enlarge your browser window)
Logo new website Molteni Paints
67

Progetto Čechov

Trilogia completa

Tickets: from 27 € to 66 € / Trilogy purchasable with the "Chekhov Trilogy Carnet" fare
Buy
Buy
book
from
Sunday
7
July
2024
at
11:00
from
2024
at
to
Sunday
7
July
at
19:00
from
2024
at
from
2024
at
from
2024
at
from
2024
at
Theater

Synopsis

Everyone reacts to his or her own way. I, in my own small way, reacted this way. During the pandemic there were many who associated, mobilized and questioned what the future of our profession would be. For me, too, of course, the question became constant, and it came naturally to me to step away from the conversation until to I disappeared in order to ask myself sincerely, in my inner self, what I expected from the theater of tomorrow and from myself as a director. Stimulated thus from Nino Marino, director of the Teatro Stabile dell'Umbria, on the new post-pandemic three-year period I replied that Chekhov would be the right choice to start again. A trilogy with the same company to emphasize the importance and talent of Italian actresses and actors, ranked in political thoughts in the relegation zone but a true gemstone of Italian theater.

The company thus had to represent the category in all its diversity, of experience and place, embracing under one roof the legacy of turn-of-the-century masters, avant-garde theater, collective experiences, cultural associations, provincial hardships and the totalizing precariousness of the new generations. Only one common denominator required to deal with the Russian author: sincerity of spirit. To be crystal clear in the willingness to deliver three extraordinary texts to the audience through the strength of ensemble and thus be able to grasp the love that Chekhov devoted to the figure of the actor in his writing dynamics. To put it silly: we asked the Doctor to teach us to how to love ourselves.

And one can only love these extraordinary artists: Giordano Agrusta, Maurizio Cardillo, Alfonso De Vreese, Ilaria Falini, Christian La Rosa, Angela Malfitano, Francesca Mazza, Orietta Notari, Mario Pirrello, Tino Rossi, Massimiliano Speziani and Giuliana Vigogna.

The choice of texts and chronology

Il Gabbiano - Return to the theater, yes: but to tell us what?

In our theater, is form killing content irretrievably, or can we still aspire to the return of stories? In my constant rages from spectator I notice more and more that so many prefer to speak to few, contestation traceable to dramaturgy as to politics, thus leaving successes and spaces to populist waffle. Treplev's journey and Trigorin's perplexities ask us what we want to talk about once we take the stage and in what way; whether we can abandon the excess of symbolism in favor of the citizen, and whether we should not free ourselves from the juvenile shortcut of novelty.

Treplev - "yes, I am becoming more and more convinced that it is not a question of old and new forms, but the fact that man writes, without thinking about forms, he writes because his soul flows freely."

Il Gabbiano sharply presented the parallelism, the centerpiece of the Chekhov Project, between society and the stage, staging mother actresses, Hamlet's children, playwrights, directors, young actresses and bored spectators. To mirror themselves in the audience, or in the lake, to recognize themselves. To find themselves through love. Dorn - How much love, enchanting lake.

Zio Vanja - Once we have killed il Gabbiano, made the abstractionism disappear under a white sheet from the planks of our stage, we focus on the history of our strange society/family and its state of uninfluence. The famous press conference where the former PM declared "a watchful eye for our artists who make us so amused and so passionate" was a godsend for this show, which, in an amused and passionate format, was able to laugh at our ridiculousness. All the characters, including the wooden demon Astrov, bang their heads in the feeling of living in a season that has lost the force of impact, that no longer believes in its own nature and thus generates a confused and dangerous generality between excesses of tradition and kinemonologues. A theater that no longer believes in itself is an irrelevant theater, a place that, by hiding in the glories of the past, kills the possibility of the present.

Vanja: "We've been talking, talking, reading pamphlets for fifty years. It's time to knock it off... until last year I too, like you, was filling my head with all this sophistry, not to look real life in the face, and I thought I was doing well. Now, if you only knew!!!I spend entire nights to gnawing with rage at having so foolishly wasted my time."‍

The Cherry Orchard - A place that lives only in memory. Our useless garden, our public theater, cannot be based only on numbers and cannot be evaluated only by counting how many cherries it produces from year to year. Otherwise, yesterday as today, we might as well privatize it and make lots of cottages for tourists. If there is no risk it is not Public and does not deserve to be supported by the people. If the only thought is to have more and more, to accumulate in a self-defeating way and to squeeze people next to we, if we believe in this form of slavery in the new millennium, if we stop caring about the quality of our lives through the quality of the lives of others then I wonder what we are doing, still, on a stage. And the actors wonder, too, forsaken to having to beg for attention with long emotional and ephemeral monologues about hundred-year-old closets. to having to self-assert the value of their work. We forgot about them, closed the door to double-locked and left them agonizing after exploiting their service. Here is the last image Chekhov leaves us with in the finale of Garden, the finale of a life spent on the theater. A forgotten "servant" saying to himself, or to the theater he is occupying: Firs: "... you have no strength left, you have nothing left at all, nothing, eh, good to nothing..." Then a tragic violin string to fill the scene. Anton Chekhov, after all this good jam given to him, leaves us with a sad note, as if he no longer feels like laughing. And indeed there is from crying. Or, indeed, from react by believing in the present force of Theater.

Leonardo Lidi

Credits

Program

at 11:00

Il gabbiano

Chekhov Project - First Stage

at 15:00

Zio Vanja

Chekhov Project - Second Stage

at 19:00

The Cherry Orchard

Chekhov Project - Third Stage

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

Dates & Tickets

Tickets: from 27 € to 66 € / Trilogy purchasable with the "Chekhov Trilogy Carnet" fare
TICKETING INFO
Sun
07
Jul
2024
at
11:00
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
at
Teatro Caio Melisso Spazio Carla Fendi
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

Images

No items found.

Images

No items found.

Video

No items found.

Biographies

Leonardo Lidi

He graduated from the School of the Teatro Stabile of Turin in 2012. In his path he alternates between acting and theater directing. In these first ten years of directing work he stands out for his ability and productivity, winning to just 32 years old the Italian theater critics' award. Since September 2021 he has been teaching coordinator of the school of the Teatro Stabile di Torino and since 2022 Artistic Director of the San Ginesio Festival. Among the shows from he directed are. Spettri di Ibsen (Venice Biennale 2018), Williams' The Glass Zoo, Lorca's La casa di Bernarda Alba , D'Annunzio's La città morta, Strindberg's La signorina Giulia (Festival dei Due Mondi 2021) and Molière's Il Misantropo. He also works on contemporary drama texts and inopera opera. In 2022 together with the Teatro Stabile dell'Umbria he begins a trilogy on Anton Čechov. First stage of the three-year project is. Il gabbiano. In the same year he is a finalist candidate for the Ubu Prize for Best Director with La signorina Giulia. In 2023 he directs . Zio Vanja, the second stage of the Čechov Project, a play with which he is a finalist candidate for best director at the Ubu 2023. The last chapter of the trilogy is The Cherry Orchard (2024).

Press Review

No items found.

Related Events

Events in the same Category

67

FULL PROGRAM
11
July
2024
Teatro Caio Melisso Spazio Carla Fendi
29
June
2024
Teatro Caio Melisso Spazio Carla Fendi
Autoritratto

Davide Enia

29
June
2024
Auditorium della Stella
CRETA

#SIneNOmine

4
July
2024
Casa di reclusione di Maiano