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Uffa che barba!
Risveglio di primavera
They act incorrectly those who present sex to those who learn it as a natural, clean, innocent and obvious thing. Instead, those who show it to them as something unnatural, and therefore dirty, dangerous and incomprehensible, are right.
Bertolt Brecht, Fatzer
Good, old-fashioned morality. It is an old word, which is no longer used. With the addition of a single letter it becomes deadly (and how many deaths it has done, and how many deaths it continues to to do). It was all people talked about in the late nineteenth century, and it is in the name of morality that the boys in Spring Awakening are forbidden knowledge of the world that will lead them to death. It is hardly mentioned now; perhaps it has taken other names. But every time violence is justified, every time comments are made about the clothes of a raped and murdered girl, every time a victim is inflicted, morality is alive and fighting against us.
Immoralism, on the other hand, has aged much worse. That counter-moralism that often surfaces in Spring Awakening today makes us smile. For several times it has been taken as the "message" ofopera, making the text a kind of pro-sex education manifesto to . But there is a masked figure who breathes through all ofopera and removes it from the rhetoric; he is Mephistopheles, who has come straight from Goethe's Faust to making the knowledge pursued by boys an act as vital as it is dark. In every man's heart is the devil; no act is innocent removed from the erasure of self. That is all.
On a more personal note. This text is a doorway to something I thought I had forgotten. Toward the feeling of impending tragedy, of the horrific overthrow of the world that during my adolescence dulled my mind. I never could to say anything about that feeling, to name it, or to share it with anyone. Several years later I encountered Wedekind's text and heard it again sounding "like a series of obscure memories, like a tune that one has hummed quietly from boy and that, on the verge of death, comes to him from the lips of another and upsets his heart." I thank the six actors of the two-year residency for so courageously following my lead in traversing this territory.
John Ortoleva
SPRING AWAKENING
By Franz Wedekind
translation and adaptation Giovanni Ortoleva
artistic supervision by Antonio Latella
with Eva Cela, Pietro Giannini, Fabiola Leone, Irene Mantova, Riccardo Rampazzo, Daniele Valdemarin
dramaturg Federico Bellini
scenes Giuseppe Stellato
costumes Graziella Pepe
lights Pasquale Mari
music Pietro Guarracino
sound design Franco Visioli
assistant director Fabio Carta
directed by Giovanni Ortoleva
A director, playwright and pedagogue of European renown, he has lived to Berlin since 2004. He studied acting at the Teatro Stabile school in Turin directed from Franco Passatore and the Bottega Teatrale in Florence founded from Vittorio Gassman. But it is his work as a director, which he began in 1998, to give him national and European fame, taking his shows to the top theaters and international festivals. His career from director gives him countless awards including: in 2001 the Ubu Award for the Shakespeare Project and Beyond; in 2005 the National Award of the Association of Theatre Critics for La cena de le ceneri, best play of the year; in 2007 the Ubu Award for Studio su Medea best play of the year; in 2012 the Hystrio Award for directing; also in 2012 the Ubu Award for best direction for Un streetcar che si chiama desiderio; in 2013 the Ubu Prize for best direction with Francamente me ne infischio; in 2014 he is a finalist for the Nestroy Prize in Vienna for Die Wohlgesinnten; in 2015 he wins the Premio le Maschere del Teatro for Natale in casa Cupiello; in 2016 the Ubu Prize for Santa Estasi, best play of the year; in 2019 the Ubu Prize for Aminta; in 2021 the Ubu Prize for Hamlet, play of the year. He is the first Italian-trained director and author to be selected for the Berliner Festspiele's Theatertreffen, selection of the ten best German-language shows in 2020. In 2011 he founded his company "stabilemobile." The Venice Biennale chaired from Paolo Baratta appointed him director of the Theater sector for the four-year period 2017/2020. Since 2010, he has been a lecturer and pedagogue at the most important Italian Theater Schools: the Accademia d'Arte Drammatica Silvio d'Amico in Rome, Teatro Stabile in Turin, Piccolo Teatro in Milan, and Scuola Civica Paolo Grassi in Milan.
John Ortoleva was born to Florence in 1991.
He holds a degree in Cognitive Psychology from the University of Trento and a diploma in Theatre Direction from the Paolo Grassi School in Milan.
In 2016 he received the University of Rome - Tor Vergata prize for "Four Landscapes with Figures," a text about the Nazi regime's attempt to conceal the existence of the Polish death camps. The text was published from Progetto Cultura.
In 2018 he received a special mention from the Venice Biennale within the Directors Under 30 competition, and was invited twice to to present his work there. In 2019 he debuts there "Saul" from André Gide (co-written to Riccardo Favaro) and in 2020 R. W. Fassbinder's "The Waste, the City and Death," produced from Fondazione Teatro della Tosse in Genoa.
to November 2021 , also produced from Fondazione Luzzati Teatro della Tosse , debuts to Genoa with "The Tragic Story of Dr. Faust," loosely based from Christopher Marlowe, with which he closes a trilogy of works on figures who rebelled to God.
In the 2022-23 season, he began a research journey into the myths of romantic love, which led him to to produce "Lancelot and Guinevere" at the Teatro Metastasio in Prato and William Shakespeare's "Twelfth Night (or whatever)" at the LAC in Lugano. Also in summer 2023, he is called to to direct the flagship production of the 70th edition of the San Miniato Popular Drama Festival, "Industrial Drama," with dramaturgy by Riccardo Favaro.
In 2021 his short film "Self-Portrait with Weapon," with which he made his film debut, was selected by the Turin Film Festival and received the Ermanno Olmi Award.
The New York Times wrote of his work that it "shows significant promise and imagination."
Antonio Latella
Silvio d'Amico National Academy of Dramatic Art
Ouch what a beard!
Ouch what a beard!
Ouch what a beard!
Davide Enia
#SIneNOmine
Liv Ferracchiati, Alice Raffaelli
Antonio Latella
