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67

Uffa che barba!

Risveglio di primavera

Tickets 25€
Buy
Buy
book
from
Saturday
29
June
2024
at
17:00
from
Sunday
30
June
2024
at
18:00
to
Sunday
30
June
at
18:00
from
2024
at
from
2024
at
from
2024
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from
2024
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Duration 90 minutes
Theater

Synopsis

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

Credits

Program

SPRING AWAKENING

By Franz Wedekind‍

adaptation and direction 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

Marco Angelilli movements

assistant director Fabio Carta

Hall Program

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"Ugh, what a beard! Oof, what a bore!"

With this phrase the episodes of Casa Vianello, the TV sit-com starring Sandra Mondaini and Raimondo Vianello, ended; after a day peppered from with rocambolic episodes, misunderstandings, and comical quarrels, the couple wished each other good night with this phrase uttered by Mondaini, which became almost a slogan capable of entering the jargon of Italians. A phrase we now naturally associate to with something boring, repetitive; kids often use it when called upon by adults to to do something they would not like to do, such as studying. For adults, perhaps, it has instead become a kind of sentence from applied to politics, when it keeps to re-proposing to us the same scenario as always without any novelty or even hope. It is a funny phrase that helps us to downplay, to sometimes, the miseries of life, the nonsense of everyday life.


It is possible that continuing studies after a three-year academy, extending them for two more years, could be a path from dismissed with a peremptory "Ugh, what a beard!" Yet the sought-after, chosen and desired study, which further enhances our knowledge base, can truly prepare us for the test of work. Titling a two-year term "Ugh, what a beard!" is not meant to be a provocation, but a theme on which to orient two years of study, comparison and verification; two years dedicated to the theme of "beard" declined in all its variants: boredom, of course, but also the endless beards that populate theatrical or literary texts, fairy tales, the beards of real-life characters or those of the protagonists of the seventh art. An ironic phrase, then, that can accompany us by offering the possibility of investigating multiple languages and multiple worlds of artistic expression.


Antonio Latella

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Dates & Tickets

Tickets 25€
TICKETING INFO
Sat
29
Jun
2024
at
17:00
Teatrino delle 6 Luca Ronconi
Sun
30
Jun
2024
at
18:00
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
at
Teatrino delle 6 Luca Ronconi
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

Giovanni Ortoleva

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."

Press Review

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