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GALLERY \ PRESS                  TRAILER

Bando “Next” 2015 ed. – Winner
In-Box 2014 ed. – Winner
Play Festival 2.0\ Atir Ringhiera Milano 2014 ed. – Finalist
E45 Napoli Fringe Festival 2013 ed. – Winner
ICastel dei Mondi International Festival 2013 ed. – Official Selection
Written and played by Nicola Di Chio Paola Di Mitri Miriam Fieno
Written in collaboration with Michele Santeramo
production La Ballata dei Lenna
in collaboration with Bottega degli Apocrifi
executive production Acti Teatri Indipendenti
With the support of
Fondazione Campania dei Festival – E45 Napoli Fringe FestivalPresidenza Consiglio dei Ministri – Dipartimento della Gioventù – Regione Piemonte – Provincia di Alessandria – Regione Puglia- Fondazione Live Piemonte dal Vivo
In collaboration with Teatro Minimo

A happy and sad story of our time, where three “faint of heart” lives are interlaced together with hopeless candor and a ragtag struggle. Two sisters: one is beautiful and next to a marriage of interests; the other is a mash of flaws, without aspirations.
The third character is a tailor, the champion of the losers, hired by the beautiful sister to repair her secondhand wedding dress. The neurotic rhythm of the upcoming ceremony develops in a smiling calm in the space shared by the ugly sister and the tailor. A space full of embarrassments, stunts, chills and counterattacks. But when happiness seems close, comes out the fear that switches off any noise. Hopelessly off.
However, if for those who apparently stay on the right side there is no happy ending, the same result will be for those who try to hide the unhappiness in leisure.
A shabby scenario of disappointments, with fragments of weird comedy, where body’s exultation is the only thing that finally remained. A violent exultation that rapes any expectation and breaks the innocence.

Cantare all’Amore is the story of a research.
At the beginning, we wanted to tell a story about love, but after a while we ended up looking for it and asking ourselves if love can still fit in our contemporary time. We live an historical overturning: the obscenity is no more strictly connected to sexuality, but more to sentiment, which is censured in the name of what, deep down, is only the further morality.
We live in a time subjected to uncertainty, where priorities are overturned, where advertises are full of fakes, a time that asks ourselves to find immediate solutions for every day.
As we can live without thinking, without desiring, without calm and quiet, maybe we can also live without love.
We primary tried to ask ourselves if investigating love can be a way to shatter the habits, to scratch away the indifference, to break down the superficiality and start to look at things sideways.
We believe that is our duty, during this research, to mix up ourselves with other people, to reestablish a contact with them, listening to their sadness and happiness, in the attempt to investigate what we can call “love”. A human sentiment that maybe stays outside History by now, but it always remains behind every story.

The play is the result of a collective research on the theme of love. The aim is to collect materials useful for the writing and staging of the play. How can we turn sentiment into action? This simple but huge question guided us in the research. During the writing process, we focused on biographies and personal experiences of the people involved in the project, in the attempt to give voice to the unexpressed. We decided to escape from theatre and then come back to it with a renewed awareness. In this path outside the theatrical world, we found pieces of life: fragments of dialogues, stories, interviews, intimate reflections; but also pictures, video frames, atmospheres, articles. Testimony that we collected during theatre workshops, or on the street, in the coffee shops or from students outside the school, from people hosted in reception centers, from elderlies as well as from kids. Pieces of world, pieces of a time passing.
The result of these encounters is a play full of open questions, shaped by the extraordinary power of the present. The writing becomes the vehicle for a continuous and breathless research, in the attempt to establish a fundamental relationship between territories and theatres as fulcrum of the social changes. At the same time, the play is the result of a poetic and documentary research which attempts to bring back to the honesty of the theatre our experience in all its truthfulness.