The Puccini Theater at the 73rd Fiesolana Summer

Theater | Show - Event posted by elena

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Address: via delle cascine, 41 , Florence

Date: Tuesday 04 August 2020


73rd Estate Fiesolana presents in collaboration with Teatro Puccini

Tuesday 30 June
directed by Edoardo Leo
semi-serious and tragicomic readings with the musical improvisations of Jonis Bascir
a Stefano Francioni Produzioni production

A reading-show that collects notes, suggestions, readings and thoughts that the Roman actor and director Edoardo Leo has collected from the beginning of his career to today. Twenty years of notes, clippings, memories and laughter, transformed into an engaging show, which changes shape and content every time, based on space and occasion. It is a show that makes you smile and reflect, which tells insights into human life by combining words and music. A reflection on comedy and poetry to explain that, after all, they are not so far away. On stage, not only stories and monologues by famous writers (Benni, Calvino, Marquez, Eco, Benni, Piccolo ...), but also newspaper articles, anecdotes and texts by young contemporary authors and by Edoardo Leo himself.

Tuesday 7 July
music Giuseppe Scarpato
directed by Edoardo Zucchetti

The night falls, a man advances among the ruins, the notes of a guitar accompany him to the proscenium. Silence. Audience and actor once again together. They are observed. They study. They embrace again giving life to a journey towards infinity and beyond; a one man show between cabaret and poetry, love and tears, song and music. A tribute to the theater of the past, designed for the present, by virtue of the future.

Thursday 16th July
by and with DAVIDE ENIA
music composed and performed by Giulio Barocchie
portrait from “Notes for a shipwreck” (Sellerio editore)
UBU Prize 2019 - "best new Italian text" Le Maschere del Teatro 2019 Prize to Davide Enia as "best monologue interpreter" Hystrio Twister Prize 2019 - "best show of the Season"
a production Teatro di Roma - Teatro Biondo Palermo - Theater Production Center
in collaboration with Arzoevento International Storytelling Festival in collaboration with Teatro Cantiere Florida

I saw the first landing in Lampedusa with my father. Most of the boys and girls arrived at the pier. I was speechless. History had happened before us. The history that is studied in books and that fills the films and films of documentaries. I spent a lot of time on the island trying to build a dialogue with the direct witnesses: the fishermen and the Coast Guard staff, the residents and doctors, the volunteers and the divers. Compared to the material I had previously studied, in what I was finding personally there was a clear difference: during our meetings we spoke in dialect. The feelings and anxieties, hopes and traumas were named according to the language of the cradle, using sounds and symbols. In addition, I was able to understand the silences between the syllables, the sudden emptiness that shattered the sentence giving the meaning to an unspeakable outrage. In the absence of words, after all, I grew up there. In the South, the gaze and gesture are narrative and, in Sicily, "'a megghiu word is chìdda ca' un si dice", the best word is the one that is not pronounced. In The Abyss, the theater's own languages (gesture, song, cunto) are used to deal with the mosaic of this present time. What is happening in Lampedusa is a meeting point between different geographies and cultures and between different historical periods, the world as we have known it until today and what it may be tomorrow. Everything is already changing. And it has been changing for more than a quarter of a century.

Thursday 30 July
by Franca Valeri
directed by Stefania Bonfadelli
a Bresciano Theater Center production with INDA National Institute of Ancient Drama Project by MISMAONDA

An epochal passage of witness: Lella Costa accepts the invitation of Franca Valeri, great matriarch of the Italian theater who will turn 100 this year, to interpret "The widow Socrates", the text she wrote and interpreted the first time in 2003 A concentrate of corrosive irony and social analysis, disenchanted claim and caustic narrative. Freely inspired by 'The death of Socrates' by the Swiss writer Friedrich Durrenmatt, born following the intuition of Giuseppe Patroni Griffi who suggested it to him, the monologue is set in the antique shop of Xanthippe, the wife of the philosopher handed down by historians as one of the most unbearable women of antiquity. “I was intrigued by the idea of debunking this legend that Xanthippe was just a kind of bitch - explains Franca Valeri - I make him a wife like many others, with a daily life full of ups and downs, an intelligent woman who also sees many of her husband defects. "In Durenmatt's text there is little of Xanthippe, so to get to know her better, I got information on Socrates and read Plato's 'Dialogues'. I got the idea of a strong woman who lived alongside to a man who was extraordinary for us but who was simply a husband for her and also boring. ”In the show she vents for all that Socrates' friends like Aristophanes and Alcibiades made her pass, a masnada of good for nothing starting from Plato, the main controversial target of the show. She can't bear that she usurped her husband's ideas even though she was very faithful in bringing them back. In the end she thinks she can write a dialogue: the protagonists, however, would be women. especially to the women she speaks: even widowhood does not deprive her of the right to issue an honest judgment on the behavior of husbands, men in general and even those women who deceive the other sex. It is not necessary, he says, to investigate the true nature of one's man, it is enough to accept him as he is alive and dead; on the other hand, "the death of a husband is such a great pain that no woman would renounce it".

Tuesday 4th August
The secret love of Ophelia
with CHIARA FRANCINI by Steven Berkoff
an Infinito srl production (with actor being defined)

What makes great texts eternal are their silences, the questions they leave unanswered, thus allowing everyone to find their own personal interpretation between the lines. This is one of the reasons why Shakespeare's Hamlet has always had an undisputed fascination on theater actors. The ambivalence in the relationships between the characters of the opera naturally leads to many theatrical experiments. Among the most successful of these experiments, we find Steven Berkoff's The Secret Love Life of Ophelia. Through the form of an epistolary exchange between Hamlet and Ophelia, the original text of Berkoff explores the meanders of the relationship between the two characters and its unfolding between the plots of the tumultuous events set in Elsinor, when the king, father of Hamlet, is killed by his brother Claudio, who manages to usurp both the bed and the throne. The first act ends with Hamlet's promise to visit Ophelia that night at midnight to reveal her secret; we know that the secret concerns the murder of his father by his uncle but Hamlet will have no way of keeping his promise: first distracted by Rosencrantz and Guildenstern and then he himself will be the architect of an unfortunate murder: that of Ofelia's father, Polonius . Berkoff does not lose himself in psychological motivations to adduce to the madness of Ophelia.Even if it is written in blank verse pseudo-Shakespearean, what really Shakespeare Berkoff manages to capture is the rhythm of the dialogues and, however, manages to mark the text with his visceral use of language and with the explicit feeling of the 21st century. From this experiment comes a show that knows how to expertly mix aesthetically different shapes and styles, especially thanks to a carnal language tempered with tenderness and irony: Berkoff's work takes place between images of courteous love, sexual desire and premonitions of the future tragedy.

TICKETS Unique place
Edoardo Leo (30/6): € 27.00
Maurizio Lombardi (7/7): € 12.00
David Enia (16/7): numbered single seat € 15.00
Lella Costa (30/7) and Chiara Francini (4/8): € 25.00 (presale rights excluded)



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