In Cefalù it’s time for “Marea”, the free theatrical festival promoted by the municipal administration of Cefalù.
The shows, which will be hosted at the municipal theatre Cicero, see the artistic direction of Santi Cicardo.
The programme is as follows:
It starts on 16 February at 19, with “Polyphemus in love“, and Giovanni Calcagno, music and songs by Puccio Castrogiovanni and external eye of Alessandra Pescetta. A mythical story lived by the characters who live again in the bodies of Bianca Bonaconza’s body puppets. The narration is intertwined with the dancing action of the young dancers. On 1 March, Luca Comastri, Massimo Macchiavelli, Tania Passarini, Fraternal Compagnia Aps with “Masquerade Mask” will land in the theatre. The show is a tribute to all the characters of traditional Italian theatre culture: from the old Venetian merchant Pantaleone, to the servants, from the Doctor to the Captains, nobles and lovers. The characters, with their jokes and jokes, address fundamental social themes: the power of love, the love of power, the hunger and misery of the less fortunate and magic, which is essential to change their lives for the better.
Third meeting on Saturday, 15 March with “Arte_Mi_Sia. Investigation on the beautiful and the obscene” by Santi Cicardo, with Enrica Volponi Spena and Francesco Gulizzi, Officine Teatrali quintArmata/Casa Teatro, video and sound environments by Leonardo Bruno, equipment designers Manuela D’Amico and Francesco Gulizzi. It is on May 14, 1612, when half of Rome comes to the sinister chambers of the Inquisition, for the expected day of judgment on the complaint that the father of Artemisia Gentileschi, young and brilliant artist, has brought before Pope Paul V. In the humid and dark hall of Tor di Nona, the words of Orazio Gentileschi resound in everyone’s mind: “Agostino Tassi has deflowered my daughter Artemisia and forced her to repeated carnal acts, harmful also for me, Orazio Gentileschi, painter and citizen of Rome, poor plaintiff, so that I could not get the right profit from his talent as a painter”. In an environment reminiscent of a recording studio, two actors study and retrace the fundamental stages of the painter’s story, eventually identifying themselves with the characters they discover on the pages of the proceedings.
April 12 is the turn of “Accamora. Ovvero tutto su mia madre“, by Paolo Mannina, with Paolo Mannina, Luigi Maria Rausa, Chiara Muscato, Babel/Mediterranea Antartica/Teatro L’Idea. “Accamora”, tells the paradoxical and sometimes surreal dynamics of a Sicilian family held together by the stubborn love of a widow woman and neglected by her children, who lives in the middle of memories of a time lost and never found again. At the centre of the piece a Mediterranean mother, in this case Sicilian, but she could be Spanish or Tunisian, Greek or Arab, archetype of all mothers: mother nature, mother-father, mother-language, mother-food, mother culture; and her children: Francesco, an aspiring artist constantly fleeing from her; and Aurora, eternally engaged and with a secret to keep. In the background, the Sicilian province where old and new coexist in a precarious balance. An irresistible family dance with a crescendo of comedy and drama that sees each of the characters move in balance between themselves and the other, past and present, truth and lies, love and dislove.
Penultimate appointment with “La Fabbrica degli Stronzi“, Saturday 10 May, with Tommaso Bianco, Francesco d’Amore, Luciana Maniaci and Maurizio Sguotti, Compagnia Maniaci d’Amore. A show born from the meeting between two young companies, the Ligurian Kronoteatro and the Turin group Maniaci d’Amore, among the most active of the Italian independent scene. Different from each other, but united by a merciless look at reality, the two theatrical realities have created “La Fabbrica degli Stronzi”. Title that does not pass indifferent, of course, for a story that takes the viewer in a world hysterical and petty, made exclusively of victims. A world where the blame for every suffering, frustration and misfortune is always attributed to someone else: and if there is no one responsible, it is invented. With a livid humour and a touch of tenderness, the show investigates three scenes: the couple, the family and the group. The contemporary taste of recognizing not in those who act, but in those who suffer, that is the popular contest to who burns more in hell they are others. Here is what could be called the “victimary paradigm”, so rooted today in psychoanalysis, in the media, in the family, in our way of living the world. Four actors face a turn over of characters, give life to unhappy men and women, angry, who do not know how to name their frustration. They therefore call mothers, fathers, boyfriends, but also the opposite, colleagues, neighbors on trams, owners of dogs who never collect feces. The universe evidently conspires to make their lives bitter. To keep them standing, their own feelings of being hurt and offended. The suspended, surreal style of the “Maniaci d’Amore” is thus combined with the abrasive, bitter style of Kronoteatro in an original work that marks an interesting chapter of the new Italian theatre scene.
The Ninni Bruschetta review closes with “My name is Cain“, by Claudio Fava. Who is Cain? Archetypal name of all betrayals and violence, the first murderer consecrated by history to embody absolute violence, Cain is evil. Or, today, Cain could be anyone, one of us, who is touched, by fate or by choice, the “job” of murderer. Claudio Fava tries to make this Cain of our time speak, a ruthless mafia assassin. Without justification or repentance. To give voice and body to Cain is Ninni Bruschetta, loved by the general public for his vivid presence in cinema and TV, and at the same time refined and incisive theater actor. With Bruschetta, the protagonist of this story reveals himself as a man faithful to himself and his own destiny, until he senses that somewhere in the city there is Abel, the Other from himself, waiting for him so that the sacrifice can be accomplished. To accompany Ninni Bruschetta on stage is the composer and conductor Cettina Donato, at the piano, with a lively presence of music that supports, improvises, accompanies, pushes and urges Caino to tell and tell.
“Together with What the wind brings – says the mayor Daniele Tumminello – with Tide we make available to the City another review. A way to make even more plural the cultural offer of the Teatro Cicero that aims to enhance the expressions of contemporary theatre and enriches the programming financed by the municipal administration”.
All shows will start at 7:00. “Tide”, was realized in collaboration with Officine Teatrali quintArmata e Latitudini – Sicilian network of contemporary dramaturgy.