Another premiere at Festival dei Due Mondi: Silvio Orlando debuts in Pablo Remón's Charlatans from from Los Farsantes

Spoleto, July 4, 2023 - Tomorrow, July 5, at at 7 p.m. Silvio Orlando, among Italy's most versatile and award-winning actors, returns to Festival dei Due Mondi after five years with the show Ciarlatani based on from Los Farsantes by Spanish playwright and director Pablo Remón, who also directs. The show, already sold out, continues through to Saturday, July 8 at Teatro Caio Melisso Spazio Carla Fendi (at 17, at 19, at 17). On stage, along with to Silvio Orlando, are Francesca Botti, Francesco Brandi and Blu Yoshimi, "just four actors" - as Remón comments - "who travel through dozens of characters, spaces and times. A satire on the world of theater and audiovisuals, but also a reflection on success, failure and the roles we play, inside and outside fiction." Drawing on to an eminently theatrical narrative, but with a fictional, cinematic aspiration, Remón unravels a play in chapters with a structure closer to a novel than theater.

Maddalena Giovannelli recounts in the theatrical notes that "the protagonist of Ciarlatani is Diego, a successful director who has well understood the formula for producing with the big networks and for being loved by the public. Now is his golden moment: he has a new TV series in hand and a super lead actress has just signed the contract. But at the very moment when we can take the photograph of our triumph, there is always someone or something that can remind us of who we were, or who we wanted to be. For Diego, it is an old master of the film school, Eusebio Velasco, an adamantine talent never compromised with the market, now isolated and forgotten from all. Eusebio's daughter, Anna, is also in the reckoning with her acting career, always on the verge of beginning and always ready to to crash on new failures. The two parables will intersect diverting the paths of both. Around to them, a galaxy of appearances: actresses, coked-up producers, underage extras, fathers and mothers. Their role is mainly to applaud the success or remark on the failures of Diego or Anna, as if all human relationships around art then end up being crushed on this dual function." "Charlatans"-we read in the theatrical notes-"thus sinks its pen mercilessly into the wounds of a small world adrift, and thus ends up moving from the specifics of artistic production to a broader cross-section of a society obsessed with success."