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Massimo Recalcati
"Since from boy, from when I was in my 20s, I wanted to write about theater. I was a real theater buff, eating bread and theater. Then, as often happens in life, there were encounters that diverted this vocation of mine. During the first lockdown I began to writing a text. While I was writing around there was death." Massimo Recalcati makes his debut as a playwright with Amen, a play that the Festival is premiering.
to starting from the experience of a deserted Milan during the pandemic, the psychoanalyst, present on stage as the narrator, questions the inevitability of the end for the human being and the need to affirm life, in a narrative framework that makes his own the contrast between a suspended outer "world" and an inner time that continues to to flow. Valter Malosti's direction puts the human being, infant and then man, at the center of the scene, while the sounds of Gup Alcaro and the voices of Marco Foschi, Federica Fracassi and Danilo Nigrelli become the absolute protagonists of the show, which takes on the contours of a sound installation. "Amen," Recalcati comments, "means 'let it be so,' let life be alive, let death not be the last word on life."
BY
Massimo Recalcati
DIRECTED BY.
Valter Malosti
INTRODUCTION OF
Massimo Recalcati
ITEMS OF
Marco Foschi, Federica Fracassi, Danilo Nigrelli
SOUND PROJECT AND LIVE ELECTRONICS
G.U.P. Alcaro
ELECTRONIC GUITAR
Paul Spaccamonti
LIGHTS
Umberto Camponeschi
ASSISTANT DIRECTOR
Thea Dellavalle
Production Teatro Franco Parenti / TPE - Teatro Piemonte Europa / ERT Emilia Romagna Teatro Fondazione
Duration: 1 hour, 30 minutes
"Since from boy, from when I was in my 20s, I wanted to write about theater. I was a real theater buff, eating bread and theater. I didn't have much money and the little I had I spent on going to theater. Then, as often happens in life, there were encounters that somehow diverted this early vocation of mine: there was philosophy, and there was psychoanalysis, which completely absorbed me. In the last few years, however, I began to filing some notes with the idea of returning to theater. I came back to see theater, I came back to read about theater. And during the first lockdown I began to gathering these notes and to writing a text; I did what, in a small way, Noah does in the Bible in the aftermath of the flood. While I was writing this text there was death all around. Sounds of bells, of ambulances, a deserted Milan, our old people dying. And so I wrote this text. As the great painter Rothko would say, when you make art you either talk about life and death or you better not make it. I followed this indication. At the heart of this text is the relationship between life and death, and there are questions. Questions about what will be after life, whether there will be "an after," and what will we be like after life, that is, the problem of the resurrection of life after death. Certainly there is this great theme, but above all there is the theme of how life can resist the temptation of death, how we can continue to to be alive even though we are destined for death and even though we have death around to us. Amen is thus the word that enshrines the possibility that life can exist even where death is, that death cannot be the last word on life. Amen means "so be it," "let it be so," that life may be alive, that death may not be the last word on life. [...] There is an encounter in my story, which is then at the origin of this text, to which I return constantly throughout my life as an intellectual. And that is the fact that I was born destined for death. from small the doctors gave me no chance of survival. The doctor, so my mother told me, called the priest to substitute for science. I was a child who, at the time of baptism, receives last rites. Baptism - extreme unction is the rhythm of our existence, opening and closing. Of this he speaks_ Amen_."
Massimo Recalcati
Massimo Recalcati, psychoanalyst, essayist and writer. Member of the Milanese Society of Psychoanalysis-SMP, founder of Jonas: Psychoanalytic Clinical Center for New Symptoms and Scientific Director of the IRPA School of Specialization in Psychotherapy in Milan. He teaches at the University of Pavia and at IULM in Milan. Since 2003, he has been the director and lecturer of the Specialization Course on the New Symptoms Clinic at the Jonas Onlus office in Milan. Currently, he is a clinical supervisor at the Gruber Center in Bologna for severe cases of DCA. He currently collaborates with the cultural pages of la Repubblica and La Stampa. Since 2014 he has directed the Heirs Series for Feltrinelli and since 2015 the Studies in Psychoanalysis series for Mimesis. His numerous publications are translated into several languages.
A director, actor and visual artist, he will direct Emilia Romagna Teatro Fondazione - Teatro Nazionale from May 2021. He won the UBU award for directing Tarantino's Four Profane Acts, the Flaiano award for directing Ives' Venus in Fur, the National Association of Theatre Critics award for Shakespeare/Venere e Adone and Four Profane Acts, and the Hystrio award for directing Fellini's Giulietta. Malosti has directed works by Nyman, Tutino, Glass, Corghi and Cage, often in first performances, and for the Teatro Regio di Torino Mozart's Le nozze di Figaro. As an actor Malosti worked for nearly a decade with Luca Ronconi, and in film with Calopresti, Battiato and Martone. He was Manfred (Schumann/Byron) for Noseda's conducting. He directed the School for Actors of the Teatro Stabile di Torino from 2010 to 2018 and the TPE Foundation - Teatro Piemonte Europa from 2018 to 2021.
Accademia Nazionale
d'Arte Drammatica Silvio d'Amico
Accademia Nazionale
d'Arte Drammatica Silvio d'Amico
Leonardo Lidi