Piero Maccarinelli
Piero Maccarinelli brings to the stage the Word of the Supreme Poet, tackling the text in the most total and rigorous respect of Dante's endecasyllabic, Dante in his letter to Cangrande della Scala writes of the Comedy "First the litteral sentence and afterwards to that its allegory that is, the hidden truth."
The first day symbolizes "the present" of a humanity that deprived of its guides wanders in the dark forest of sin. Luca Lazzareschi is Dante, Massimo De Francovich is Virgil, Manuela Mandracchia is Beatrice and Francesca, while Fausto Cabra is Minos, Paolo, Ciacco and Pluto.
Nothing is addressed in "realistic" tones; the characters themselves are devoid of physiognomic data, mere carriers of verse and words.
"The focus will be on the linguistic fabric"-says Maccarinelli-"even before the allegorical one in order to allow an exhaustive listening of Dante's language, trying to overcome all semantic or lexical obstacles for a total understanding of the text read in its Commedia dimension, reminding us that for centuries Dante's word was handed down orally."
At the center is the first day of the journey in Inferno, in cantos I to VII of which Benedetto Croce wrote "one finds oneself in a forest that is not a forest, and one sees a hill that is not a hill and one aims at a sun that is not the sun and one encounters three beasts that are and are not three beasts." The visual dimension is an immersive experience curated from Fabiana Piccioli and Sander Loonen, with sounds by Franco Visioli, inspired by our contemporary informal and abstract artists that goes beyond illustrative stereotypes by marking the most relevant stages of the journey.
DIRECTION AND CARE.
Piero Maccarinelli
WITH
Massimo De Francovich, Luca Lazzareschi, Manuela Mandracchia, Fausto Cabra
DRESS
Giorgio Armani
SOUND
Franco Visioli
LIGHTS AND VIDEO.
Sander Loonen
IN COLLABORATION WITH
Fabiana Piccioli
MAX FOR LIVE PROGRAMMER
Andrea Spontoni
Spoleto Production Festival dei Due Mondi
Duration: 1 hour, 30 minutes
"First the litteral sentence and next to that its allegory i.e. the hidden truth."
From Dante's 13th letter to Cangrande della Scala
In the first day of Dante's journey in the Inferno, as Benedetto Croce put it, one finds oneself "in a forest that is not a forest, and one sees a hill that is not a hill, and one aims at a sun that is not the sun, and one encounters three beasts that are and are not three beasts." This dimension of perceiving and not perceiving is represented from two "paths," one visual and one aural, that accompany Dante's word of these first seven canticles that from sunrise to sunset constitute the first day of his journey. Obviously nothing realistic in the scenic realization, and then what realism would be possible in the face of the grandeur of this language? The main performers of the Dantesque word themselves, Dante, Virgil, Beatrice, Francesca, can only dress allusively and not temporally recognizable or traceable to iconographies-that is why the choice of the timeless elegance of Giorgio Armani's clothes-as well as the minor characters, Charon, Paolo, Ciacco, Minos, Cerberus and Pluto, are devoid of physiognomic data, but identified as mere carriers of verse and words. Attention is extreme to the linguistic datum even before the allegorical one in order to allow an exhaustive listening of Dante's language, trying to overcome all semantic or lexical obstacles for an understanding of the text, read in its "comedy" dimension, reminding us that for centuries Dante's word was handed down orally.
Luca Lazzareschi is Dante, Massimo De Francovich is Virgil, Manuela Mandracchia is Beatrice and Francesca, while Fausto Cabra is Minos, Paolo, Ciacco and Pluto conscious of "the litteral sentence and the hidden truth." The edition of the Divine Comedy is the one edited from Giorgio Inglese on the basis of the Petrocchi edition, which in its introduction writes "the holy week of 1300 - of which we face the first day - precisely symbolizes, summarizes in itself the "present" of a humanity that, deprived of its guides (the Empire is vacant, the papal throne is usurped), wanders in the dark forest of sin, submitting to the sad dominion of greed."
The installation is accompanied from a visual layout that, far from all the illustrative stereotypes of the Comedy and curated from Loonen-Piccioli, immerses in a visual frame in black and white with rare incursions into red inspired by the great informal and abstract artists our contemporaries, flanked from a sound fabric to curated by Franco Visioli to emphasize, or introduce or scan, the path of Dante and the most important stages of his journey. Eternal Dante in his complex and shining language only superficially obscure, actually foundational to our idiom.
Piero Maccarinelli
Following his studies at the acting school of the Piccolo Teatro in Milan and collaborations with Ermanno Olmi in cinema, Maurizio Scaparro in theater and with the Biennale di Venezia and the Teatro alla Scala, Maccarinelli began his career as to director at the age of 22. He has worked with important Italian actors including Maddalena and Giovanni Crippa, Massimo De Francovich, Johnny Dorelli, Rossella Falk, Massimo Ghini, Remo Girone, Anna Maria Guarnieri, Alessandro Haber, Francesca Inaudi, Marina Malfatti, Mariangela Melato, Giovanna Mezzogiorno, Valeria Moriconi, Umberto Orsini, Ugo Pagliai, Maria Paiato, Giuseppe Pambieri, Massimo Popolizio, Elisabetta Pozzi, Anna Proclemer, Stefania Sandrelli, Gianrico Tedeschi and Pamela Villoresi. His over one hundred performances fall mainly into three categories: Italian and foreign contemporary theatre, adaptations of classical texts, and tragedies by Euripides, six of which he staged at the Greek Theatre of Syracuse and the Olimpico in Vicenza. He has directed many shows with young graduates of the Silvio d'Amico Academy and the Experimental Film Centre, including Romanzo di Ferrara, Troilo > Cressida and Esposizione universale. He is to consultant for Mikado film and director of the Massenzio Literature Festival. He founded Artisti Riuniti in 2004 and, as the company's artistic director, realizes multidisciplinary projects exploring the intersections between theater, cinema and literature. He has received numerous prestigious awards.
After studying at the Silvio d'Amico National Academy of Dramatic Art, he made his theater debut with Vittorio Gassman in Jean Anouilh's Ornifle. Over the course of his long career, he worked with some of the most important names on the theatrical scene: Franco Zeffirelli, Edmo Fenoglio, Evi Maltagliati, Tino Buazzelli, Mila Vannucci, Lucia Catullo, Vittorio Sanipoli, Maria Fabbri, Carlo Bagno, Giancarlo Sepe, Giuseppe Patroni Griffi, Valeria Moriconi, Egisto Marcucci, Giancarlo Cobelli, Guido De Monticelli, Piero Maccarinelli, Carmelo Rifici, Serena Senigaglia, Furio Bordon, Giuliana Lojodice, Massimo Luconi, Luca Zingaretti, Piergiorgio Piccoli, Franco Branciaroli, Antonio Calenda, to name a few.
In 1990 he began his long artistic relationship with Luca Ronconi, first at Teatro Stabile di Torino, then at Teatro di Roma and finally at Piccolo di Milano. She participates to many of his plays including O'Neill's Strange Interlude, Kraus's The Last Days of Mankind, von Hofmannsthal's The Difficult Man, Shakespeare's King Lear, towards Peer Gynt from Ibsen, Dostoevsky's The Brothers Karamazov, Giordano Bruno's Candelaio, Marina Cvetaeva's Phoenix, Euripides' Bacchae, Thucydides' Memoriale from , Enzo Siciliano's Pericles and the Plague, Schnitzler's Professor Bernhardi, Goldoni's The Fan, Broch's Invented from Sane, Massini's Lehman Trilogy. For the big screen he starred in Pasolini, un delitto italiano by Marco Tullio Giordana, Le mani forti by Franco Bernini,Onorevoli detenuti by Giancarlo Planta, La vita altrui by Michele Sordillo, Il manoscritto del principe by Roberto Andò, La Grande bellezza by Paolo Sorrentino. In 2004 she was part of the cast of the film Ovunque sei accanto to Stefano Accorsi and Barbora Bobulova. Between 2008 and 2010 he played the Old Man in Romanzo criminale - La serie directed by Stefano Sollima, and in 2009 he starred in the drama Boris. Among his many awards are the Armando Curcio Prize in 1990, the UBU and Le Fenici Prizes in 1991, the E. Flaiano Prize and Nanni Moretti's Sacher d'oro in 1994, the Salvo Randone Prize in 2000, and in 2006 again the UBU Prize, the Italian Critics' Prize, the Veretium Prize in Borgio Verezzi, and the Olimpici del Teatro Prize. In 2019 he was awarded the Ennio Flaiano Lifetime Achievement Award.
A graduate of the Bottega Teatrale in Florence where he had as masters Orazio Costa Giovangigli, Vittorio Gassman and Giorgio Albertazzi, he has tackled a vast repertoire of classical and contemporary authors, both Italian and foreign, participating, to date, in more than sixty shows produced by major Italian public and private theaters. He has been directed among others from Vittorio Gassman, Luca Ronconi, Marco Tullio Giordana, Roberto Andò, Andrea De Rosa, Pietro Carriglio, Gabriele Lavia, Giuseppe Patroni Griffi, Mario Missiroli, Gianfranco De Bosio, Glauco Mauri, Piero Maccarinelli, Memè Perlini, Walter Pagliaro, Werner Schroeter, Saverio Marconi, Mauro Avogadro, Massimo Luconi, Cesare Lievi, Luca De Fusco, Leo Muscato, Antonio Calenda, Marco Sciaccaluga, Andreé Ruth Shammah, Pascal Rambert. Among the many roles he has played are Hamlet, Antony in Antony and Cleopatra, Macbeth, Herzen in Stoppard's The Shore of Utopia, Orestes in Euripides'Oresteia, Guglielmo from Baskerville in the stage reduction of The Name of the Rose, the Master in Testori's I promessi sposi alla prova. A multiple nominee for the Ubu and Olimpici/Le Maschere awards, he received the Randone Award in 1999, Theatre Critics Award in 2002, the Eschilo d'oro in 2008, the Danzuso Award in 2014, the Veretium Award in 2012, and the Franco Enriquez Award in 2018. From 2011 to 2015, he directed the Versiliana Festival.
Ensemble Micrologus
Lucia Calamaro
Accademia Nazionale
d'Arte Drammatica Silvio d'Amico
Massimo Recalcati
Accademia Nazionale
d'Arte Drammatica Silvio d'Amico