Miss Julia

"There will come, however, perhaps a day when we shall be so advanced, so enlightened, from to be able to observe with indifference the brutal, cynical, cruel spectacle that existence proposes to us. Then we shall have defused the inferior and unreliable instruments of thought called feelings, which have become superfluous and harmful to the maturation of the instrument of judgment." August Strindberg - Preface

"When space is too small you make love to whoever is there, to the last man on earth, you contend with the other woman, you try to seduce him knowing already that in a few moments you will hate him. When space is too small if someone rises above our heads we feel like that is the God, a giant Count ready to to trample us microbes with his boots made of mud, in a sadistic tip-tap.

Clean space gets dirty with our bodies.

The corner of a room in a house in a province, suffocating, a micro world where no one chooses anything and one enters the body of the other to occupy as little space as possible. I continue my research on the self-imposed boundaries of my generation, after Spectres, Glass Zoo, House of Bernarda Alba, The Dead City, Phaedra aware that the concept of lockdown now questions the viewer daily about the physical and mental limits of our existence.

Miss Julia is considered the progenitor of the European movement called "naturalism," and August Strindberg, edgy and violent, in Italy often suffers from the simplification of truth. While it is true that Strindberg'sopera is part of Zola's new formula "make true, make great and make simple," one should not forget the great inconsistencies, the inability of the normal, and the enormous theatrical stature of the immoral Swedish playwright. Three orphans live a space where it is impossible not to bend to time, where life is more strenuous than work, in a hostile home from where we would all like to escape. In the span of one night we figure out how to manage this waiting, before the end, trying to dance, sing and lose ourselves in oblivion so as not to hear the sound of silence; if in the macabre waiting of The End of the Game or Waiting for Godot it is the dead and the wanderers to who have to manage the nothingness, in Strindberg it is the children to who have to suffer the impossibility of the future. In the fright of tomorrow the only stupid solution is that of the massacre game, intellectual cannibalism. Deception. The Theater. Julie: Great Jean! You should be an actor."

Leonardo Lidi