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Uffa che barba!
Romeo e Giulietta
Romeo and Juliet is, before it is a love story, before it is the text of the great poem or the best-known play to the public that Shakespeare left behind, a'opera about desire. All the characters are driven from a burning desire as the foundation of their relationship with others and the outside world, and at the same time they are victims of it. The protagonist of this drama is the new generation, not only Romeo and Juliet, but also Benvolio, Tybalt, Rosaline and Mercutio. The oppressive system in which the youngsters are crushed is foreign to them, it is the world of adults; a world built in the past, a cage that imprisons both Montagues and Capulets, a limiting and violent system that creates new violence, in a cycle from which there is no escape.
The image of a world of only boys, confronting gigantic issues, has in it something both bleak and liberating at the same time. Thus the work finds itself in a liminal situation, between tragedy and comedy, between the performative act and the poetry of writing, between idealization and love. The relationship between the word and the body is of extreme importance in Romeo and Juliet. If in the beginning word and poetry are the characters' possibilities of expression and determine a mode of love narrative, at a later stage there is a rediscovery of corporeality that becomes totalizing. Juliet says, "What's in the name? Give up your name, Romeo, and for the name, which is no part of you, take myself." The word is deceiving, the senses instead become the way to connect with the world and thus discover its truth.
Romeo and Juliet is an attempt to bring to life the desire of the senses that in clashing with reality shatters and becomes tragedy. It is the world of young people trying to find possibility and meaning within codes and conventions that do not belong to them. It is the flame of a candle closed in a glass that keeps to wanting to burn despite the fact that the oxygen is running out and that inevitably, like the boys' story, will end up suffocating but that, until the last second, illuminates and warms the world around with its passion.
Paul Costantini
ROMEO AND JULIET
from William Shakespeare
artistic supervision by Antonio Latella
dramaturgy Linda Dalisi and Paolo Costantini
directed by Paolo Costantini
With Eva Cela, Fabiola Leone, Irene Mantova, Pietro Giannini, Riccardo Rampazzo, Daniele Valdemarin
scenes Giuseppe Stellato
lights Simone De Angelis
costumes Graziella Pepe
sound design Riccardo Marsili
Sandro Maria Campagna movements
assistant director Fabio Carta
INFORMATION
The show includes nude scenes and loud music
"Ugh, what a beard! Oof, what a bore!"
With this phrase the episodes of Casa Vianello, the TV sit-com starring Sandra Mondaini and Raimondo Vianello, ended; after a day peppered from with rocambolic episodes, misunderstandings, and comical quarrels, the couple wished each other good night with this phrase uttered by Mondaini, which became almost a slogan capable of entering the jargon of Italians. A phrase we now naturally associate to with something boring, repetitive; kids often use it when called upon by adults to to do something they would not like to do, such as studying. For adults, perhaps, it has instead become a kind of sentence from applied to politics, when it keeps to re-proposing to us the same scenario as always without any novelty or even hope. It is a funny phrase that helps us to downplay, to sometimes, the miseries of life, the nonsense of everyday life.
It is possible that continuing studies after a three-year academy, extending them for two more years, could be a path from dismissed with a peremptory "Ugh, what a beard!" Yet the sought-after, chosen and desired study, which further enhances our knowledge base, can truly prepare us for the test of work. Titling a two-year term "Ugh, what a beard!" is not meant to be a provocation, but a theme on which to orient two years of study, comparison and verification; two years dedicated to the theme of "beard" declined in all its variants: boredom, of course, but also the endless beards that populate theatrical or literary texts, fairy tales, the beards of real-life characters or those of the protagonists of the seventh art. An ironic phrase, then, that can accompany us by offering the possibility of investigating multiple languages and multiple worlds of artistic expression.
Antonio Latella
A director, playwright and pedagogue of European renown, he has lived to Berlin since 2004. He studied acting at the Teatro Stabile school in Turin directed from Franco Passatore and the Bottega Teatrale in Florence founded from Vittorio Gassman. But it is his work as a director, which he began in 1998, to give him national and European fame, taking his shows to the top theaters and international festivals. His career from director gives him countless awards including: in 2001 the Ubu Award for the Shakespeare Project and Beyond; in 2005 the National Award of the Association of Theatre Critics for La cena de le ceneri, best play of the year; in 2007 the Ubu Award for Studio su Medea best play of the year; in 2012 the Hystrio Award for directing; also in 2012 the Ubu Award for best direction for Un streetcar che si chiama desiderio; in 2013 the Ubu Prize for best direction with Francamente me ne infischio; in 2014 he is a finalist for the Nestroy Prize in Vienna for Die Wohlgesinnten; in 2015 he wins the Premio le Maschere del Teatro for Natale in casa Cupiello; in 2016 the Ubu Prize for Santa Estasi, best play of the year; in 2019 the Ubu Prize for Aminta; in 2021 the Ubu Prize for Hamlet, play of the year. He is the first Italian-trained director and author to be selected for the Berliner Festspiele's Theatertreffen, selection of the ten best German-language shows in 2020. In 2011 he founded his company "stabilemobile." The Venice Biennale chaired from Paolo Baratta appointed him director of the Theater sector for the four-year period 2017/2020. Since 2010, he has been a lecturer and pedagogue at the most important Italian Theater Schools: the Accademia d'Arte Drammatica Silvio d'Amico in Rome, Teatro Stabile in Turin, Piccolo Teatro in Milan, and Scuola Civica Paolo Grassi in Milan.
Paolo Costantini, born in 1996 to Rome, attended and graduated in 2018 as a director at the National Academy of Dramatic Arts "Silvio d'Amico," presenting On the Black Lake by Dea Loher. Following graduation she joined to join and has been working since 2018 in the Interkulturelles Theaterzentrum Berlin, a partner of the European project Fabulamundi. to Berlin she is assistant director of several shows and stages in German Kratzen by T. Slijvar and Personalien by G. Watkins. Meanwhile, he collaborates with the Barletti/Waas company on authors such as P. Handke and H. Achternbusch, in bilingual performances. From the beginning of 2020 he follows as assistant director Antonio Latella on various projects, including La valle dell'Eden by J. Steinbeck and Hamlet, winner of the Ubu 20/2021 prize, and Circus Don Quixote. In the summer of 2020 he is called as assistant director from Franco Visioli, Golden Lion at the Venice Biennale, for Ultima Latet.
In the same year he wins the Venice Biennale's Directors Under 30 competition with Uno Sguardo Estraneo, freely inspired by Herta Müller's literaryopera , which then debuts in 2021 within the Festival. In 2022 he began a collaboration with Giacomo Bisordi, resident dramaturg to NTGent, working as assistant director for Peng by M.Von Mayenbourg. He then works as assistant to Linda Dalisi for Bee Riot, which debuts at Campania Teatro Festival, and with Andrea de Rosa for Oedipus Rex.
In the summer of 2022, Costantini is selected along with 7 other artists for the Santarcangelo Festival's "The Fund" project, aimed to at supporting artistic research. He participates during the fall of 2022 in the Directors Lab Mediterranean in Beirut, an international filmmaking workshop held to Beirut, meeting directors from from all over the world. He returns in the winter in 2023 to working within the ITZ to Berlin, where he curates the artistic direction of the "Hannah Arendt is back!" festival, in which he directs the site-specific Landschaft mit Statistikern, based on interviews with former employees of the GDR statistics house. In 2023 Costantini won the "Silvio d'amico award for directing and debuted at the Romaeuropa Festival with Ho molto peccato : I. I SPEAK.
Antonio Latella
Ouch what a beard!
Ouch what a beard!
Ouch what a beard!
Silvio d'Amico National Academy of Dramatic Art
#SIneNOmine
Liv Ferracchiati, Alice Raffaelli
Alessandro Baricco
Isabelle Adjani
