.webp){kind=logo}
Antonio Latella
Uffa che barba!
Accademia Nazionale d’Arte Drammatica Silvio d’Amico
The Festival dei Due Mondi continues to enhance and promote the talent of the younger generation through its collaboration with the Silvio d'Amico National Academy of Dramatic Art.
Antonio Latella, who last year signed the direction of Massimo Binazzi's Sacred Evil, returns this year as artistic supervisor of the project Uffa che barba ! which sees four young Italian directors involved in the staging of four plays: Spring Awakening by Franz Wedekind adapted and directed by Giovanni Ortoleva; Freaks freely adapted from Tod Browning's film of the same name directed by Federica Rosellini; When We Dead Awaken by Leonardo Manzan and Rocco Placidi directed by Leonardo Manzan; and Romeo and Juliet by William Shakespeare, directed by Paolo Costantini.
Silvio d'Amico National Academy of Dramatic Art
artistic supervision Antonio Latella
with the students of the Academic Level II Course in Acting Eva Cela, Pietro Giannini, Fabiola Leone, Irene Mantova, Riccardo Rampazzo, Daniele Valdemarin
29, 30 June
Spring Awakening
by Franz Wedekind
adaptation and direction Giovanni Ortoleva
July 3, 4
Freaks
loosely based on the film Freaks by Tod Browning
directed by Federica Rosellini
July 7, 8
When we dead people awaken
by Leonardo Manzan, Rocco Placidi
directed by Leonardo Manzan
July 12, 13
Romeo and Juliet
by William Shakespeare
directed by Paolo Costantini
Please be advised that dates and times may be subject to change.
See www.festivaldispoleto.com for updates.
"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.
Silvio d'Amico National Academy of Dramatic Art
Ouch what a beard!
Ouch what a beard!
Ouch what a beard!
Ouch what a beard!
#SIneNOmine
Luca Marinelli
Fabian Jung
Leonardo Lidi
Liv Ferracchiati, Alice Raffaelli
