(of mutated forms in new bodies)

from Ovidio

adaptation and direction Roberto Latini


music and sounds Gianluca Misiti

lights Max Mugnai

costumes Marion D’Amburgo


with Sebastian Barbalan, Alessandra Cristiani, Claudia Della Gatta, Ilaria Drago, Esklan Art's Factory, Giancarlo Ilari, Roberto Latini, Savino Paparella, Francesco Pennacchia, Pietro Piva, Carlo Vicari, Paola Zaramella


technical drection Max Mugnai

organization Nicole Arbelli

video Mario Pantoni

photo Futura Tittaferrante


produced by Fortebraccio Teatro, Festival Orizzonti . Fondazione Orizzonti d’Arte

with the support of Armunia Festival Costa degli Etruschi

I think of Ovid's Metamorphoses as a valuable vocabulary made of images.

This is the reference text for all the modern and contemporary literature.

I want to try to interpret theatrically the language, the structure and its episodes. I want to try the opportunity not to stage these Myths, but "to translate", in the common etymology of betraying and tradition, what some Myths seem to cherish for the contemporary. The concepts and possible drifts from each episode described by Ovid, allow me to imagine and build theatrical materials retaining structures and references; at the same time, they allow me to try a different route every time in the installation of the selected episodes. Put our sense perception in connection with the concepts expressed there, could give me the chance to try to build a syntax for the contemporary in grammars of content, structure and form.

The concept of Metamorphosis is really so important for contemporary that even the Theater that we are - and that we become together - could be explained through the attempts to clarify, retain and accommodate this concept. It 's like if "metamorphosis" was a key to the genera and also for the possible interpretation of the research process. I will not try to define, but I want to work on the metamorphosis of the theatrical language, on its demands, its limitations and the ability to say beyond the obvious.


The vastness of the Ovid’s Opera is such that there can be no choice other than to divide by episodes the structure of the proposal.

The succession narrative contained in The Metamorphoses goes from the creation of the universe to the death of Caesar: from Chaos to the end of a World, of a Time, all the Ovid’s effort seems to me to put order in the middle.

The narrative of the Myths seem to have definitely this constant subtext, this aspiration.

I want to give it up right away, do not put in order, in any order, also not to risk the coercion of any philological route, rather try to free further, to open and multiply, to stay in a mobile dramaturgy and try a moving playwriting that can transform the elusiveness in the acceptance of a open and mobile concept.


To contrast the narrative or the narrative sequence and to go like between frames or rooms suddenly added to the flashes of thought.

The final product must be able, from time to time, to transform and develop for mounting, sense and ability to surpass. The different Myths, selected, distilled and overwritten must preserved and articulated themselves in the tension towards possible multiplications of sense.


I think it is essential that the artistic thought lies in the right attitude.

The Metamorphoses seem to me, for what in recent years has become our path, the more attractive opportunity, for proximity, stimulus and distractions of the border.


R. L.