From Six characters in search of an author by Luigi Pirandello

 dramaturgy and direction Roberto Latini

music and sound Gianluca Misiti 

lights and technique Max Mugnai

with PierGiuseppe Di Tanno

assistant director Alessandro Porcu

 produced by Fortebraccio Teatro

 in collaboration with Armunia Festival Costa degli Etruschi 

with the support of MiBACT e Regione Emilia-Romagna 

But don't you see that the whole trouble lies here? In words, words.

Each one of us has within him a whole world of things, each man of us his own special world. And how can we ever come to an understanding if I put in the words I utter the sense and value of things as I see them; while you who listen to me must inevitably translate them according to the conception of things each one of you has within himself. We think we understand each other, but we never really do.

(L. Pirandello, Six characters in search of an author)

We move from Goldoni and get back to Pirandello.

After Il teatro comico, preceded by Heiner Müller's Quartett, while we are ideally projected into the reflections that contemporary theater incorporates into its own journey, we inevitably end up standing in the theater's self-consciousness; in a theater that acknowledges itself, at the same time, the medium and the end.

In the awareness of the curtains rising, we feel that what we are inheriting from the twentieth century is shared by all curtains we have added to the plays, and to all the dynamics and stage actions that we define as contemporary theater.

We present a new stage of this journey, in a work spinning off Six characters in search of an author and with the sensitivity of a single actor on stage: PierGiuseppe Di Tanno, whom I already chose among almost 500 young candidates for an organized workshop/production last spring at the Orizzonti Festival in Chiusi.

That project shipwrecked because of the dangerous optimism of the artistic director and the distressing unconsciousness of the local administrators.

PierGiuseppe was the first one I chose, along with 7 others to whom I ideally dedicate the entire work phase, that was suspended mid-air and that was violently interrupted.

I am very happy, artistically and therefore politically, of this occasion, the latter can certainly not replace the denied future of the previous attempt, but I’m confident that it can welcome us back to the suspended present.

We do this attempting a dramaturgy in the form of stage writing, delving into the meta-theatrical condition of the six pirandellian characters, and meeting them in the epiphanic mania that brings them on stage.

The claim, the urgency, along with the reluctance to go on stage, are the conditions around and from which I feel I want to start. We already know that, that much we’ll try to fix and hold, lies in the lightness of little and nothing.

This is really what motivates me.

R. L.