Tutto Brucia


idea and direction Daniela Nicolò and Enrico Casagrande

with Silvia Calderoni, Stefania Tansini and R.Y.F. (Francesca Morello) on songs and live music

lyrics Ilenia Caleo and R.Y.F. (Francesca Morello)

dramaturgical research Ilenia Caleo

text editing and subtitles Daniela Nicolò

translations Marta Lovato

technical direction and lights Simona Gallo and Theo Longuemare

lighting design Simona Gallo

soundscapes Demetrio Cecchitelli

live sound design Enrico Casagrande

sound engineering Martina Ciavatta

technical assistance Francesco Zanuccoli

props and scene sculptures _vvxxii

video and graphics Vladimir Bertozzi 

production Francesca Raimondi

organization and logistics Shaila Chenet

communication Isabella Cruciani with Ilaria Depari

press office comunicattive.it

international diffusion Lisa Gilardino

production Motus and Teatro di Roma – Teatro Nazionale with Kunstencentrum VIERNULVIER (BE)

supported by the Residency centres: L’arboreto – Teatro Dimora | La Corte Ospitale ::: Centro di Residenza Emilia-Romagna and Santarcangelo dei Teatri

in collaboration with AMAT and Comune di Fabriano within the frame of MarcheinVita. Lo spettacolo dal vivo per la rinascita dal sisma” project by Mibact and Regione Marche coordinated by Consorzio Marche Spettacolo

with the support of MiC, Regione Emilia-Romagna

thanks to HĒI black fashion, Gruppo IVAS

©Vladimir Bertozzi

I mourn for the sons who died in war
For the women made slaves
For the lost freedom
Oh beloved creatures, come back, come, come and take us away!

Silvia/Hecuba whispers these words interwoven with the music and lyrics by R.Y.F. (Francesca Morello), Stefania rips the air with a heavy knife and a peasant sickle, as in the southern European collective rites of condolence that have disappeared. Perhaps this image is enough to enter Tutto Brucia, a rewriting of Euripides’ Trojan Women – through the words of J.-P. Sartre, Judith Butler, Ernesto De Martino, Edoardo Viveiros de Castro, NoViolet Bulawayo, Donna Haraway. The lament spreads through that black Mediterranean which – then as now – is the scene of conquests of colonial Europe, of migrations and diasporas. Among the ruins of an empty and distorted space, covered by ashes and corpses of sea monsters, where everything has already happened, the question of radical vulnerability emerges. The broken body of Hecuba, the prophetic word of Cassandra, who sees beyond the end, the spectral cry of Polyxena, the invocation to the dead of Andromache, the violence suffered by Helen and finally the most fragile and helpless body, that of the child, Astianatte – give voice to the most exposed and vulnerable subjects. And to the spectres that besiege them/us.
Never more than now does mourning appear to us as a political issue.

Which lives matter? What makes a life grief-worthy?

It is through pain that the protagonists in the tragic scene are materially transformed – they become other than themselves: bitch, stone or running water, processing the violence suffered. A metamorphosis that opens to other possible forms.
And writes the world to come. For the end of the world is but the end of a world.

Duration 70′

©Vladimir Bertozzi

©Vladimir Bertozzi

©Vladimir Bertozzi

©Claudia Pajewski / Short Theatre

©Claudia Pajewski / Short Theatre

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