Berlin, 9th november 1989. This is the beginning. With the name of a town, a date and an alarm clock ringing. Even the sun was separated that morning, cut off by the wall in Monbijou Platz. In both two parts of the square peaple wake up, bodies starts their daily rituals.
On the western side, brother and sister leave their house and separate them: gum gestures and clown’s face for him, mechanical gestures and aseptic glance for her. The man that survives as street entertainer, the woman that goes on working in a fast food. Not much money, forced to live together, two loneliness inside a small flat. On the east side, a woman is walking on a roof, envoleped in her raincoat and in her thoughts, she has a twenty meters precipice in front of her and a crazy desire to jump down; an angel, invisible and incorporeal, stops her immediately before the jump, giving her a love letter never mailed, written by a man run away over the wall.
Monbijou develops from these premeses, following and reconstructing its protagonists stories, paralleling them, extracting them from quotidian and putting them in the exceptionality of an historical, fundamental day: the day when the wall fell down. Four actors and a street entertainer (real) give life to 5 personages deeply different one from the other, whose souls are brought on the scene through the power of the gesture, without the need of words.
Project, scene setting and direction by Lucia Falco – Suggestions assistance by Marcello Serafino – With: Giovanna Ducco, Lucia Falco, Jurij Longhi, Maresa Pagura e Marcello Serafino – Archives Material Research by Lucia Falco and Marcello Serafino – Light Engineers: Luca Baraldo and Federico Ghironi – Sound Engineer: Federico Ghironi
Experimental performance dedicated to Giordano Bruno. Giordano Bruno (1548 – February 17, 1600), born Filippo Bruno, was an Italian Dominican friar, philosopher, mathematician and astronomer, who is best known as a proponent of the infinity of the universe. His cosmological theories went beyond the Copernican model in identifying the Sun as just one of an infinite number of independently moving heavenly bodies: he is the first man to have conceptualized the universe as a continuum where the stars we see at night are identical in nature to the Sun. He was burned at the stake by authorities in 1600 after the Roman Inquisition found him guilty of heresy. After his death he gained considerable fame; in the 19th and early 20th centuries, commentators focusing on his astronomical beliefs regarded him as a martyr for free thought and modern scientific ideas.
Project, text and direction by Lucia Falco. Suggestions assistance by Marcello Serafino. With Marcello Serafino, Giovanna Ducco and Lucia Falco. Light design by Marco Ferrero. Sound by Federico Ghironi.
It’s been 21 years since I put on stage for the first time Hamlet Machine. During that time the text by Heiner Muller, I was never left. And ‘left over, like a painting waiting to be finished, a creature that demands light, color and shape. Some months ago I felt I was ready to resume in hand and so I put on paper the new ideas, I tried the actors and together we started to create space, to carve time. The text is rather remained intact, undamaged, in all its power.
My first requirement was to contextualize the work, lowering it in our time. The strong torment experienced by the male protagonist has put me in the position of having to find a new and different original cause, a trigger event and tangible, to act as a reflection of our times. So I decided to drop the madness of this man in the dramatic reality of war. My second requirement was that instead of providing a listener to the player whose turn a passive presence, and yet with great force, with which to divide the scene. I saw immediately that there had to be female, better if ambiguous, preferably held hostage. My third requirement was to enclose the whole thing in one place. I opted for a motel room, as a typical example of a place-no place: I thought the electric light reflected on the walls, the sense of impermanence that permeates every corner, the television always on and tuned to any channel, because the vacuum to be filled is immense.
It ‘a cinematic adaptation strongly suggest that today in this new version of Hamlet Machine meeting feeling very similar to the ones I tried watching movies like Paris, Texas, and Thelma & Louise. The interpreter in this version of Hamlet becomes a soldier about to leave for the front. The war, the idea of death, the uncertainty of return are powerful feelings, that transfigure the man, making him return to his past when reciting Hamlet still dreaming of a future as an actor. The man is locked in the room at the Motel, waiting for dawn, waiting to board a plane that will take him to the front. There is a prostitute with him. It ‘s bound, sitting in a corner, hanging on the hope of escape. The man with the gun and the woman trapped seem distant from each other, sometimes distant, yet are both neighbors as hostages the same sense of loneliness. Ophelia, Polonius and the King become visions that cross the room, appearances which man speaks, dances and fights, watched ice age of the prostitute in a trap. In this scene there is a restrained sensuality, yet palpable, that tinge of red on yellow crazy. A constant motion that develops in the uniqueness of the closed space. And a tension that vibrates, sometimes exploding in pure physical energy, sometimes assuming the form of dreams.
Original text by Heiner Muller. Project, design and direction by Lucia Falco. Suggestions assistance by Marcello Serafino. With Jurij Longhi, Lucia Falco and Marcello Serafino. Light and sound by Federico Ghironi
VOCI D’ASFALTO (Asphalt Voices)
I wanted to talk about prostitution, but how could I do it? Difficult, dangerous, extremely delicate. A complex subject, with thousands facetings, difficult to get on with, that force you to face with different situations, far from you. Realities very hard to judge. Or too easy. Because the risk of becoming trivial hides itself in the temptation of judging. The danger to feel beyond, to consider us in the position of saying our opinion, with the great hazard to loose sight of the real protagonists of the story. It was therefore necessary moving with caution, with the greatest tact, little by little. It was necessary opening our ears… (Lucia Falco)
Project, arrangement and direction by Lucia Falco. Co-direction by Violetta Spataro e Gloria Sobrito. With Lucia Falco. In collaboration with GRUPPO ABELE, TAMPEP ASSOCIATION AND AMNESTY INTERNATIONAL
NIENTE PIU’ NIENTE AL MONDO (Nothing more in the world)
Taken from original monologue by Massimo Carlotto, Nothing more than anything in the world is a story fell in the loneliness and the cultural poverty of the outskirts of Turin, where desire of a mother collide with the daughter’s rebellion in a drama where ordinary life is opposed to research of a freedom beyond stereotypes.
Directed by Lucia Falco. With Giovanna Ducco. Light-design by Federico Ghironi
RACCONTI DI MEZZA ESTATE (Mid Summer’s Tales)
Six women, six actresses at the first experience, telling their stories: daylife fragments captured from the NO TAV Resistance Movement in Val di Susa (North West Italy), during the summer of 2011. The smell of tear gas, the prayers in front of the human barrier of police, the work in the kitchen during the fight , the peaceful but determined voice of those who do not want to bend their heads in front of the devastating logic of a progress that subtracts, instead of giving .
Project and direction by Lucia Falco. With Tiziana Pasquero, Maura Robba, Claudia Castagno, Stefania Cappa, Maria Luisa Bonacina, Giusy Mura, Marcello Serafino, Lucia Falco. Sound and light by Federico Ghironi