taken from the book by Pietro Grasso Liberi tutti
by Francesco Niccolini and Margherita Rubino
with Turi Moricca
director Alessio Pizzech
stage design Giacomo Tringali
costumes Cristina Da Rold
music Dario Arcidiacono
lighting Luigi Ascione
video intervention
Giacomo Verdeoriginal songs Carlo Muratori
choir Discantus directed by M° Salvo Sampieri
graphic Andrea Castiglionestill photos Tommaso Le Pera
stage manager Michele Borghini
electrician
Stefano Sebastianelli
seamstress Sabrina Solimando
sound
Alessio Pasquazi
production assistant
Fiorella Guariniorganization Santi Lo Monaco - Franco Fabbri
production executive Tiziano Pelanda
press office Giuseppe Bambagini
playbill photo Roberto Ferrantini
stagecraft Spazio Scenico s.r.l.
electrical materials Gianchi s.r.l.
tailoring shop Emilia Scaccia
finishing Silvia Guidoni
logistics Fausto Garau
the suit of Mr Sebastiano Lo Monaco is made by Battistoni
production SiciliaTeatro and Teatro Tina Di Lorenzo – Noto
Liberi tutti by Pietro Grasso is edited by Sperling & Kupfer S.p.A.
Following the significant experience of Per non morire di mafia,
taken from the homonymous book, which after the successful début in
Spoleto was present on Italian stages for two seasons, Dopo il Silenzio
comes to life at the Festival of Spoleto 2013. A new theatrical
adventure, an autonomous writing which is the result of the
collaboration between a figure like Pietro Grasso and one of the most
interesting Italian playwrights, Francesco Niccolini. Furthermore, this
is a text which sees the light in a political and social scenario that
compared to two years ago, is more and more constantly disorienting and
where everything is devoured with amazing speed: from cultural contents,
to the information in scientific and technological fields.
Faced
with so much mass media speed, so much screaming, so much emotional and
material distress which crushes the citizens of our beloved and wounded
country, the theater can often be a story-bearer, creating the
conditions for learning and therefore being able to decide on one’s own
social and private destiny.
This is why it seemed important to
accept the invitation of Sebastiano Lo Monaco and Margherita Rubino,
inexhaustible source of energy and architect of the project, to continue
a theatrical journey artistically together so as to carry on an
organized line of reasoning around the words and thoughts of Pietro
Grasso.
In this case, the stage is the venue of History, a
collective history which crosses the little personal adventures of each
of us and can therefore contain the basis of a possible national
re-orientation.
From this point of view, even in
Dopo il Silenzio the theatrical word becomes an instrument of inquiry
into the History of a country, Italy, which coincides, sometimes
collides,diverges and then finds contact points with the history of the
Mafia with its political-economic connections, with its overturned
values which have joined with the barbarization of costumes and public
life.
This of course represents the narrative theme of the new
show, just like in the first one, but this time it goes beyond Grasso’s
individual and autobiographical experience, placing elements of a
scenic tale which, not being reduced to a dimension of chronicle or
protest, seems to go towards forms of ancient Tragedy dealing with the
great issues of the conscience struggling with Justice and death as the
extreme horizon.
Grasso’s writing and Niccolini’s dramaturgy
projects us into a communicative need which solicits, rouses curiosity
and allows the spectator to pay profound attention to human experience
with all its contradictions and with the necessary ability of
understanding and the suspension of judgment.
Theatre which
has always been a source of spiritual salvation and mirror of the
community, allows us to travel among the images, the memories, the
fragments of an entirety that has broken up among the threats, bombs and
death brought into the public squares.
The generations and
the dialogue between them, becomes the axis around which the scenic
writing of Dopo il Silenzio revolves. Pietro Grasso has given himself
the duty to pass on history, make it known to young people. The image is
that of a Silence that talks, as opposed to a conspiracy of silence
which we want to erase and thus build our future on that "After".
This
show is therefore a fiery and vibrant dialogue, which interposes two
generations, two completely opposite ways of reading life.
The
destiny of this teenager and man meets to pry into their conscience, in
a waiting place, in a purgatory of the soul, in a condition out of time
and space where the events of great history find their way. On the edge
of time that is running out, the teenager and man make an inner journey
which is a conscious
re-discussion of the reasons for one’s life, the choices which have been lived more or less ethically.
Those
two very different men, compare their lives face to face starting with
the Mafia as a phenomenon external to itself, to finish with a
definition of Mafia as an interior condition of man, as a reaction to
social problems, as a wrong answer to unexpressed needs, as a product of
a Silence that is an accomplice; a Mafia which arises within each of us
when the dialogue with our own values is not open and sincere.
In
that place, which seemed to be there forever, a public man, who has
always fought for his ideas, for justice, who has crossed the last
thirty years of Italian history, with his disillusions and defeats but
also hopes and victories, is waiting for that teenager’s arrival. A man
who brings history with him, the dramatic history of this second
republic, a man who has always faced his choices courageously and
honestly, and with the same coherence confronts the teenager who asks,
demands and judges. A teenager who does not know that history if not
across television, a teenager who has sold himself and his freedom, a
teenager with no words to build his own future. In front of him, the
adult man feels his duty is to bring his words, his thoughts, his
experiences so that all of this becomes a shared heritage.
Between
those two men of diverse ages and experiences, there is a progressive
creation of an understanding, an ideal embrace, an ethical and moral
reuniting that can symbolically found a more civil Nation, capable of a
moral revolt and of saying "Not us!"
In the face of the
sacredness of death, of the limit that even the ancient Greek tragedy
marked as the turning point and transformation of man, the mutual pietas
finds a gesture with which to be fulfilled and that ethical dimension
of political action becomes understanding of the other, listening to the
other and concrete act.
The teenager and the man are our two
faces: the awareness of deterioration, the perception of its deep root,
where the Mafia is only the most immediately readable point and on the
other hand we find the unconsciousness of not knowing, of not wanting to
understand and not wanting to read the reality that surrounds us with
new insight.
Between those two men, in that metaphysical space
of remembrance, in that sort of mind archive, made up of faces, names,
places, there is a woman, a female thought that lays the hope of
transformation and imposes knowledge and learning as roads to the
future.
The emergence of a female figure who stands alongside
the man as educator, yet ethically turned towards the teenager, seems to
me the important aspect of this new theatrical story. In this text,
therefore, we want to talk about a collective History of men but also of
women who have lived important choices naturally, that have borne deep
grief but with that capacity of hospitality that women bring with them,
they have overcome important and decisive trials.
In short,
that woman influences the unfolding of the dialogue between the two and
when she intervenes it is to bring a "wind" that opens the windows, open
the doors wide to let out the truth and honesty which exists in every
action that could save a young person! That woman embodies the future,
the possibility of a transformation, a new possible dawn for the
destroyed and torn apart city.
That woman substitutes the
culture of blood with the culture of love, and like the ancient Trojan
women defends those family values deposited in the secret of married
life.
That man and that woman, with the boy beside them, with
their faces touched by the wind, can finally celebrate those who are no
longer present, those who have lost their lives to defend and build the
democracy and so kneel down on the earth and feel the warmth of the sun.
Alessio Pizzech