with
Marco Barbieri, Novella Broccoli, Francesca Giardullo, Iuri Monti,
Martina Olley, Alessandro Pieri, Francesca Quercioli, Stefania Zavalloni
music
Luigi Ceccarelli, Pink Floyd, David Remedios, Christo Todorov
choreography
Rosita Di Firma
technicians
Matteo Biondi e Nadia Vitali
digital animation
Claudia Cagneschi e Antonio Stincheddu
adaptation and direction:
Fabiola Crudeli e Walter Valeri
Scenografia
Fabiola Crudeli
Sponsorship
Diocese of Cesena – Sarsina and District of Todi |
The performance is freely taken from the "Laudi" by Jacopone from Todi (1230-1306) and the "Detto d'amore" and "Il Fiore" by Dante
Alighieri. A staging of high cultural importance which put in direct contact with an archaic obsolte language both for the actors of Fuori Scena Theatre
Company and for the audience, combining secular music and liturgical canto, reinterpretating an emotial sentitivity and a general vision of the
world and of the piety of the laudi.
The project Donna de Paradiso was developed and articulated in
different stages: the first step was the meeting with Walter Valeri and the
Cantiere Internazionale Giovani in Forlì, which provided the first opportunity
to go through the Laudi by Jacopone from Todi together with Il Fiore by Dante Alighieri and start working on them.
The aim was to bring those Laudi alive, which in themselevs are
difficult to understand given that they are written in ancient Umbrian dialect. While bringing the text closer to current Italian assonance an attempt was
made to maintain the fascination of its 13th century verse. The directing aimes giving a strong expressive power to words through an integration of
text, choreography, music and scenography. The choice of reducing scenery, stems from the fact that the first aim is to evoke images and not to show
what is told. These images have to blossom inside the spectator's mind,
thanks to the suggestive power of the word expressed by the actor. Few objects transform to assume other symbolic functions for the prosecution on
stage with the poetic work. This essential scenery stimulates the audience
with great emotion, from the opening of the curtain when a huge backdrop
made up of hundreds of x-rays is lit up: it reminds us of an ancient internal suffrance infinitely multiplied. A staging that wants to interact with
the different languages of the theatre in communicative ways, from the traditional 'recited word' to the more contemporary '
digital projections'.
Of this text, so painfully human, we wanted to keep the religious
sense: a double thread which links the man to the divine, in a relation of
mutual need.
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