Fugue in Me Minore (photo by Daniele Mantovani)
Launched in 2020 right in the middle of the pandemic crisis, the Teatro Nucleo Season continues to bring important theater and music projects to the outskirts of Ferrara, affirming the Cortazar Theater as an indispensable cultural center for the neighborhood but also as important because the theater is the Polis and the polis is open, in constant transformation, and always advances like life.
The 2022/2023 season opens with six theatrical events also in collaboration with local schools. To facilitate the participation of those arriving from the center of Ferrara or who have to reach us from the train station, we have chosen to present the shows before dinner. Admission is free offer for all evenings.
S.i starts on November 3-4-5, at 7 pm with “Fuga in Me Minore”, monologue produced by Teatro Nucleo written by Veronica Ragusa and Marco Luciano, on stage Veronica Ragusa, costumes by Maria Ziosi. The courageous and crumbling love story between Arthur Rimbaud and Paul Verlaine, was the pretext narrative for the creation of this solo. A controversial, scandalous, wrong, sublime, violent story, full of selfishness and emotional greed, paved with unwritten verses, as bright as children’s play. The story of a love on the run, or the escape from a love. Just as in the Pianist’s Fugue the two hands chase each other relentlessly, the two poets chase each other and flee in a spiral internal and external to themselves, in a vortex that seems to magnify as under a magnifying glass the contrasting feelings, fears, the smiles and miseries that inhabit each of us.
On Sunday 6 November at 6 pm it will be staged “La Vedova Scalza” by Theandric Non Violent Theater, Cagliari Based on the novel “La vedova bareza” by Salvatore Niffoi, directed by Maria Virginia Siriu with Carla Orrù, Fabrizio Congia, Andrea Vargiu. The masks are by Marilena Pitturru and the music by Menhir. The costumes of Marilena Pitturru, Salvatore Aresu. The show was selected by the prestigious Festival In Scena! New York in 2020. We are in Barbagia in the 1930s. In Laranei and Taculè, life always flows the same, in the shadow of the mayor and tradition. Violence is everywhere: in the fascist excessive power, in the oppression of the police, in the habits that fossilize individuals in prescribed roles and commanded actions. Being a woman only means praying, procreating and working in the fields. There seems to be no escape. The young Mintonia, however, is different. She studies self-taught, reads Grazia Deledda, Lev Tolstoj, she does not resign herself to enduring life. The themes (love, death, revenge) and the chorus of village voices that inhabit Niffoi’s novel are those of classical tragedy. The language is essential and, although rooted in the local reality of two small Barbagia towns, it speaks to the minds and hearts of universal values.
Friday 1 December at 7 pm it will be the turn of “Piccola Orchestra Pasolini”, produced by Teatro Nucleo Direction and dramaturgy Teatro Nucleo. On stage Natasha Czertok, Marco Luciano, Veronica Ragusa, Nicolò Antioco Ximenes. Musical Arrangements Stefano Galassi. The Piccola Orchestra Pasolini is a tribute to the figure and works of Pier Paolo Pasolini, as an intellectual and revolutionary artist, determined to communicate, to confront and spread his ideas everywhere and with anyone. A transversal phenomenon, which affected both the academic environment and the peasants of southern Italy in the 1960s and beyond. Pasolini is capable of crossing generational, political and temporal barriers. To commemorate the salient moments of Pasolini’s life and career – poet, director, author, playwright and much more – we have chosen to celebrate his ardor, passion, love with a musical cabaret, a concert-show in which alternating moments of lashing poetic force and ironic premonitions, jokes from Roman taverns, square glasses and black moccasins, accompanied by more or less well-known soundtracks from films and music by PPP. The lyrics and music are freely inspired by some of Pasolini’s most significant works in terms of direct involvement of the public: Comizi d’amore, the songs written for Laura Betti and Gabriella Ferri, the poems written throughout his life .
Thursday 15 December at 10 am and 2.30 pm the first studio of the new children’s theater production (but also suitable for an adult audience). A show by Teatro Nucleo with the support of the Ministry of Culture with Natasha Czertok, Martina Mastroviti, Lisa Bonini directed by Natasha Czertok. Puppet and masks by Alessandra Faienza. Scenes and costumes Teatro Nucleo with Maria Ziosi and the collaboration of Gianandrea Munari lighting design by Franco Campioni. Vega’s diary passed from hand to hand, from grandson to grandson, has spanned the centuries to reach Matilde who today will receive it as a gift from her grandmother for her birthday. Opening it, she will discover a painful story, which crosses the Holy Inquisition, superstitions and suspicions related to the relationship with nature and with archaic female cults, a story made up of difficult choices but also of important encounters and adventurous journeys. The time has come for Matilde to know where she came from and who Vega, her courageous ancestor, was. A feminine look at the world, the diary of an escape that is also the stream of consciousness of a young woman in search of her own identity.
The Magnificent Utopias is the name that Teatro Nucleo from the first half of the Eighties has given to its planning inherent to the theater in open spaces. “Open” are all those physical and spiritual, private or institutional, emotional and imaginary spaces that feel the need to open up to beauty, poetry, art and therefore to the theater: not just squares, streets or public places. All those “places” that have an urgent need to transform themselves into something still unrealized, and find the way to do so with the theater.
The theater season The Magnificent Utopias is the ideal continuation of this project, and is therefore divided into a plurality of proposals open to different audiences. “We would like the word closure to be replaced by the word cure. The “cure” is needed to overcome a crisis. As far as we can, we want to continue to take care of our work, of our theater, keeping it open and making it a place in which to feel safe, to find new references capable of strengthening the sense of belonging to a community, to encourage encounters “.