Stranieri
10/10/2008
, 
21:30
11/10/2008
, 21:30
12/10/2008
, 18:00
13/10/2008
, 21:00
14/10/2008
, 21:30
By Antonio Tarantino
Direction Marco Martinelli
With Luigi Dadina (a man), Ermanna Montanari (his wife), Alessandro Renda (his son)
Light project Vincent Longuemare
Scenography and Costume Design Enrico Isola, Ermanna Montanari
Scenography and Costume Design assistant Claire Pasquier
Technical direction Enrico Isola
Light assistant Francesco Catacchio
Sound design Davide Sacco
Teatro delle Albe Technical staff for Scenes realization Fabio Ceroni, Luca Fagioli, Dennis Masotti,
Danilo Maniscalco, Massimiliano Rassu
Video apparition Alessandro Renda
Photography Claire Pasquier
Organization Marcella Nonni
Promotion Silvia Pagliano, Francesca Venturi
Thanks to A.N.G.E.L.O., B.O. Service, Marco Bravura, Laura Graziani Alta Moda, Pierluigi Isola, Joint Rent,
Gerardo La Mattina, Valeria Nonni, Post Post
Production Ravenna Teatro
With the collaboration of Emilia Romagna Teatro Fondazione-VIE Scena Contemporanea Festival
ABSOLUTE PREMIERE
Subject to reservation
length 1h 30'
The show will be performed also at Teatro Rasi in Ravenna on October, 24, 25, 26, 29, 31 - and November, 1, 2, 4, 6, 7 (on Weekdays and Saturdays at 9.00 p.m., on Sundays at 4.00 p.m.) More info at: tel. 0544 362339
The figure of the old man in pajamas that, barricaded in his apartment, tells us of his neurosis, reminds us of Mrs. Cazzafuoco in Extermination by Schwab (seen at Teatro delle Passioni during the past theatre season), the embittered old woman masterfully interpreted by Ermanna Montanari, which foretasted the massacre of condominiums as supreme birthday present, but with less violence and acidity. Stranieri, the text by Antonio Tarantino, written on commission in 2000, is the portrait of a lonely old man, suffering from catheter and bypass, that seeks refuge in an uninterrupted monologue of auto-celebration. He wants put him “safe from persecution complex, from the fear of immigrants, or strangers, flying continuously to his door, while he obsessively repeats its extraneity from his dead wife and his son, who wanted to study philosophy and allowing the wife to dominate him. But the two that, at the beginning, hobble on the ladders and scream unnecessarily to his door, are precisely these despised relatives, descended from the deads reign to take him”. They “find him transvestite, with the clothes of the dead wife, imitating her voice to hide his identity for defence, in a grotesque picture that can remember Dürenmatt and shines for the characters’ finesse and the ability in building a neurosis on its ruins, proposing us an image of self-isolation under the signature of a welfare assimilated as a social drift”.
(Taken from Commedia della storia in 4 atti by Franco Quadri, in Antonio Tarantino, La Casa di Ramallah e altre conversazioni, Ubulibri, Milan, 2006).
