Francamente me ne infischio - 5. Tara
5 movements freely inspired from Gone with the wind by Margaret Mitchell
dramaturgy Linda Dalisi, Federico Bellini, Antonio Latella
with Caterina Carpio, Candida Nieri, Valentina Vacca
set and costumes Marco Di Napoli e Graziella Pepe
music Franco Visioli
lights Simone De Angelis
movements Francesco Manetti
organization and production Brunella Giolivo
distribution and communication Michele Mele
costumes realization Cinzia Virguti
pictures Brunella Giolivo
brochure Rosa Futuro
writing Patrizia Bologna
direction assistant Francesca Giolivo
directed by Antonio Latella
Stabile/Mobile Compagnia Antonio Latella, La Corte Ospitale
in collaboration with Emilia Romagna Teatro/VIE Scena Contemporanea
special thanks to Trippen (A. Spieth e M. Oehler, Berlin), Teatro Elfo Puccini (Milano), Teatro Comunale di Laurino (Sa), Laura Marinoni, Agnese Tancredi
Running time 1h
Freely inspired from the novel Gone with the Wind by Margaret Mitchell, made known to the public thanks to the film version by Victor Fleming (1939) starring Vivien Leigh, Francamente me ne infischio is an universe that fluctuates between the grotesque and pop, between the text reflection and the contemporary.
Scarlett O'Hara will be the whim and the earth, the self-centeredness and the cotton plantation, the tenacity and slavery, will be Ashley Wilkes and the Tarleton twins, will be Mammy and Rhett Butler. Because Scarlett is the embodiment of the American dream, the dream of yesterday and today's America.
“Tara is the only thing that matters, the only thing worth fighting for”, states Gerald O'Hara, but he doesn't realize that the land he is talking about, the plantation and the house, they mean even more. Tara means going back to the roots: something that the closer you get, the further it goes back in time. Tara is Scarlett recognizing herself in her sons, the ones that she has mistreated; she now looks at them with that fierce pity proper of a centenarian old man. Each son is like a young Scarlett playing in the garden, a piece of her and her race, her chasing a tomorrow that she never reached, a piece of her broken maternal bond, a piece of her constant reinventing herself as a man to fight among other men.
This is Tara, flooded with a burning sunlight, full of cicadas and nostalgia. The big house, fulcrum of Tara, is, once again, Scarlett: aged but still untouched in her green mantle, sick with youth and chases. From this point, Scarlett contemplates the world, her eyes squinting because of the sun, a cup of tea in her firm hand; her body is still but her thoughts, instead, are trembling while hitting reality.
Antonio Latella was born in Castellammare di Stabia in 1967. After his studies at Teatro Stabile of Torino and at the famous La Bottega Teatrale in Florence, a school directed by Vittorio Gassman, Latella took up his career as an actor (1986), which he ended in 2000.
In 1998, he directs his first theatrical performance. In 2004, he moves to Berlin. Brilliant and productive director, he is the author of several plays. In 2010, Latella becomes manager of Teatro Nuovo in Naples.
Latella’s plays have been stage in different theatres and festivals, such as: 11° Union des Théâtres de l’Europe Festival in Villeurbanne, Festival of Avignone, Festival of Salisburgo, Festival Theaterformen of Braunschweig/Hanover, Festival Grec in Barcelona, Festival Shakespeariano of Santa Susanna, International Festival “Scène Etrangères” of Villeneuve d’Ascq, Festival Svjetskog Kazalista in Zagabria, Théâtre National Populaire Villeurbanne, Volksbuhne Theatre in Berlino, Théâtre National de l’Odeon in Paris, Festival delle Colline Torinesi, International Festival of Teatro di Lugano, Radialsystem Theatre of Berlin, Culturgest and Centro Cultural De Belem di Lisbona, Comédie di Reims, Teatrul Clasis Festival of Arad e Sibiu International Theatre Festival, Wiener Festwochen, Napoli Teatro Festival Italia e De Internationale Keuze Van de Rotterdamse Schouwbur.