dossier de l'espectacle le voci di dentro d'eduardo de filippo

Dirigit per: Toni Servillo Repartiment: Maria, cambrera: Chiara Baffi Rosa: Betti Pedrazzi Michele, vigilant porta: Marcello Romolo Matilde Cimmaruta: Lucia Mandarini Pasquale Cimmaruta: Gigio Morra Carlo Saporito: Peppe Servillo Alberto Saporito: Toni Servillo Luigi Cimmaruta: Vincenzo Nemolato Elvira Cimmaruta: Marianna Robustelli Agent: Antonello Cossia Zi’ Nicola: Daghi Rondadini Capa d’Angelo: Rocco Giordano Teresa Amitrano: Maria Angela Robustelli Aniello Amitrano: Francesco Paglino Disseny decorats: Lino Fiorito Vestuari: Ortensia De Francesco Disseny de llums: Cesare Accetta Disseny de so: Daghi Rondanini Directora adjunta: Costanza Boccardi Coproducció: Piccolo Teatro di Milano - Teatro di E uropa

Alberto Saporito viu amb el seu germà Carlo i el seu oncle Nicola, el qual fa anys va "deixar de parlar, no

perquè fos mut, sinó perquè el món sencer està sord”. L’oncle Nicola viu en una espècie d’entresòl des d’on

es comunica amb l’Alberto llençant-li petards.

La casa dels germans Saporito és plena de cadires, catifes i mobles vells que solen llogar per a les

celebracions religioses, per intentar guanyar-se la vida i sobreviure de la millor manera.

Sovint s’aprofiten de la caritat dels seus veïns, els Cimmaruta, en forma d’un plat de pasta o alguna altra

cosa per a menjar que els ajudi a passar la misèria amb millor humor.

Tot d’una, a l’Alberto se li fica al cap que s’ha comès un crim a casa dels Cimmaruta: han mort l’Aniello

Amitrano, l’amic de l’Alberto, i han amagat el cos a la cuina. En realitat l’Alberto simplement ho va somniar,

però va ser un somni tan vívid i realista que acaba convençut que tot va passar de veritat.

L’Alberto denuncia els Cimmaruta a la policia, encoratjat per una altra coincidència fatal: efectivament,

l’Amitrano ha desaparegut. Els Cimmaruta són arrestats però de seguida els deixen lliures: evidentment, al

lloc que l’Alberto va indicar no hi ha cap rastre del cos. Aleshores l’Alberto entén, massa tard, que tot va ser

producte d’un somni, i comencen els problemes: corre el risc de ser acusat per falsos testimonis, i el seu

germà Carlo el pressiona perquè signi un document mitjançant el qual, en cas que fos arrestat, ell seria el

responsable de tot el “patrimoni" de mobles vells.

Un cop a casa, paradoxalment els Cimmaruta estan convençuts que efectivament un d’ells va cometre

l’homicidi i s’acusen els uns als altres. Aleshores comencen a sorgir els sentiments d’odi i rancúnia entre els

membres de la família: en Pasquale està segur que la seva esposa Matilde, que es fa passar per vident, en

realitat és prostituta, i a sobre “treballa” des de casa i a la vista de tothom. La Matilde el fa callar i li recorda

que és gràcies a la seva “activitat” que la família sobreviu. En Luigi, el seu fill, sospita que la seva tieta Rosa,

que viu amb ells i fa sabó i espelmes, és una mena de "sabonera” que va matar l’Amitrano per fer-ne sabó; la

Matilde sospita d’en Pasquale; la seva filla Elvira i la tieta Rosa sospiten totes dues d’en Luigi. I per si això

fos poc, la Teresa Amitrano, l’esposa de la “víctima”, visita els Saporito, plorant per la mort del seu marit i

exigint que els assassins siguin castigats.

En Michele, el grum, li diu a l’Alberto que va sentir com en Carlo parlava amb el drapaire i feien plans per

vendre-ho tot: en Carlo està segur que la policia arrestarà l’Alberto abans no acabi el dia i per tant ha decidit

vendre els “mobles” de la família per quedar-se tots els beneficis quan abans millor. La Maria, la minyona

dels Cimmaruta, també avisa l’Alberto: la família, amb l’excusa de convidar-lo d’excursió al camp, tenen

intenció de matar-lo. Tothom anima l’Alberto perquè escapi però, en un gir dels esdeveniments, l’Aniello

Amitrano reapareix, viu i en perfecte estat: se n’havia anat a visitar la seva tieta a Caserta, però s’havia posat

malalt i s’havia quedat uns dies amb ella fins que va recuperar-se, tot sense avisar la seva esposa perquè

havien discutit abans de marxar. Tot va bé si acaba bé.

Malgrat tot, l’Alberto Saporito segueix inconsolable, ja que reflexiona sobre la corrupció de l’ànima i les

relacions, i el precipici on ha caigut la humanitat.

L’obra Le Voci di Dentro té exactament 65 anys. L’Eduardo la va escriure a Milà el 1948 en pocs dies (o

potser, com diu la llegenda, en tan sols 17 hores) quan tot just acabava d’estrenar-ne una altra, La grande

magia. Va estar poc temps en cartellera, no perquè no tingués èxit, sinó perquè, segons l’autor explicà

oficialment, la seva germana Titina va caure malalta i ningú més que ella podia interpretar aquell paper. Però

en el record dels espectadors, Le Voci di Dentro segueix associada a les dues adaptacions per a televisió

escrites posteriorment pel mateix Eduardo. Totes dues van tenir un gran èxit d’audiència (però només s’ha

conservat còpia d’una d’elles; la primera, dels anys 60, es va perdre) i destacaven per la vessant còmica, fins

i tot surrealista, de la història.

Capitta: En un principi l’Eduardo va representar aquesta obra molt sovint, però més endavant ja no tant. Ara,

de la mà de Toni Servillo adquireix tons més obscurs i menys geomètrics, i retorna 65 anys més tard per

plasmar una “incertesa” que equipara la situació d’avui dia amb el període de postguerra.

SERVILLO: Certament, m’he allunyat una mica de la versió televisiva, que en certa manera era una mica

"endolcida” en comparació amb la força obscura del text original. Entre altres coses, estic entusiasmat de

poder fer els últims assajos de l’obra al San Ferdinando de Nàpols: solia venir aquí de petit amb el meu pare i

la resta de la família a veure el gran Eduardo. Això era casa seva, i per a nosaltres un temple. Aquí és on

vaig descobrir el seu teatre, i el teatre com a llenguatge. La decisió d’interpretar el papers principals dels dos

germans juntament amb el meu germà Peppe va tenir un efecte sorprenent, molt intens fins i tot per a

nosaltres. Li dóna un enfocament especial a les relacions de l’obra, així com també a les implicacions de la

família: els comentaris relacionats amb el respecte, l’honestedat, la franquesa, tots els “artificis” que hi ha en

el llenguatge comparat amb els somnis i amb el que és real, i que revelen, precisament perquè parlem de

somnis, que tot està corromput. A mesura que la historia es va desenvolupant, l’Alberto, el meu personatge,

experimenta una mena de "Zi’ Nicolització” progressiva (la qual cosa vol dir que es va assemblant cada

vegada més a l’oncle - Zi’ - Nicola, que s’asseu reclòs en un racó fosc de la casa sense dir res). L’Alberto

desencadena l’acció a través de les acusacions que basa en el somni que ha tingut, involucrant la família que

viu al mateix edifici, però després s’adona que tot és només producte d’un somni i veu com les

conseqüències canvien les relacions de tots: immediatament el somni es converteix en realitat, gairebé en

contra de la seva voluntat. Tant, que els membres d’aquesta família comencen a acusar-se els uns als altres

d’haver comès el "delicte”.

Capitta: La manera com el somni es sobreposa a la realitat, conscientment i fins a tal punt que els

personatges es veuen influïts tant per un com per l’altra, és un canvi deliberat respecte el que alguns crítics

veuen en la producció de l’Eduardo com una característica pirandelliana, com a mínim pel que fa a la manera

com va influir en el seu teatre.

SERVILLO: Això el distingeix clarament dels maniquins de Pirandello (Luigi Pirandello, 1867-1936; escriptor i

dramaturg italià, premi Nobel de literatura el 1934) a l’estil de De Chirico (Giorgio De Chirico, 1888-1978;

pintor metafísic i artista). Aquí tenim el somni que produeix la realitat. Tal com va dir Garboli (Cesare Garboli,

1928-2004; escriptor i crític italià), el somni és com la pasta reescalfada servida a l’hora d’esmorzar, es situa

en el pla més profund. No és un tema de consciència, tot i que l’aspecte moral és molt important. Com va dir

Ronconi (Luca Ronconi, director i des de 1998 director artístic del Piccolo Teatro), aquest gran autor nacional

és "el darrer representant” del gran teatre popular, un teatre que va néixer com un reflex del país, de la

mateixa manera que la gran literatura reflecteix la seva pròpia nació. Malgrat l’esperançador final de Nàpols

milionària (1945) amb la famosa frase "Ha da passa’ ‘a nuttata” (“La nit s’acabarà”) -gens reconfortant perquè

l’obra va ser escrita aquí mateix, en una ciutat destruïda per les bombes-, com a intel·lectual que era, tres

anys més tard, el 1948, entén que les runes que queden no són materials, sinó morals. Ho havia anticipat ja

en l’altra obra amb el personatge d’Amalia, amb Settebellizze i amb els contrabandistes, però aquí aquests

personatges que en certa manera representaven persones, es converteixen en una mena d’atomització de la

consciència. La consciència es degrada: l’autoestima, l’afecte entre persones, les llengües es confonen, el

llenguatge de la realitat i el del somni es curtcircuiten. Tot en detriment de l’enteniment: aquest és el leitmotiv

de Zi’ Nicola.

Capitta: Per què vas escollir Le Voci di Dentro, que implicava la necessitat de cavar molt profund per poder

recuperar-la amb totes les seves implicacions per al públic d’avui dia?

SERVILLO: El meu interès per l’obra es basa en dos aspectes que podria definir de manera resumida com

un de contingut i un de forma. El primer té relació precisament amb la caiguda al precipici d’una realitat ja

molt compromesa. El segon és la “confusió” de les llengües que té lloc entre el dormir i el despertar, tal com

passa entre diferents generacions. Aquesta interrelació que hi ha entre el somni i el repòs, per una banda, i

l’estat de despertar-se i la realitat per l’altra, fa que un factor emergeixi de manera molt clara: una potent

revindicació que sorgeix al final. L’Eduardo va definir Zi’ Nicola de manera molt gràfica: "El vaig fer parlar

amb focs artificials perquè la saviesa es muda”, i en un moment donat fa que decideixi morir perquè ja no vol

parlar més. La tensió quan tot s’aclareix es converteix en pessimisme per part de l’Alberto, un pessimisme

que hereta de Zi’ Nicola. Quant al segon aspecte, diríem que el text té la forma d’un "llenç”, escrit amb

l’eufòria del moment, en molt poc temps, sorgit de la necessitat, obra d’un gran còmic. Aparentment

"incoherent” i ple de "buits”, sovint és interpretat com a teatre de la improvisació, el qual, més que no pas

altres textos i tenint en compte la meva manera d’entendre el teatre, em permet cedir una gran responsabilitat

a l’actor. Però hi ha una diferència important amb l’altra obra de l’Eduardo que vaig representar, Sabato,

domenica e lunedì, que es desenvolupa amb una gran perfecció dramàtica i la qual segueixo mantenint que

actua com a vehicle per a mostrar-nos un altre aspecte que m’agrada especialment del teatre de l’Eduardo:

la seva extraordinària capacitat per expressar el drama de la normalitat, o fins i tot la tragèdia inherent a la

normalitat. A Le Voci di Dentro, que sembla una mena d’improvisació sobre el tema del somni i la realitat

supeditada a l’experiència i la força dels actors, em sembla que el que fa l’Eduardo és identificar els aspectes

monstruosos de la obvietat, més que no pas la tragèdia de la normalitat. Per mi això és una diferència molt

interessant entre les dues obres. Una és una història de tragèdia en la normalitat, que té lloc un cap de

setmana, de dissabte a dilluns. A l’altra, amb un text que sembla "incoherent” per la seva contínua alternança

entre somni i realitat, en tots aquests personatges menors, els veïns dels Cimmaruta o els dos germans

miserables, l’Eduardo desemmascara l’atrocitat que s’amaga darrere les aparences, i que és un dels grans

interessos de la vida moderna.

Capitta: Dius que l’horror que es desprèn d’aquestes famílies insignificants en els seus petits habitatges de

postguerra, deu anys més tard a Sabato, domenica e lunedì, es cristal·litza en certa manera al petit menjador

burgès d’un bloc de pisos de més alt nivell, i que l’Eduardo es veu obligat d’alguna manera a contextualitzar-

ho...

SERVILLO: Correcte, però a Le Voci di Dentro és evident que tota la vida d’una ciutat i un país es veu

afectada per la guerra que just acaba. Tanmateix, nosaltres que creiem en el teatre, hauríem de tenir aquest

dret, aquesta força. No fem referència només a les ruïnes materials d’un país que reneix de les cendres de la

guerra, sinó a unes ruïnes “morals” de caràcter més general, que ens mostren que el país és incapaç de

sortir de la misèria quotidiana. Això fa evident la necessitat urgent d’una mena d’alarma que es faci sentir des

de l’escenari, que trenqui amb el decorat formal establert encara que faci tremolar el vaixell.

Capitta: Malgrat tot, curiosament, si ens remuntem a l’època de l’Eduardo, en certa manera la nostra sembla

com més intensa, centrada més específicament en certes qüestions. Des del criticisme despietat dels

pròspers anys seixanta, semblem tornar enrere cap a l’arrel de certs dimonis que habiten en les capes més

profundes de la consciència social. Alhora, Pirandello al marge, veiem com aflora la desesperança universal

de Beckett...

SERVILLO: El meu personatge, l’Alberto Saporito, és molt interessant perquè vol donar una explicació més

universal a la infelicitat dels altres, com la que li mostren durant el transcurs de l’obra els Cimmaruta. El seu

interès pels individus no li ve dictat per un desig d’ajudar, sinó més aviat per dur la persona en qüestió, i a si

mateix, a l’esfera on pot separar allò autèntic d’allò fals. Un indret on les seves pròpies ferides, el dolor i la

frustració, reconeixibles en les personificacions de cadascú, deixen de tenir importància per a ell. El fet que

les ferides dels altres siguin tan importants com les seves pròpies, no serveix per a consolar-lo, ni a ell ni als

altres. Només el preocupa determinar on es troba la veritat, o com a mínim el punt on el somni es confon

amb la veritat. En aquest aspecte, és un heroi solitari que comença a entendre, des del dramatisme, quan

s’adona que és com la resta. Al text hi ha una interacció hàbil i deliberada entre el llenguatge i el dialecte.

L’Alberto Saporito fa servir el dialecte quan acusa la família, en un estat al·lucinatori, emprant frases que

semblen gairebé les d’un capellà obsessionat, un home posseït.

Però en la seva diatriba final envers el respecte, per documentar aquesta consciència universal fa servir la

llengua (l’italià) per convertir el tercer acte en un judici de la consciència. Ens allunyem de la casa familiar, els

estereotips d’allò obvi i la seva monstruositat, d’aquest arxiu d’ombres i banalitat que és la llar dels dos

germans amb les seves cadires per llogar (l’únic residu visible que queda de l’empresa del seu pare, però

també el tresor ocult dels records d’infància de l’Eduardo, infància que va passar aquí). El tercer acte i l’ús del

llenguatge ens transporten ràpidament a un lloc del tot diferent, que és un autèntic tribunal de la consciència.

És tal vegada el vessant més fascinant d’aquest antiheroi que sempre mira els aspectes personals però amb

el desig de reconduir-los cap a la universalitat, un tòpic encara molt recurrent avui dia. L’Eduardo sempre va

dir que el seu teatre es basava en el xoc entre l’individu i la societat, i aquesta atenció envers els “detalls” de

l’Alberto Saporito n’és una clara confirmació. Això és el que fa que l’Eduardo segueixi essent modern encara

avui dia.

Gianfranco Capitta

Nàpols, Teatro San Ferdinando

9 de març de 2013

(Traduït per Isobel Butters)

L’anterior coproducció entre el Teatri Uniti i el Piccolo va ser la Trilogia de la Villeggiatura escrita per Carlo

Goldoni i dirigida per Toni Servillo. L’espectacle va estar de gira quatre temporades, visitant un gran nombre

de ciutats italianes i també de fora d’Itàlia, des d’Istanbul a Montreal. Pel camí van presentar el muntatge al

Lincoln Center Festival a New York, on va ser rebut amb gran entusiasme. El NY Times va fer esment de la

impressionant modernitat de Goldoni i la seva Trilogia.

Toni Servillo torna a endinsar-se en l’art dramàtic napolità i en especial rendeix homenatge al seu estimat

Eduardo, deu anys després de l’èxit de Sabato, domenica e lunedì. Els vincles entre aquesta peça i els temps

actuals són més estrets que mai ja que està ambientada en la devastació de la Segona Guerra Mundial, una

època que guarda certa semblança amb la crisi econòmica actual.

"Eduardo De Filippo és el representant més extraordinari, i possiblement l’últim, de l’art dramàtic popular

contemporani. Després d’ell, la prevalença de l’aspecte formal va fer que el teatre es distanciés de qualsevol

dimensió popular. És el dramaturg italià que, pel seu estil dramàtic, va afavorir de manera més efectiva la

reunió, i no la separació, entre el text i la posada en escena. Enfrontar-se a les seves obres és insinuar-se

amb aquest equilibri inestable entre la paraula escrita i el discurs oral, que fa del seu teatre quelcom ambigu i

fins i tot sorprenent. Seguint les seves ensenyances mai no vaig tenir intenció de fer prevaldre el text per

damunt de la interpretació, ni la direcció per damunt del text i la seva interpretació. L’espai profundament

silenciós que hi ha entre el text, els actors i el públic omple l’escenari amb significat nit rere nit, actuació rere

actuació”.

"Le Voci di Dentro –continua Toni Servillo- és l’obra amb la qual l’Eduardo, mantenint una atmosfera suspesa

entre la realitat i la il·lusió, desgrana de manera profunda i decidida les consciències culpables dels seus

personatges, i per extensió, del públic. L’assassinat d’un amic somniat per l’Alberto Saporito, el personatge

principal, que creu que els seus veïns han comès el crim de veritat, estableix els obscurs mecanismes de la

sospita i l’acusació, fins arribar a l’autèntica “atomització d’una consciència culpable”, de la qual l’Alberto

Saporito és alhora testimoni i còmplice tràgic, incapaç de fer res per a redimir-se. L’Eduardo va escriure

aquesta peça a les acaballes de la Segona Guerra Mundial, dibuixant amb precisió un declivi de valors que

retrataria la societat mundial en les dècades següents. I encara avui sembla que l’Alberto Saporito baixa de

l’escenari i s’apropa als espectadors per dir-los que la història que explica els afecta a ells, perquè tots som

víctimes, aclaparats per la indiferència d’un altre període de postguerra espiritual”.

Un grup eclèctic d’actors napolitans de diferents generacions acompanya Toni Servillo a l’escenari, entre els

quals destaca el seu germà Peppe, que interpreta el paper d’en Carlo Saporito, el germà del protagonista.

OCTUBRE

dimecres 09-10-13 Girona viatge muntatge prova a la italiana

dijous 10-10-13 Girona muntatge prova sobretítols

divendres 11-10-13 Girona primera

dissabte 12-10-13 viatge

NOVEMBRE

dilluns 25-11-13

dimarts 26-11-13 San Petersburg viatge Winter Festival

dimecres 27-11-13 San Petersburg muntatge/prova

dijous 28-11-13 San Petersburg 1a

divendres 29-11-13 San Petersburg 2a

dissabte 30-11-13 tornada a Milà

GENER

dilluns 13-01-14 París MC93 viatge

dimarts 14-01-14 París MC93 muntatge i prova

dimecres 15-01-14 París MC93 primera

dijous 16-01-14 París MC93 segona

divendres 17-01-14 París MC93 tercera

dissabte 18-01-14 París MC93 quarta

diumenge 19-01-14 París MC93 cinquena

MAIG

dimarts 13-05-14 viatge

dimecres 14-05-14 Madrid Festival de Otoño muntatge i prova

dijous 15-05-14 Madrid primera

divendres 16-05-14 Madrid segona

dissabte 17-05-14 Madrid tercera

diumenge 18-05-14 viatge

LE VOCI DI DENTRO PICCOLO TEATRO DI MILANO I TEATRI UNITI

013

Eduardo de Filippo: autor“I was born in Naples on 24 May 1900, from the union of the greatest actor-writer-director and Ne-apolitan comedian of the period, Eduardo Scarpetta, and Luisa De Filippo, unmarried. It took me some time to understand the circumstances of my birth because at that time children were not as quick and arrogant as those of today and when, aged 11, I discovered I was ‘the son of an unknown father’ it was a big shock for me. “

The Scarpettas were a prototype of the “extended” family. A father to numerous illegitimate children, some recognized, others not, the Neapolitan actor was nevertheless an attentive parent, careful not to deprive any one of his children of what might be useful to their growth and education. But only the “legitimate” children could call him Father, to the others he was an uncle. Eduardo made his debut as a child actor in 1904, in his “uncle’s” theatre company. In 1913 he joined the company of his half-brother Vincenzo Scarpetta, who founded his own group after his father retired in 1909. With him he staged one of his first works, Man and Gentleman, which debuted in 1924 under the original title Ho fatto un guaio? Riparerò. With his brothers in 1929 Eduardo founded the company “Il Teatro Umor-istico di Eduardo De Filippo con Titina e Peppino” then “Il Teatro Umoristico I De Filippo”. In 1931 in Naples they staged Christmas at the Cupiello’s. Although during the Fascist period Eduardo often clashed with the harsh censorship of the regime, the company continued to tour with great success. 1934 was a key year: Eduardo made his debut in Vienna in Tonight we improvise and earned de-finitive recognition in Italy when he won over the difficult Milanese audiences. After the liberation of Rome and the death of his mother in 1944, Peppino left the company. Eduardo founded Il Teatro di Eduardo, staging the following year Napoli Milionaria!. In 1947 he met his second wife Thea Prandi, mother to his children Luca and Luisella.

The following year he bought the bombed-out Teatro San Ferdinando. The theatre, restructured at his own expense, was inaugurated in 1954. These were years of great success (among the most im-portant works of the period These ghosts! and Filumena Marturano, 1946, Lies with long legs, 1947, La grande magia and Inner Voices, 1948, Saturday, Sunday and Monday ,1959, Mayor of Sanità alley, 1960), but also of sadness and huge family tragedies: in 1960 his daughter Luisella died, and in 1961, his wife Thea Prandi, and his sister Titina on Christmas Day 1963.

In 1973 he wrote his last play, Exams never end. In 1974, while the play was running, he felt the first symptoms of the heart failure that forced him to suspend his performances. On 5 March he was fitted with a pacemaker, and although by 27 March he was back on stage his artistic activities began to dwindle. IIarded for “outstanding achievements in art and literature,” but which also highlighted the political and social commitment that had accompanied him throughout his life.


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His last public appearance was in August 1984 at the Festival of Taormina. He died in Rome on 31 October that year.

Inner voices has a history all of its own. In October 1948, Eduardo was to stage La grande magia at Teatro Nuovo in Milan. His sister Titina, who had a key role in the play, became seriously ill and the show had to be stopped. To honour his commitment to the theatre, Eduardo wrote a new play in just seven days. The result was a true masterpiece, Inner Voices.

Toni Servillo: Director i actor

Toni Servillo is one of Italy and Europe’s most popular and most refined actors and directors. Born in Afragola (Na), he founded the Teatro Studio of Caserta (1977) and Teatri Uniti (1987). He has staged authors including De Filippo, Pirandello, Viviani, Moscato, Molière, Marivaux and directed operas by Mozart, Mussorsgsky, Strauss, Rossini and Beethoven. In film he has worked with major Italian and European directors, among whom Mario Martone, Paolo Sorrentino, Matteo Garrone, Nicole Garcia, Theo Angelopoulos and Marco Bellocchio.

His major successes on the stage include Moscato’s Rasoi, Saturday, Sunday, Monday by De Fil-ippo, Tartuffe and The misanthrope by Molière, False confidences by Marivaux, The holiday trilogy by Goldoni (coproduction with Piccolo Teatro di Milano).

His numerous film awards include: David di Donatello and Nastro d’Argento as best leading actor for Le conseguenze dell'amore by Paolo Sorrentino (2004); David di Donatello as best leading actor for La ragazza del lago by Andrea Molaioli (2007); EFA (The European Oscar) as best actor for Gomorra by Matteo Garrone and Il Divo by Sorrentino (both award winners at the Cannes Film Festival 2008). Among his most recent film appearances, Bella addormentata, directed by Marco Bellocchio (2012), È stato il figlio, by Daniele Ciprì (2012), Viva la libertà by Roberto Andò (2013) and La grande bellezza by Paolo Sorrentino (official selection, Festival de Cannes, 2013). He has also been directed by Antonio Capuano, Elisabetta Sgarbi, Frabrizio Bentivoglio, Stefano Incerti, Claudio Cuppellini.

Director i actor


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Lino Fiorito

Born in Ferrara in 1955, Fiorito lives between Naples and Cologne. An atypical figure in the Italian artistic panorama, since 1980 he has been part of the group “Falso Movimento”. He alternates his work for the visual arts – among his numerous projects, the foundation, together with other artsts, of the gallery “Idra Duarte” in 1986 is particularly memorable – with cinema and theatre, designing a personal method of treating the visual and scenographic dimensions of the projects in which he participates. In the theatre he has created sets for Mario Martone, Toni Servillo, Scimone Sframeli, Andrea Renzi, Francesco Saponaro, L’Orchestra di Piazza Vittorio. For the cinema he has created sets for various films under the direction of Paolo Sorrentino, Antonio Capuano and Stefano Incerti.

Ortensia De Francesco

De Francesco has worked as a costume maker in both theatre and opera with Toni Servillo, Mario Martone, Andrea Renzi, Valerio Binasco, Mario Tronco and l’Orchestra di Piazza Vittorio.For the cinema she has created costumes for Pappi Corsicato, Fabrizio Bentivoglio, Paolo Sor-rentino, Mimmo Paladino, Marco Risi, and Stefano Incerti.

Cesare Accetta

Accetta moved towards photography in the 1970s, and his work followed the history of Italian ex-perimental theatre for a period of twenty years, meeting and collaborating with its most prominent figures.Alongside his creative activities, interpreting the works of numerous scenographic artists, he started working ever increasingly on independent productions, with figurative works which found space in both collective and personal exhibitions.

Remaining in the field of photography, over time Accetta took on other professional roles, including light designer, which allows him to participate in the setting up of art exhibitions, event illumination, and lighting for theatre productions, operas and concerts.He is involved in video and film production and has received important industry recognitions in the role of director of photography.

Set design

Costumes

Lighting


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Rondanini collaborated first with the Falso Movimento group and then with Teatri Uniti for the cre-ation of soundtracks and as chief sound technician. Over the last few years he has worked with musicians such as Peter Gordon, Alvin Curran, Franco Battiato, Giusto Pio, and Steve Lacy. In the field of cinema he has worked on the soundtracks of a number of films by Mario Martone, Paolo Sorrentino, Antonio Capuano and Stefano Incerti, winninng four “Ciak d’oro” awards in the category of live recording.

Daghi Rondanini: actor, sound, stage manager

Chiara Baffi: Maria, maid

Baffi has worked in the theatre with, amongst others, Francesco Rosi, Lluís Pas-qual, Luca De Filippo, Renato Carpentieri, Francesco Saponaro and Antonio Capuano.She played in The Holiday Trilogy, directed by Toni Servillo, and has studied with Enrique Vargas, Michele Monetta, Hassane Kassi Kouyaté, Spiro Scimone, Yves Lebreton, Laura Curino, Onorevole Teatro Casertano, Davide Iodice, César Brie, Andrea De Rosa, Leonor Loman and Alan Woodhouse.In 2008 she won the UBU prize for Best Actress under 30, and the Eleonora Duse prize for Best Emerging Actress. With the play Chiòve, in which she starred in the lead role, she won the ETI Gli Olimpici del teatro (Olympians of the theatre) 2009 prize for the “best innovative play” and the Asso-ciazione Nazionale dei Critici di Teatro (National association of theatrical critics) prize 2008 for the “best theatrical revelation”. For television she has played a part in the cast of the fiction “La Squadra”.

Betti Pedrazzi: Rosa Cimmaruta

After graduating with a diploma from the Silvio d’Amico National Academy for Dramatic Arts in 1974, she has worked with Ronconi, Cobelli, Cecchi, Zucchi, Bassignano, Simone, Gagliardo, Ricordi, Sa-lemme, Tessitore, Ghione and Martella. Pedrazzi works regularly in both the cinema and television with, among others, Guido Chiesa and Vincenzo Salemme. Among her more recent works are Sat-urday, Sunday and Monday, The False Confidences, The Holiday Trilogy under the direction of Toni Servillo, Hedda Gabler for Carlo Cecchi, and The Seagull for Valerio Binasco. She has worked in radio, dubbing and theatrical management, and in 1984 founded the theatrical company “Il Quadro”.

Intèrprets


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Marcello Romolo: Michele, the porterRomolo returns to work once again with Toni Servillo following the acclaimed staging of Saturday, Sunday and Monday in which he played a passionate amateur Pulcinella, but his excursus started way back, moving from classic theatre to cinema, from musicals to comedies, from avant-garde theatre to tv fiction, from operettas to traditional Neapolitan theatre. As well as with Servillo, he has worked un-der the direction of, among others, Jérôme Savary, Tato Russo, Alvaro Piccardi, Renato Carpentieri, Roberta Torre, Vincenzo Salemme and Mario Scarpetta. In cinema, he has acted for Giuseppe Tor-natore, Stefano Incerti, Vincenzo Salemme, Eduardo De Angelis and the Frazzi brothers, whilst for television, as well as several episodes of La squadra, he played alongside Diego Abatantuono in one of the main roles in the first Italian sit-com: Diego al 100%. His latest theatrical work was the revelation Jucatùre by the Catalan writer Pau Mirò, directed by Enrico Ianniello, again produced by Teatri Uniti.

Lucia Mandarini: Matilde Cimmaruta

Neapolitan by birth, Mandarini is, together with her husband – the famous Lello Scarano, a theatrical producer, and has directed both the Politeama and Cilea theatres in Naples, as well as organising numerous Summer theatrical reviews.She has taken part in various theatrical plays, including Novecento Napolitano, Andalusia Napole-tana, Napoli chi resta e chi parte. She was also director’s assistant and costumer in various plays by Eduardo Scarpetta, directed by Gigio Morra.

Gigio Morra: Pasquale CimmarutaMorra graduated from the School of Drammatic Arts in Naples in 1966. He went on to become part of Eduardo De Filippo’s company and for a decade, from 1970 to 1980, was part of Carlo Cecchi’s Granteatro. Until 1989 he was a member of the company of Angelo Savelli.In the theatre he has also worked with Maurizio Scaparro, Giuseppe Patroni Griffi, Luca De Filippo, Tato Russo, and over the last 10 years with Toni Servillo (including The Holiday Trilogy). He has directed four plays by Eduardo Scarpetta for the publishing house De Agostini, and has acted in the cinema for Marco Bellocchio, Nanni Moretti, Lina Wertmüller and Matteo Garrone.In television he is a member of the cast of the series Il commissario Montalbano and has also acted in the successful series Squadra Antimafia 3 Palermo oggi, Tutti pazzi per amore and Rebecca.In 1982 he won the IDI award and in 2008 the ETI GLi Olimpici del Teatro award.


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In his studies Francesco Paglino has crossed paths with Roberto Castello, Theodoros Terzopulos, Judith Malina, Jurij Alschitz and Mamadou Dioume, famous interpreter of the theatre of Peter Brook. He has worked with Renato Carpentieri, Enrique Vargas, Remondi and Caporossi, and in numerous productions by Teatri Uniti under the direction of Andrea Renzi and Toni Servillo (among these, The Holiday Trilogy).

Francesco Paglino: Aniello Amitrano

Peppe Servillo: Carlo SaporitoPeppe Servillo made his debut in 1980 with the group Avion Travel. His history principally follows that of the group which, over a period of thirty years, has published numerous albums, gaining important acclaim. In 1998, together with the group, he took part in the Sanremo music festival with the song Dormi e sogna, winning the critics’ award and the jury’s award for best music and best arrangement. In 2000 the group won the first prize in Sanremo with the song Sentimento, as well as the jury’s award, again for music and arrangement. In 2003 Servillo began a fruitful artistic collaboration with two Argentinian musicians, Javier Girotto and Natalio Mangalavite, which, in the years to follow, resulted in the recording of two albums. In 2007 Avion Travel produced the album Danson Metropoli – Canzoni di Paolo Conte, which won a gold disc. In 2010 two films were presented at the Venice Film Festival in which Peppe acted: Into paradiso by Paola Randi and Passione by John Turturro. In the same year he acted alongside his brother Toni in Sconcerto. In 2011, accompanied by the orchestra Roma Sinfonietta, he was the voice of Histoire du soldat by Igor Stravinsky, which he also adapted into Neapolitan. The play was staged in various Italian cit-ies including Naples, at the San Carlo theatre. In October 2012 the album Peppe Servillo & Solis String Quartet “Spassiunatamente” came out, a homage to classical Neapolitan culture and music.


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Vincenzo Nemolato: Luigi CimmarutaNemolato’s formative years were spent in the three-year project “Punta Corsara”, which later be-came a company of which he remains a member. He has also worked in the theatre with Arturo Cirillo and Maurizio Scaparro. He has worked in the cinema, directed by Ivan Cotroneo in the film La kryptonite nella borsa and in Diario di una mamma imperfetta. In 2012 he won the UBU award for best actor under 30.

Marianna Robustelli: Elvira CimmarutaRobustelli was born into the world of theatre and the arts, into a family of scenographers and paint-ers. She debuted as a singer at the age of 5, a pupil of the maestro Benito Nisticò. Her theatrical debut was with Maria and Valeria Tavassi, with whom she founded the Neapolitan company “La Giostra”. She took part in an intensive masterclass on the Strasberg Method, directed by Giorgina Cantalini and Alessia Siniscalchi, pupils of Susan Baston’s Actor’s Studio in New York. In theatre she has worked with Aldo Giuffrè, and debuted in cinema with the director Lina Wertmüller.

Antonello Cossia: A staff sergeantIn 1984 Cossia took up the study of contemporary dance. He participated in courses in Italy and Paris. In 1987 he was involved in the foundation of the “Laboratorio Itinerante” (the travelling work-shop), directed by Antonio Neiwiller and promoted by Teatri Uniti. As an actor both on stage and in the cinema he has worked with directors such as Antonio Neiwiller, Claudio Collovà, Alfonso Santagata, Mario Martone, Stefano Incerti, Claudio Bonivento, Gianluigi Calderone, Marco Baliani, Daniele Segre, Renato Carpentieri, Ninni Bruschetta, Cristina Pezzoli and Toni Servillo.

From 1995 to 2006, as director, together with Raffaele Di Florio and Riccardo Veno, he created “cos-siadiflorioveno”, producing approximately fifteen creations and projects, all linked to a dramaturgy of places.

In 2007 he wrote and played in the piece A fronte alta, starting a personal excursus of study and research for the staging of plays based on the works of authors such as Landolfi, Pennac and De Luca, writing and reciting a series of monologues.


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Rocco Giordiano: Capa D’AngeloGiordano trained with Michele Monetta’s mime school and continued with FormAzione Scena, under the guidance of masters from the Lecoq school and Peter Brook’s company.He has acted under the direction of Toni Servillo (a memorable example: The Holiday Trilogy by Goldoni), Salvatore Cantalupo, Anton Milenin, Francesco Saponaro and Egumteatro. He has also collaborated with Emma Dante and Giorgio Barberio Corsetti.

Maria Angela Robustelli: Teresa AmitranoBorn in Naples, at the age of 20 Robustelli moved to Paris, where she continued her study of French Cinema, in particular of the new generation of young French immigrant directors which inspired her thesis. She took part in Atelier, directed by Jean-Paul Denizon, assistant director to Peter Brook.Robustelli is a singer, a pupil of Maestro Michael Aspinall. Her theatrical debut was with Maria and Valeria Tavassi, with whom she founded the Neapolitan company “La Giostra”. She took part in an intensive masterclass on the Strasberg Method, directed by Giorgina Cantalini and Alessia Sinis-calchi, pupils of Susan Baston’s Actor’s Studio in New York. She has participated in workshops directed by Anton Milenin, Giancarlo Sepe and Michele Monetta. In theatre she has worked with Michele Placido, and debuted in cinema with the director Lina Wertmüller.


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La premsa ha ditServillo stands out for all that he is, one of the most talented Italian actors, able to transmit to all the lowliness of humanity of the post-war period simply by holding his head in his hands.

Paul Goiffon La Marseillase

22 March 2013

Written in 1948, at the end of the war, it speaks of the moral ruin which followed the material ruin of Italy. I chose to tell of this precipice in which truth and lies, legal and illegal, are confused. The war changed the nature of man and we no longer know how to communicate or understand each other.

Philippe RidetLe Monde

17 March 2013

It is a black comedy of dreams, shadows, visions, nocturnal nightmares, Inner Voices. [...] One laughs because it is impossible not to when faced with the mastery of the company staged by Ser-villo – what can we say of the star and director?

Gianni Manzella, Il manifesto

30 March 2013

A homage to Eduardo De Filippo, with the strangest, most funambulatory and disturbing of his plays, Inner Voices.

Domenico Rigotti Avvenire

31 March 2013


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A neo-realist journey through the guilty conscience of humanity which begins in the rubble of the Second World War and which strips bare the fall of the values of the “moral postwar” of today.

Roberto NapoletanoIl Sole 24 Ore21 aprile 2013

For a certain loss of sense and rules of civil living, the people of today have also fallen into a rela-tionship crisis from which it seems difficult to escape” says Servillo.

Rodolfo Di Giammarco La Repubblica

30 April 2013


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Divine ComedyIn the cinema he is known for his strength as an actor and his ability to immerse himself in the most tortured of characters. Sarcastic, sulky, whining or washed-out, here he fills the role of a man who does not like his neighbours. A feast for the eyes and ears which is not to be missed.Far from the businessman of Gomorra, who buried toxic waste, and from the shady politician And-reotti in Il divo, here he plays a simpleton who one day, more out of boredom than spite, accuses his neighbours of murder. As time goes on, he understands that there has been no murder, other than of the trust between people, that no-one is an assassin, other than of peaceful cohabitation, and that it is often better to remain buried in ones dreams than to face reality.

A living languageAdapting a play by the great Neapolitan playwright Eduardo De Filippo, Servillo returns to his first love, directing, whilst maintaining his identity as one who has always lived in the Neapolitan country-side. We find him here in the aftermath of the Second World War, lost of defeat, the fresh memories of the fascist informants and the inability to look to the future.

As a director, Servillo shines for his winning attitude, for which Naples “understands more that one sees”. Suddenly, the simple costumes serve only to define the era, in the same way that the min-imalist scenery enhances the musicality of the Neapolitan dialect. A dialect which Servillo and the dozen actors who accompany him (among them his real-life brother, Peppe, a perfect bigot, more suited to scrounging than bowing) play with, dragging the words and transforming the constantans to better prolong the vowels. Although the subtitles at times delay the reactions of the audience by a few moments, they are reduced to a minimum, just enough to help follow the conversation without interfering with the acting.

Apropos the acting: Servillo stands out for all that he is, one of the most talented Italian actors, able to transmit to all the lowliness of humanity of the post-war period simply by holding his head in his hands. Supported by a razor-sharp piece and surrounded by talent, he is divine.

Paul Goiffon La Marseillase

22 March 2013


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The ruin of Italy as seen by De FilippoToni Servillo stages “Inner Voices”, written in 1948, which recalls the current crisis.

In Naples it is raining. Italy has never seemed so confused, irritable, divided, such a caricature, than after the elections of 24 and 25 February. In Genova, an elderly comic, Beppe Grillo, holds politics hostage. In Milan, the deathwatch of members of Silvio Berlusconi’s party, among them an ex minister of justice, have demonstrated against the judiciary. In Rome, the search is on for a government. A little light is needed. We enter the theatre in order to see better (…)“I had already staged Saturday, Sunday and Monday by De Filippo – explains Servillo – a per-fect play which foresaw the economic boom of the 1960s. This is darker, more difficult to stage. Written in 1948, at the end of the war, it speaks of the moral ruin which followed the material ruin of Italy. I chose to tell of this precipice in which truth and lies, legal and illegal, are confused. The war changed the nature of man and we no longer know how to communicate or understand each other”.One of the characters, who expresses himself simply by lighting firecrackers, illustrates this abyss: he has chosen silence “because the world is deaf”.Toni Servillo plays Alberto Saporito, who confuses day with night and dream with reality. Hav-ing dreamt that a crime has been committed in the home of his neighbours, the Cimmarotas, he reports them to the police. This accusation, based on an inner voice, unmasks dark secrets, re-ciprocal rancour and suspicion. Husband against wife, mother against daughter, brother against brother. Behind closed doors in this impoverished Neapolitan dwelling, humanity is far from a beauty to behold. In the end, Alberto Saporito declares: “but… if everyone is a murderer, then so am I”. But then another character falls asleep… and the curtain falls. For Toni Servillo, De Filippo (1900 – 1984) was “the witness to a world which he no longer understood, a great intellectual. A moraliser and a great politician. He was a man of theatre, like Molière, like Pinter. A master of morals”.Playwright, actor, screenwriter (among his most famous screeplays, Divorce, Italian style for De Sica), De Filippo made Naples an ideal world for the spectacle and the observation of human nature. “Naples is like a theatre stage – Servillo smiles – empty underneath, full above.” He has chosen to live in Caserta, a few kilometres away. “I need the Neapolitan language, the dialect, the social behaviour of the inhabitants – for better or for worse – and I need their irony. Naples is an open air Comédie-Française. For an actor, it is like an aquarium for a goldfish”.And so it is from this bay between water and fire, between the Mediterranean and Vesuvio, in this dilapidated city as exciting as a double espresso, that Toni Servillo follows his career. “For the cinema I choose roles according to the register” – recounts the genial actor of Il Divo (Paolo Sorrentino), of Gomorra (Matteo Garrone), of Gorbaciof (Stefano incerti), and currently on Italian screens in Viva la libertà (Roberto Andò) in which he plays twin brothers – “for the theatre, how-ever, I try to take on the universe of a writer, and examine what is happening in Italy. I ask my


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If Inner Voices is an alarm, then we live dramatic times: “we have fallen into an abyss from which it will be very difficult to escape – says Servillo – The tragedy of Italy is that it has never revolted, never killed the father, as Umberto Saba said. Suddenly we have become fratricidal. I try to work as well as I can: this is my responsibility”. The word often comes up in the conversation, like a warning or a reprimand to those who should be governing Italy. “All of my efforts, from the moment I wake up every morning, demonstrate hope. But today, in this precise moment, I am not so optimistic”.

Philippe RidetLe Monde

17 March 2013


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The restless sleep of monstersThey begin and end in sleep, the Inner Voices with which Toni Servillo returns to Eduardo, a few years after that Saturday, Sunday and Monday which seemed to us to have been the most beautiful and moving treatment of a piece by the Neapolitan master since his death. And we all know well what sleep can create when the grip of reason is loosened. It is a black comedy of dreams, shad-ows, visions, nocturnal nightmares, Inner Voices. The restless souls of the dead nest, they creep into the house, into the nooks and crannies, even, shamelessly, into clothes - into the tie which will not knot. The maid Maria - who we see at the beginning lying on a chair at the kitchen table – dreams, unable to work in the early hours of the morning. And even in her young innocence, the dream is a surreal film of images which drip blood. Alberto Saporito dreams. And in this dream he is convinced that his neighbours - the good family Cimmaruta which lives off the work of its womenfolk – have killed his friend Aniello Amitrano. He spied on them, he saw how they had drawn him into a trap and where they had hidden the blood-soaked shirt and the incriminating documents: in a hole behind the dresser. He thus hastens to formally accuse them and now there in their kitchen he waits together with his brother for the arrival of the police, stealing glances at the clock which prolongs the cruel pleasure of being able to openly throw in their faces the still concealed rancour. Burn them alive, he cries, with the zeal of a religious inquisitor, as they are lead away. But did Alberto Saporito really dream? He himself is no longer sure. He no longer knows what is real in this melting pot of reality and dream, in front of the procession of relatives who accuse each other of the crime. They believed it possible, they accepted it, maybe they were ready to commit another, as he claims in the moral-istic finale, when a blinding light floods the stage and brings what should be the moment of truth. Everyone thinking that he withdrew out of fear. Everyone repeating to him, produce the documents, there’s no point saying he doesn’t have them.Servillo is great, holding true to Eduardo’s important lesson, that theatre is written on the stage. Away with any temptation for a Pirandellian twist, if ever there was one; away with realism, negated in any case by the dreamlike quality of the piece and the abstract style of the scenery designed by Lino Fiorito – neutral walls which seem to absorb the few functional pieces of furniture, groups of chairs which appear transparent and give a further touch of surrealism to the house/warehouse of the Saporito brothers, extremely poor heirs to an antique and florid business of party furnishing. We are before a deforming mirror and the twisted image that we see reflected interrogates us. It speaks of the banality of evil. Here there is no “good soul” left, no god will descend from the heavens to save us. There is no consolation, not even for the great inventiveness of Uncle Nicola who in solitary pro-test against humanity has chosen not to speak any more and has gone to exile in a mezzanine from where he communicates with flares, firecrackers and occasionally spittle. Even in this character, in his denouncement of the sickness of words, there lies only the chill of misanthropy. That this nega-tive thought, this existential pessimism that runs through all post-war Eduardian theatre takes form in a farce is of no surprise. One laughs because it is impossible not to when faced with the mastery of the company staged by Servillo – what can we say of the star and director? A glance, a blink of an eyelid is enough... a skill rooted in a tradition which is so alive and explicit that the few moments


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of true melodrama can be forgiven. But from “within”, and for the alienation created by the farce which can not be pinned to a single moment in history or a particular social situation, one hears a disturbing screech. Molière is not far away - Servillo, a methodical follower, knows this well.

Gianni Manzella, Il manifesto

30 March 2013


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The soul of Eduardo in the clothes of The TrampA homage to Eduardo De Filippo, with the strangest, most funambulatory and disturbing of his plays, Inner Voices, worked around the paradox and vision which takes us back to the moral climate of the period in which it was written, in 1948.Three brief acts, rich with treasures and pure entertainment (but with an underlying dark pessimism), which the director Servillo proposes without intervals. Alberto Saporito, a man with perhaps a touch of folly – who, with his brother Carlo, hires out old chairs and carpets – believes that the Cimmarotas, his neighbours, have committed a crime. Convinced that the crime is real, he has them arrested. In reality no crime has been committed and he retracts his accusation. But now, however, an infernal mechanism has been set in motion. Instead of pro-claiming their innocence, Pasquale Cimmarota and his family begin to suspect each other, they fear that Saporito could at any moment reveal evidence of their guilt. From false assassins to true assassins. In the same way that all post-war Italians were potential bicycle thieves, they were also potential murderers.It is clear that the Inner voices, the voices of conscience, reflect the traumas of a country where ev-eryone suspects everyone else, where values seem to have disappeared, where the wisest prefer to remain silent because they know they will not be understood; such as the old and almost invisible Uncle Nicola who communicates to the world by letting off firecrackers and who only Alberto can understand. The world of dreams here mixes and is confused with reality, and this is expressed well (the second act played in chiaroscuro is wonderful) through Toni Servillo’s direction which trans-lates everything with subtle intelligence into a metaphor. With moments of pure comedy within a noir frame, Toni Servillo excels: dressing in that baggy suit “à la Tramp”, he gives his character that Chaplin touch. This too is genius.

Domenico Rigotti Avvenire

31 March 2013


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Eduardo, Servillo, and the “moral postwar” of today.On Sunday afternoon I went to the Piccolo Teatro di Milano to enjoy Inner Voices by Eduardo De Filippo with a Toni Servillo who speaks with his eyes and hands, his brother Peppe, a white table, a dresser and a couple of chairs. A neo-realist journey through the guilty conscience of humanity which begins in the rubble of the Second World War and which strips bare the fall of the values of the “moral postwar” of today. Small and great miseries take to the stage, characters with their vileness and suspicions, stains of hatred and the usual dose of hypocrisy, gestures and (bitter) portraits of a “guilty conscience” of both the young and the old. A piece of miraculous foresight which only the talent of Eduardo could have conceived in 1948, and which only the talent of Servillo could interpret so faithfully as to conduct us through the meanders of a soul devoured by envy and the (unfortu-nately) evermore frequent trails of the moral corruption of today. Sitting in the audience to my left was Valentina Cortese, a splendid 90 year-old who puts on and takes off her hat with the freshness of a young girl. She looked around, dispensing smiles and showing an anxiety full of life, expressing emotions and opinions out loud: “so many memories here, in this theatre, the theatre of my Strehler, I almost want to get up and start acting again. How many times did the great Eduardo ask me, it would be wonderful to act today with Servillo”. Past and present mix naturally in a tapestry of lights, long silences and many inner voices which unite Milan and Naples in an Italian neorealist play which never loses rhythm, a play set in the past, but which speaks of the present and questions the future. At the end, after an hour and fifty minutes of (great) theatre without intervals, I have a quick chat with Servillo and one phrase strikes me: “We are living in an ugly period where we always mistrust everyone”. Leaving him, I see before my eyes the faces of “Viva la libertà”, a cinematographic mas-terpiece by Roberto Andò where the Servillos (but only Toni) are two (twins) and the tale of the crisis of the major left-wing party becomes a metaphor for the crisis and (hope for) politics. After a terrible Friday which saw the votes of the left-wing Partito Democratico scorching even the founder of the political party “L’Ulivo” and leading, the next day, to the re-election of Giorgio Napolitano as Presi-dent of the Republic, Pierluigi Bersani stepped down as leader of the party with a phrase that will go down in history: “Among us, one in four betrayed. For me, this is unacceptable”. Today’s politics, as the great Eduardo’s inner voice tells us, should free itself of its “guilty conscience”, and should do so quickly, because no country can survive if it (also) loses the hope for good politics.

Roberto NapoletanoIl Sole 24 Ore21 aprile 2013


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“Inner Voices”. Between dreams and reality with the Servillo brothers“The tragedy of Italy is not having revolted, of not having killed the father, as Umberto Saba said, and suddenly we have become fratricidal” - this is one of the acute considerations that Toni Servillo makes on the ethical dispute between what is admissible and what is not in the post-war period lived by our country as described by Eduardo De Filippo in Inner Voices, a play with which the actor-di-rector has recently debuted in Marseilles and which is now at the Piccolo Teatro, Milan, before de-parting for the Argentina in Rome on Tuesday 7. “For a certain loss of sense and rules of civil living, the people of today have also fallen into a relationship crisis from which it seems difficult to escape” says Servillo, who returns after 11 years to take on Eduardo, after the exceptional Saturday, Sunday and Monday The opportunity here is provided by a weaving of nightmares and evil deeds presumed real, in a climate of monstrosity and restless sleep. “Alberto Saporito, my character, unmasks his own guilty conscience and that of everyone else when he accuses a neighbouring family, which he sees as irrefutably guilty, of a crime, a crime which he then realises he has only dreamt of. It is how-ever too late, and the bad situation creates further reciprocal suspicions, accusations and betrayal”. Here it is, an intense theme of Inner Voices: disloyalty, u-turns, mistrust, even between relatives or cohabitants.The highly effective coup de théâtre of the actor-director is in having seen that here, in this disturb-ingly unorganic and deliberately suspended piece by Eduardo, his real brother Peppe Servillo, mu-sician and singer, could make his theatrical debut at his side, in the role of Carlo Saporito, bringing reality to the same level (if not superior to) the virtual story on stage. “We almost seem like twins. It is really great fun”. The emotion comes also from a shadow of dramaturgic rivalry, for the fact that Carlo (Peppe) would take Alberto’s (Toni) place when the latter risks imprisonment. And it is truly a play within the play, this prosaic pairing which has formed only now between the 54 year-old Toni and the 52 year-old Peppe.Returning to the theatre after his important and highly praised work in the cinema, such as Viva la libertà by Roberto Andò, and eagerly awaited in Paolo Sorrentino’s La grande bellezza, to be pre-sented at Cannes, Toni Servillo, in Inner Voices also directs a troupe which is rich with talent and depth, including Chiara Baffi, Gigio Morra, Betti Pedrazzi, Daghi Rondanini – the latter in the role of Uncle Nicola, who prefers to remain silent, speaking with firecrackers, leading us to consider how certain current affairs leave us speechless.

Rodolfo Di Giammarco La Repubblica

30 April 2013


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Venda Anticipada

Avantatges i descomptes


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Identifica els espectacles de Temporada Alta

Els espais

dossier de l'espectacle le voci di dentro d'eduardo de filippo

Documents

piccolo teatro di milano

daghi rondadini capa

mn sencer est sord

antonello cossia zi

germans saporito s plena

rocco giordano teresa

gigio morra carlo saporito

toni servillo luigi