From Emma Dante to Dimitris Papaioannu, at the start of the Teatro di Roma season

At the center of the new cultural project is the essential value of live art as a collective, political and poetic action at the same time, capable of stimulating a plural vision and reconnecting the relationship with the public, the city and the local and international community.

From Emma Dante Giorgio Barberio Corsetti and Romeo Castellucci, from Umberto Orsini to Romeo Castellucci alongside Dimitris Papaioannou, Glauco Mauri and Antonio Latella. The 2022/2023 season of the Teatro di Roma restarts, placing the essential value of live art at the center of the new cultural project as a collective, political and poetic action at the same time, capable of stimulating a plural vision and reconnecting the relationship with the public, the city and the local and international community.



“The shows and activities that weave the canvas of the billboards, with various threads that intertwine on the stages of Argentina, India and Torlonia, strongly affirm the will of the Institution to defend art and support the work of artists. , together with female workers and theater workers, to redefine the identity of a space of imagination, inclusion and creativity – reads a note from the Teatro di Roma – This is a season of reconnection, which was born in a time of theater commissioner of Rome, since the end of November last year in continuous activity under the guidance of the extraordinary commissioner, to project towards the future the national building committed – announces the note – to strengthen the link of the theater with the territory and tell the present time , always in dialogue between collective participation and cultural risk, through the gaze and intellectual dynamism of authors and artists “.

Resolutions that reverberate in over 40 scheduled titles, with a productive effort on 15 shows, 26 guest shows and other productions, for a season aimed at the general public of the return that opens at the Argentina Theater on October 18 with the debut of Pupo di Zucchero by Emma Dante and at the Teatro India on October 19 with the resumption of Tutto brucia by Motus. The artistic design of the Teatro di Roma combines the reinterpretation of the classics, entrusted to the wisdom of long-standing directors and performers, with new dramaturgies and original writings, with ample space for emerging talents and signs of contemporaneity, in which new creations and the recovery of shows from the past season, without losing their creative value and investing in the continuity of artistic practice.

Among the guests, Massimo Popolizio, Roberto Andò, Franco Branciaroli, Fabrizio Arcuri.

Starting with the rescheduling in autumn of the productions of Fabio Condemi (Nottuari), Muta Imago (Tre sorelle), Industria Indipendente (The left hand), to which are added the shows recovered in hospitality by Romeo Castellucci (Bros), Underground (L ‘ Angelo della Storia), Giuliana Musso (Inside), Federica Santoro and Luca Tilli (Hedvig). A commitment that translates the concepts of openness, support for creative work and the presence of the Institution at the service of the city into action and public responsibility, with a view to the inclusiveness and plurality of the artistic landscape still marked by the exceptional nature of the emergency period.

The production project unravels through the network of works signed by directors and creators of the most advanced and innovative scene, becoming a coherent and recognizable junction of the season with the productions of Giorgio Barberio Corsetti who returns with Amleto, Massimo Popolizio debuting with A look from the bridge and the resumption of Furore, Valter Malosti with the unreleased Lazarus, Emma Dante also scheduled with Il tango delle Capinere, Fabio Cherstich with a modern Cenerentola Remix, in addition to the resumption of the successful co-productions of Motus with Tutto brucia and Lucia Calamaro with Darwin inconsolable.

A large offer of hospitality completes the weaving project with which the Teatro di Roma supports contemporary creation, expressing the best of national proposals through the performances of Roberto Andò (Ferito a morte), Clauco Mauri and Roberto Sturno (Interno Bernhard – Minetti and Il Riformatore del Mondo), Antonio Latella (Who is afraid of Virginia Woolf), Umberto Orsini and Franco Branciaroli (Pour un oui ou pour un non) and again Massimiliano Civica (The stuff of dreams), Paola Rota (Like all free girls ), Lucia Calamaro (From afar. Closed on regret), Fanny & Alexander (Sylvie and Bruno), Fabrizio Arcuri (Every Brilliant Thing), Liv Ferracchiati (A science fiction show), while the exploration in the international scenario draws on the powerful performative emanations of ideas, aesthetics and formats from across the border, such as the shows by Dimitri Papaioannou (Ink) and Claudio Tolcachir (Building 3).

Collaboration with the Piero Gabrielli Integrated Laboratory dedicated to the exchange between theater and disability

The productive commitment of the Teatro di Roma is also articulated through the creation of integration and participation practices, alternative fruition tools and well-established training courses, such as the Piero Gabrielli Integrated Laboratory dedicated to the exchange between theater and disability with the coordination of Roberto Gandini , the section for the new generations declined starting from the program of shows and the reflection on a theater for children and young spectators, the boundless horizon of Grandi Pianure / Buffalo on the new possibilities of contemporary dance.

And again, the cycle of popular meetings Light on archeology, an unprecedented success now in its 9th edition with 7 appointments scheduled for Sunday morning and brought together under the title Magnificence and luxury in the Roman age: spaces and forms of power between public and private . And again, the direct involvement of citizens-spectators with the Show Visits to discover the secret places of Argentina and India.

Furthermore, the Theater of Rome is the pivot of the network of connections and references with the Theaters in the Municipality (Teatro Biblioteca Quarticciolo, Tor Bella Monaca, Villa Pamphilj, Globe Theater), enhanced by the synergy with Roma Capitale, together with the direct management of the Theater. of the Lido, an example of a participatory method for cultural programming, of the Torlonia Theater, with proposals for children’s theater and musical interventions, in addition to the extraordinary training and exhibition planning activity of the Valle Franca Valeri Theater, pending restoration work .

Open and inclusive home of the languages ​​of live entertainment

“Throughout the season, the Teatro di Roma reflects its function as an open and public space, nourishing itself on the precious and historical collaborations with institutions, structures and networks that substantiate it and tell the strength, resistance and design capacity of our city – he continues La nota del Teatro- On this polychrome topography, autumn opens with the proposals of the Romaeuropa Festival billboards including, the co-realization of the national premiere show Faith, Hope and Charity by Alexander Zeldin (from November 3 to Argentina), the relationship with Short Theater is confirmed and the multidisciplinary partnerships are renewed with the Public Domain project aimed at creativity under 25, and with urban activism, city associations, social centers and cultural centers “.

“The programming, the cultural activities, the younger generations, the multidisciplinarity, the connection with the suburbs – continues the note of the historic building – constitute the commitment that the Theater of Rome delivers to the city, a call to our theaters through a Season of great investment in the relationship with the public and support for artistic work “.

The heart of the production project of the Teatro di Roma is the Teatro Argentina, the driving force of cultural awakening and the sharing of transversal practices and knowledge to offer the returning public new experiences of encounter with art. An open and inclusive home of the languages ​​of live entertainment and a team of masters and artists extraordinary for their interpretative and directorial sensitivity, flanked by creative personalities from different geographies and generations but who look together at the most current and multicultural writings.



Source-www.adnkronos.com