Scopri il Teatro italiano in scena al REF2023!

Torna con Il Grande Vuoto la regista Fabiana Iacozzilli per chiudere la sua trilogia composta da La Classe  e Una cosa enorme. Con la sua scrittura ancorata al teatro di figura, la potenza visionaria delle sue macchine sceniche, la regista, torna a perlustrare le zone d’ombra della nostra esistenza, a raccontare le aspirazioni, i sogni e i fallimenti, la fragilità, la forza e tutta l’energia che ci rende umani.

? Rumba
Ascanio Celestini
? 16-17 novembre | Auditorium Parco della Musica Ennio Morricone

Un uomo controcorrente, perché pur essendo ricco, scelse non solo di essere povero, ma di farsi servo dei poveri. Un cavaliere che non volle più fare la guerra e che, da frate, in tempo di crociate, si recò in Terra Santa predicando la pace e la fratellanza. «Ma perché Francesco ci affascina ancora dopo otto secoli? E dove lo troveremmo oggi? Tra i barboni che chiedono l’elemosina nel parcheggio di un supermercato? Tra i facchini africani che spostano pacchi in qualche grande magazzino della logistica?» Ponendosi queste domande, nei panni del personaggio-narratore, Ascanio Celestini racconta il Francesco di oggi, che trova i propri personaggi in strada, tra le case popolari, tra coloro che, oggi come ieri, nessuno vede.

A new map of scenic writings, dramaturgy, and narratives studded with the debuts of performances by some of the leading names on the Italian contemporary scene. From classic productions reinterpreted in a modern key to new creations that challenge the boundaries of the performing arts, the Romaeuropa Festival 2023, through the end of November, welcomes six national companies and performances.

? La ferocia
VicoQuartoMazzini
Michele Altamura
Gabriele Paolocà
Nicola Lagioia
? Oct. 31 to Nov. 2 | Teatro Vascello

“Telling worlds in reverse to be able to understand our own, stimulating the surreal in order not to justify the present.” This is how the Apulian company VicoQuartoMazzini, founded by Michele Altamura and Gabriele Paolocà, engaged in a path of investigation in which theater, dramaturgy, radio, video, and installation merge. Already at the REF in 2018 with the edgy Vieni su Marte, the company returns to the festival to stage one of the most acclaimed novels of recent years, Premio Strega in 2015: La Ferocia by Nicola Lagioia.

? Tomorrow’s Parties (Italian version)
Forced Entertainment
ALDES
? November 3 to 5 | Mattatoio

Founded and led by Tim Etchells, the historic company Forced Entertainment has gained attention for its extraordinary work on contemporary British drama. Among its most acclaimed plays is Tomorrow’s Parties, a snapshot of the hopes and fears of an entire era. This is perhaps why, more than a decade after the play’s debut, Robin Arthur (among the company members) and Roberto Castello, with the production of ALDES, decided to translate and remount it (for the first time, not in the original language) to make it accessible to Italian audiences as well without the obstacle of subtitles. Taking turns on stage to embody the Italian adaptation of the play are some of the best performers on the Italian scene: Marco Cavalcoli or Roberto Rustioni with Simona Generali or Caterina Simonelli.

? Trilogia del Vento
Fabiana Iacozzilli
? Il grande vuoto
November 15 to 19 | Teatro Vascello

Director Fabiana Iacozzilli returns with Il grande Vuoto to close her trilogy of La Classe and Una cosa enorme. With her writing anchored in figure theater, the visionary power of her scenic machines, the director, returns to scour the shadowy areas of our existence to recount the aspirations, dreams and failures, fragility, strength, and all the energy that makes us human.

? Rumba
Ascanio Celestini
? Nov. 16-17 | Auditorium Parco della Musica Ennio Morricone

He was a man against the tide because although he was rich, he chose not only to be poor but to make himself the servant of the poor. A knight who no longer wanted to wage war and who, as a friar, went to the Holy Land in time of crusades, preaching peace and brotherhood. “But why does Francesco still fascinate us after eight centuries? And where would we find him today? Among the homeless begging in a supermarket parking lot? Among African porters moving packages in some large logistics warehouse?” Asking himself these questions in the shoes of the character-narrator, Ascanio Celestini recounts the Francesco of today, who finds his characters in the streets, among the working-class homes, among those whom, today as yesterday, no one sees.