Teatro della Pergola: shows not to miss in April

Teatro della Pergola presents a calendar of shows not to be missed in March and April. Here is the program:

From March 22 to April 3, Ferzan Özpetek brings his Mine vaganti to the theater. Feelings, melancholy, laughter, unchanged from the cinema to the theater. Ferzan Ozpetek signs his first theater direction by staging the adaptation of one of his award-winning films (numerous David di Donatello, Nastri d'Argento, Globi d'Oro).

On March 28, Ferzan Özpetek returns to the Pergola with his one man show Ferzaneide - Sono ia! This is a special opportunity to listen to and see live one of Italy's most beloved directors and discover the insights that emerged from his films: the generosity of detail and uncommon freedom of thought.
Özpetek talks about his career, of course, but also about the most important feelings of his life: love, friendship, astonishment in front of beauty and the desire to be happy.

Ferzan Ozpetek - Ferzaneide ph. Romolo Eucalitto

From April 5 to 10, Stefano Accorsi makes his debut in AZUL - Gioia, Furia, Fede y Eterno Amor written and directed by Daniele Finzi Pasca. A show suspended between dream and simplicity, between friendship, irony, fragility, passion, cheer, music and colors. In a city where the game of football is fever, love and passion, four friends come to terms with their respective lives and, by bringing back memories, try to rebuild a serenity gone to pieces. In their simplicity, what they have in common is an insane passion for their favourite team and fairy-tale childhoods. They are made of something as simple as bread, but on Sundays, at the stadium, they are overwhelmed by a fury that sweeps them up and shatters them every time.

On April 13 and 14, Amos Gitai is the director of Exils Interieurs. Performed in French, Italian and German, with Italian subtitles. An imaginary dialogue between Thomas Mann and Hermann Hesse, Rosa Luxemburg, Albert Camus, Antonio Gramsci, on the theme of the artist's position (when he finds himself) in the face of oppression. When an artist takes a stand against an authoritarian regime, what are the consequences for his or her life and work? Exils intérieurs answers these and other questions by combining musical pieces, screenings of films by Amos Gitai such as Berlin-Jerusalem, Kippour, Lullaby To My Father, Promised Land, Tsili and readings of texts by Natalie Dessay, Pippo Delbono, Jerome Kircher, Markus Gertken, Hans-Peter Cloos, Talia Di Vries.

From April 19 to 24, Gabriele Lavia tackles the tales of Oscar Wilde, a reading as only a great master of theater can present to an audience that has stayed away from theaters perhaps too long. The great desire for theater and participation brings the attention of the audience back to the present, through the genius of Wilde. Lavia wisely searches in these texts the pretext to abandon ourselves to the listening of fantastic stories, that allude to the contradictions of a morality that often conditions our life.

April 21 and 23, Ionesco Suite. A tribute to the anti-action of the theater of the absurd, the rejection of the plot, the use of the twist used not to advance the plot but to surprise the viewer, to give him a laugh, redeem him from the tension. Ionesco Suite is a mosaic of fragments of the absurd, extracts from six texts of Ionesco's theater, from the most classic ones such as The Bald Singer and The Lesson to lesser known texts such as Jacques or the submission, Delirium a due, How to prepare a boiled egg, Exercises in conversation and diction in French for American students.

April 22 and 24, Six Personnages en quête d'auteur. When is an actor truthful? When is he artificial? And the director, at what point is his artistic method sincere? These are questions that Pirandello addresses in Six Characters in Search of an Author and that Demarcy-Mota and his actors have also asked themselves: the theme of the relationship between fiction and reality has an effect at various levels. Since his childhood, Emmanuel Demarcy-Mota has been very fascinated by Pirandello's work, which inspires him again and again. In the Six Characters he challenges the impossibility of theater in a very concrete way. He calls attention to the incongruity between illusion and reality.

From 26 to 30 April, Luca De Fusco proposes Carlo Goldoni's La locandiera at the Goldoni Theatre. A Locandiera goldoniana set in the '50s, dynamic, edited and original. There is an analogy between the freshness and optimism of the nascent Italian bourgeoisie of the 1700s and that of the Italian bourgeoisie at the beginning of the economic boom of the last century. The transposition revitalizes Goldoni's text and demonstrates its eternity. Music and songs are triggered in the show: at the center of a super stylized inn there is a jukebox and music is the thin thread that binds Mirandolina and Fabrizio.

From May 3 to 8, Glauco Mauri and Roberto Sturno are the interpreters of Il canto dell'usignolo by William Shakespeare.