FATTORE K. – Teatro di Roma (Italy)
Photo: Olimpia Nigris Cosattini

Thursday, November 21, Studio


Thursday, November 21, Studio

Italian translation by: Giovanni Crino, Mario Socrate
1h 15' without intermission 

Dario Caccuri, Antonino Cicero Santalena, Carolina Ellero


Dramaturgy: Giorgio Barberio Corsetti, Marco Solari, Alessandra Vanzi
Scenic interventions by Gianni Dessì
Visual effects: Gianni Dessì, Giorgio Barberio Corsetti, Marco Solari
Music: Patty Smith, CharleMagne Palestine, Glenn Branca
Light and audio technician: Tiziano Di Russo
Production Assistant: Ottavia Nigris Cosattini
Tailor: Gloria Margarita Huamán Rojas


After more than forty years, the three actors of La Gaia Scienza, Giorgio Barberio Corsetti, Marco Solari, and Alessandra Vanzi, meet again, bringing to the fore new reflections upon theatre and the world approached by the theatre. What has changed? What remained unchanged regarding the artistic unity of the narrative? It was necessary for the liveliness of the dialogue and there new ed short circuit between the three founding creators and members of La Gaia Scienza, which significantly influenced the experimental and innovative theater, to revive. It was necessary for them to carry out other experiments. This explains the idea behind the need to bring their first show – The Riot of Objects (1976) – back on stage, exploring, throughout their artistic career, the questions of art and contemporaneity, by the theatre, and the transformation of the world,respectively, how to conceive it, with the intention of making it evolve through reflection, retracing its dramaturgy from a different perspective. For this reason, the project will consist of a process of selection and experimentation divided into two different phases of workshops involving actors and dancers in the study performed by the three artists on stage. Promoted and supported by the Rome Europe Festival, Fattore K., the theater company founded by Giorgio Barberio Corsetti, accepted the challenge, and between the end of 2018, spring 2019, the production stages were completed with the debut in autumn 2019.

"The desire to restore The Riot of Objects, the first performance of La Gaia Scienza, after so many years since its debut on March 24, 1976, at Beat 72,comes from its extremely light-hearted and not codified structure: its exact duration was uniquely divided into a first act lasting forty minutes of movements and side lights provided by side-loading projectors without any images and the following twenty minutes focusing on taut strings on the stage space featuring neon lighting. There were no well-defined roles, characters, and performers,the script itself – a selection of phrases taken from the tragedy written by Mayakovsky – was 'non-verbal material', to be either taken or left, repeated or omitted, in an extremely free, continuous improvisation. The space was entrusted to our individual sensitivity, to the ability to give rise to associations and dissociations in a completely different way every evening, in the motion of bodies and gazes, of movements, in a dialogue established with the stage space and the few objects present. It was considered inconceivable therefore it was a must to 're-stage'. Over La Gaia Scienza's 10-year career, with the staging of the last two shows Gli insetti preferiscono le ortiche (Insects Prefer Nettles) and Cuori Strappati (Torn Hearts), we created very precise scores that could be easily recreated (apart from the demanding task of re-creating the natural habitat of the insects, or the complex stage machinery of the Hearts). However, it appeared more interesting to us to go back to that Nietzschean auroral moment in order for us to reflect together once again, above all, among the three of us, after thirty-five years pursuing different paths and careers, on that work that, for each and every one of us, represented a significant starting point of paramount importance. It was the outcome of both a friendship, and an affinity of interests and tastes, the development of a style and a common physical and mental language, a path full of tests and of life spent together in a dimension of great freedom, in which everyone finds their own space, their own time. Without any direction, neither of one nor of anyone – which seemed and still seems strange –, going beyond the extent of what is deemed conceivable. Therefore,if a philological reconstruction is considered unthinkable – as it would mean redoing what had not been repeated, not merely being reproduced every evening ,but rather by being produced from scratch every single evening (which is entirely different matter) – what we aim to do is to create the conditions so as to transmit an experience, by reinventing the theatre game, using some of the original materials (for example, Mayakovsky's words, the idea of suspension,references to fragments of stage space by means of broken mirrors, a few objects, light beams, pieces of recorded music), handing over to young actor sand dancers the objects to be turned over, that are indeed those materials – and possibly others –, yet which also represent concepts, thoughts, stimuli that were the 'non-verbal' aspects of the show, its immaterial essence. All of this requires a workshop set up, that is not therefore only a period of rehearsals in the strict sense of the word, but space-time organisation for the development of a language. A passing of the baton, in which the three of us are also present onstage, interacting either by overlapping or in counterpart, therefore interacting with new sensitivities."

Giorgio Barberio Corsetti

Photo: Olimpia Nigris Cosattini